| | Blur CD Blur Discography of CDs
 (13 Customer Reviews)
It's okay, America, you can come out now! We don't sound like Duran Duran anymore! Me and the rest of the lads had us a meeting and decided it was time to give the eighties thing a bit of a rest. Don't worry, we didn't throw away all our fab analog synth gear, we just updated things a little. We moved out of that expensive umpteen-track studio and into our mate's mum's garage to get just the right feel for this one. We were so busy reinventing our sound that we didn't even have time to come up with a proper name for the album. What's in a name, though, as long as we've still got the pop hooks coming out our ears? We've been listening to some of that lo-fi Yank stuff and hanging out with some of the blokes from Stereolab in between reading all those fan mags that make up imaginary battles between us and Oasis, who care more about being the Beatles than we ever did. So the stage is set for our big American takeover. Now all we've got to do is get that bugger at the record company to stop calling our singer "dude."
Recorded in London, England and Iceland.
Personnel: Damon Albarn (vocals); Graham Coxen, Graham Coxon (guitar); Dave Rowntree (drums).
Recording information: Iceland; London, England.
Photographer: Paul Postle.
Blur: Damon Albarn (vocals, keyboards); Graham Coxon (guitar); Alex James (bass); Dave Rowntree (drums).
Rolling Stone (4/3/97, pp.64-65) - 4 Stars (out of 5) - "...The scrupulous sonic contouring and porcelain finishes of Blur's last two albums have vanished. Blur's melodies, moreover, have abandoned much of their old Kinks-y fuss....What still makes them great is their deep grasp of style and genre..."
Spin (4/97, pp.157-158) - 7 (out of 10) - "...prefac[ing] the release of BLUR, Albarn...declared an allegiance with Pavement and Beck....But no amount of gratuitous distortion or mumbling could disguise the truth that...Blur have stumbled over the most accomplished record of their career..."
Entertainment Weekly (3/14/97, p.78) - "...Up to now, Blur--Oasis' chief rival in the U.K.--have remained a nonentity in the States; this may be the album that finally brings them into focus." - Rating: B+
Q (1/98, p.111) - Included in Q Magazine's "50 Best Albums of 1997."
Alternative Press (5/97, pp.65-66) - 4 (out of five) - "...A whirl of weird esotericism, precious, precocious and impressively powerful, BLUR lurks in that grey area between work in progress, and progress is work..."
Melody Maker (12/20-27/97, pp.66-67) - Ranked #14 on Melody Maker's list of 1997's "Albums Of The Year."
Melody Maker (2/8/97, p.48) - Recommended - "...BLUR is a statement if ever there was one. It's low-key, dirty, messy, minimal, a f***ing stampede from the pub jukebox into the garage....while slumming is repellent social behaviour, when it comes to making records it's a boon. That may or may not be why this is Blur's best album..."
Village Voice (2/24/98) - Ranked #38 in the Village Voice's 1997 Pazz & Jop Critics' Poll.
Mojo (Publisher) (p.61) - Ranked #50 in Mojo's "100 Modern Classics" -- "[T]heir imperial pop smarts benefit unexpectedly from being crushed and soiled, not just sonically, but emotionally."
NME (Magazine) (12/20-27/97, pp.78-79) - Ranked #13 in NME's 1997 Critics' Poll.
NME (Magazine) (2/8/97, p.55) - 7 (out of 10) - "...a giant step of reinvention....Old Blur was about strings finely plucked, about attention to detail, about rendering beautiful the substance of other people's lives. New Blur is about confusion, about what they feel and...about scuffed edges..." Blur Music Review Average Rating: (4.5 out of 5 stars)   List All Reviews A Reinvention of Sorts
For their fifth studio album, Blur seemed to almost ditch the Britpop that made them popular. Instead, they opted to try American Indie Rock. With this change it shows some of the other strenghts of the band. In my opinion, this CD was the best example of Graham Coxon's talent. Here his guitar is always roaring and rocking, or smoothly creating an enchanting atmosphere. The CD is great
Submitted by grey2235 (New Orleans, LA, USA) 
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 The best!!!
Fantastic album!
Submitted by mdurbacz (Cieszyn, Poland)
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Wow
This album is incredible, just get it
Submitted by nasaez (Europe)
Was This Review Helpful? Yes No Nice album
I love it!
Submitted by a reviewer (Australia)
Was This Review Helpful? Yes No BLUR'S BEST!
This is of course Blur's best album ever!
Why? Because is a perfect mix of Blur's earliers albums and 13. "Theme from retro" and "Essex dogs" could perfectly fit 13, as "Look inside america" could fit in Great Escape. Get my point?
