Tag: Albarn

Blur: The Magic Whip Reviewed

Blur The Magic Whip Review

Blur The Magic Whip Review

As the UK goes to the vote, Blur’s The Magic Whip sits atop the album chart just as it should. Repeated listens reveal that Graham Coxon may just be right in calling it the group’s finest album.

THERE’S LITTLE JOKERSIDE ENJOYS MORE THAN A