Well, if you do thats why i think this is Blur's best album
Submitted by a reviewer (America)
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Purchase Blur CD To buy, Click on price to add to cart | Blur Great Escape CD (1995)
Blur
 $9.45 
Beyond British and sensationally sociological, Blur and singer/songwriter Damon Albarn weave tales of stifling middle class ennui into clever pop vignettes. THE GREAT ESCAPE is another demonstration of Blur's unique intelligence, more of Albarn's witty commentary, and substantial proof that the group may be bordering on genius.
As usual, Albarn's senses are keen on THE GREAT ESCAPE. His ear for melody and sound textures shines throughout the album's fifteen brilliant tracks. The ska horns and spy soundtrack guitar riffing on "Fade Away" exemplify Blur's knack for pop music, yet elevate the song beyond simple genre-fication, with a dignity reserved for the orchestra pit. The snide humor behind "Mr. Robinson And His Quango" rubs shoulders with the desperation of "He Thought Of Cars," all the while dwelling on what they hope to escape. It's this nagging dread that carries the album--the sense that the people Albarn describes are as desperate to find meaning as Albarn is to capture it within the song's narrative.
THE GREAT ESCAPE may not turn into Blur's great American breakthrough album, but if you're not thrown by Albarn's overwhelmingly British aesthetic, it just might be enough to take you away from the confines of your day to day doldrums.
Recorded at Maison Rouge and Townhouse Studios, London, England between January and May 1995.
The Duke Strings Quartet: Louisa Fuller, Rick Koster (violin); John Metcalfe (viola); Ivan McCermoy (cello).
The Kick Horns: Simon Clarke, Tim Sanders (saxophone); Roddy Lorimer ...
| | Verve Urban Hymns CD (1997)
Blur
$11.39 
"Bitter Sweet Symphony" was nominated for the 1999 Grammy Award for Best Rock Performance By A Duo Or A Group With Vocal and Best Rock Song.
On URBAN HYMNS The Verve continues to widen the creative spectrum of psychedelic Britrock. The Verve exhibits a great deal of musical depth as they blanket "Bitter Sweet Symphony" with a full string section, employ acoustic guitars to evoke the simple, Carpenters-ish sentiments of "Sonnet" and "The Drugs Don't Work," and utilize heavily processed guitars on "Weeping Willow." Whether exploring the loud or soft extremes of their dynamic range, the band aspires to classic songwriting, tastefully incorporating retro sensibilities with sweet-sounding hooks that yield a tranquil, pastoral beauty.
URBAN HYMNS contains a hidden track after "Come On."
The Verve: Richard Ashcroft (vocals, guitar); Simon Tong (guitar, keyboards); Nick McCabe (guitar); Simon Jones (bass); Peter Salisbury (drums).
Producers: ...
| | Oasis Be Here Now CD (1997)
Blur
$18.59
"All Around The World" was nominated for the 1999 Grammy Award for Best Short Form Music Video.
Shamelessly enamored of The Beatles, Oasis uses BE HERE NOW to serve up another heaping platter of larger-than-life rock and roll garnished with Fab Fourisms. Noel Gallagher's ambitious songwriting and production (which, not coincidentally, was done at Abbey Road) result in an average song length of almost six minutes and the full, gnarly guitar sound that's become Oasis' trademark. "Magic Pie" and "All Around The World" incorporate brassy orchestration reminiscent of "Let It Be," while the former's name seems a less-than-subtle nod to Macca's FLAMING PIE album released a few months prior.
Aside from the band's constant worship at the Beatles shrine, Gallagher occasionally draws from other sources, sharply addressing the uncertainty of fame with the slam-bang rock and roll of "I Hope, I Think, I Know" and the latter-day Stone Roses sound of "Fade In-Out" which prominently features guest Johnny Depp's slide guitar. With their nemesis Blur busy trolling the noisy depths of lo-fi, American indie rock, BE HERE NOW proves to be another jewel in the crown of Brit-pop, which is now perched more firmly than ever on the collective, if occasionally swollen, head of Oasis.
Recorded between November 1996 and April 1997.
Personnel: Liam Gallagher (vocals); Noel Gallagher (guitar, background vocals); Bonehead (guitar); Johnny Depp (slide guitar); Mark Feltham (harmonica); Mike Rowe (keyboards); Alan White (drums, percussion).
Recording information: Abbey Road Studios, England ...
| | Blur Parklife CD (1994)
Blur
$8.85 
After many decades of rock, there's an equation that still holds true--there are only twelve major chords to choose from. And if you listened to the British rock press, you'd think that they invented them.
Wedged in between retro and revisionist sits Blur. Wearing the hat of a Ray Davies-type sociologist, Blur's Damon Albarn weaves tales of modern London laced with the suspicion that, indeed, the empire HAS ended. Albarn's fascination with urban decay was apparent on MODERN LIFE IS RUBBISH, but with the followup PARKLIFE, Blur embraces the modern.
During the instrumentals, PARKLIFE plays like a surreal game show. Layering the aesthetic of the 1980s film BRAZIL with the Kinks' DAVID WATTS, Blur is quite possibly the new British hope. While Blur emerged from the same fertile, neo-glam soil as Suede (Albarn's girlfriend, Justine of Elastica, used to be Suede's rhythm guitarist), Blur is the king among the new British glams.
The disco rhythms and keyboards in "Girls & Boys" highlight Albarn's cutesy look at romance in the 1990s. A climate where everyone is "looking for girls who want boys who like/Boys to be girls who do/Boys like their girls who do/Girls like their boys." Laments Albarn, "Oh I should be someone you really love." If it's solid pop songs with a bite you're craving, you'll love PARKLIFE.
Recorded at Maison Rouge & Rak Studios, London, England from November 1993-January 1994.
Producers: Stephen Street, Stephen Hague, John Smith, Blur.
Personnel: Graham Coxon (vocals, guitar, acoustic guitar, electric guitar, clarinet, saxophone, ...
| | Radiohead Ok Computer CD (1997)
Blur
$9.99
OK COMPUTER was nominated for the 1998 Grammy Award for Album Of The Year and won the 1998 Grammy for Best Alternative Music Performance.
OK COMPUTER, Radiohead's third album, is the bombastic follow-up to 1995's sleeper hit THE BENDS, which left critics and listeners as impressed with the band's ability as they were curious about their potential. In spite of its technological-sounding title and apocalyptic sci-fi themes, OK COMPUTER is firmly grounded in the rock verities. Waves of guitars rage beneath the haunting melodies and near-hysterical fits of singer Thom Yorke. This complex, intense swarm of guitars is held aloft by a solid, inventive rhythm section and an impressive array of piano and keyboard textures.
"Paranoid Android" is a six-minute-plus epic with alternating time signatures, wild dynamic shifts, drama and adrenaline to spare. "Let Down," with its double-tracked vocals and rhythmic throb, may give a brief glimpse back at Radiohead's ...
| | Superchunk Here's Where The Strings Come In CD (1995)
Blur
$12.19
Since the band's formation in the early '90s, Superchunk has been fighting the same accusations of willful obscurity that dogged REM for the early part of its career. The difference between the two bands (outside of units sold), is that while REM simply buried the vocals low in the mix, Superchunk buried the vocals low in the mix and turned the buzzsaw guitars up so high that some fans wondered if there were lyrics at all.
On HERE'S WHERE THE STRINGS COME IN, Superchunk finally slows down enough to allow the audience to steal a peek behind the wall of guitars and hear Mac McCaughan's lyrics float comfortably above the mix. The actual content of the songs has always mattered less to Superchunk than the setting of a mood. This album takes the usual Superchunk combination of boyish charm and regret to new extremes. Whether sarcastic ("Here's Where the Strings Come In"), yearning ("Detroit Has a Skyline"), or simply hyper ("Hyper Enough"), Superchunk packs more complexity into one song than anyone ...
| | MC5 Kick Out The Jams CD (1969)
Blur
$8.85 
Recorded live at Russ Gibb's Grande Ballroom, Detroit, Michigan on Oct. 30 & 31, 1968.
While the Rolling Stones were perhaps the first rock band to merge rock & roll with tales of violent revolution (i.e. their classic "Street Fighting Man"), no one did it as convincingly and as whole-heartedly as Detroit's MC5. Managed by the notorious White Panther Party member John Sinclair, the MC5 rocked with a vengeance that was unparalleled at the time--the band was rewarded years later by being heralded as punk rock originators. Few have been able to top the ferocious intensity of their classic debut, 1969's in-concert KICK OUT THE JAMS.
Although the album fared well on the charts, it was surrounded in controversy from the get-go; the record company wanted the group to edit out a vulgarity included in the introduction to the title track. The friction would lead to the band parting ways from Elektra soon after, but all the hoopla could not take away from the stellar quality of KICK OUT THE ...
| | Lenita Bruno Work Of Love CD (1998) (Import) Japan
Blur
$36.79
| | Brainy Baby: Playful Baby CD (2003)
Blur
$6.39
Illustrator: Robert Neubecker.
| | Cirque Du Soleil Mystere CD (1994)
Blur
$12.85
The world-renowned creative team headed up by composers Rene Dupere and Benoit Jutras and creative director ($Guy Laliberte) liken their first permanent Las Vegas show to a desert flower, and its soundtrack is a gorgeous, colorful, unlikely creation indeed. Like preceding albums Saltimbanco and Alegria, Mystere borrows sounds from various corners of the globe, but often it seems to strike out for musical parts unknown, forging a style and sound all its own. Soaring, sweet, intertwining vocals by Elise Gouin and Nathalie Gauvin lend an ethereal air to the sometimes melancholy, sometimes lilting, sometimes driving melodies. Both women sound classically trained, but they do just enough whispering, chanting, and belting to remind listeners that this is no ordinary opera or musical theater piece. The most enjoyable pieces on this album are the slow, dramatic ones such as "Egypte" and "Ulysse." The faster pieces lose something through the studio recording; the ethnic backing vocals and electric guitars tend to sound a little canned at times. Also, tracks such as "Rondo" and "Kunya Sobe" are intended to back high-energy acrobatic acts, and when you can't see the acrobats, it's hard to have a real appreciation for the music. However, overall this album is yet another triumph for Cirque du Soleil. ~ L. Katz
The world-renowned creative team behind Cirque du Soleil, headed up by composers Rene Dupere and Benoit Jutras, and creative director Guy Laliberté, liken their first permanent Las Vegas show to a desert flower, and its soundtrack is a gorgeous, colorful, unlikely creation indeed. Like preceding albums Saltimbanco and Alegria, Mystere borrows sounds from various corners of the globe, but often it seems to strike out for musical parts unknown, forging a style and sound all its own. Soaring, sweet, intertwining vocals by Elise Gouin and Nathalie Gauvin lend an ethereal air to the sometimes melancholy, sometimes lilting, sometimes driving melodies. Both women sound classically trained, but they do just enough whispering, chanting, and belting to remind listeners that this is no ordinary opera or musical theater piece. The most enjoyable pieces on this album are the slow, dramatic ones such as "Egypte" and "Ulysse." The faster pieces lose something through the studio recording; the ethnic backing vocals and electric guitars tend to sound a little canned at times. Also, tracks such as "Rondo" and "Kunya Sobe" are intended to back high-energy acrobatic acts, and when you can't see the acrobats, it's hard to have a real appreciation for the music. However, overall this album is yet another triumph for Cirque du Soleil. [This ex
Recorded at Studio Victor & Studio Belle Graves, Montreal, Canada; Oakdale Post Audio, Las Vegas, Nevada; Studio Smecky, Prague, Czech Republic.
Adapter: Pierre Dubé.
Personnel: Bruce Rickerd (acoustic guitar, electric guitar); Geneviève Dubé (violin); Marc Solis (flute, piccolo, clarinet, English horn, soprano saxophone, alto saxophone); Brigitte Leclerc (keyboards, programming); Pierre Dubé (drums, taiko, electronic percussion); Maria Achlatkina, Trevor Nassler, Carla Maruca, Carolyne Vita, Alexander Kaschock, Gregory Wise, Vital Jacob, Robert Bollinger, Terry Bartlett, Vadim Bolotsky, Kathie Renaud, Lejka Sievert, Irina Sorokina, Mark Ward (taiko).
Audio ...
| | Chris10 Diamond In The Rough CD (2004)
Blur
$14.79
Chris 10 ~ "The 10 is binary, 1's and 0's for the digital equipment used to record music. The 10 also represents the ten fingers that play the keyboard instruments heard. The 10 is also spiritually connected to the commandments to be obeyed by our creator."Chris 10 is a well polished artist with years of musical training including classical piano & keyboard-synthesizer.Chris 10 has performed as a band member(keyboardist) for top Bay Area talents:opening for such acts as the S.O.S. Band and Roy Ayers respectively. Other live performances include sit-ins with Too Smooth, Xecutive Suite, The Together Band, Mixed Company, Capital Record's Cold Fire and Felton Pilate of ConFunkShun. Throughout the years Chris 10 has collaborated with top Bay Area producers ;Rick Barretta(Flight Studios), Tony(Diamond)Dewayne, Darnell Gill(Dirty Birdy Productions), Jimmy Weaver(Vault Productions), Davis(Grit Records), Earl Thomas(Hymn&Heart Publishing), and Charles Stella(Carl Wheeler Studios), thus developing his own style of composing music and writing lyrics. When away from the studio(Soular Records/UB707 Productions), Chris 10 performs with the Bay Area group, The Urban Bushmen Band(featuring child prodigy Gabriella "Gabi" Wilson). (www.urbanbushmen.com). ...
| | Thessera Fooled Eyes CD (2006)
Blur
$14.29
| | Hoda Sha'Bi Chic CD (2006) (Import) United Kingdom
Blur
$11.99
| | Claudio Memandro Sombra E Agua Fresca Choros CD (2008) (Import)
$27.59 |
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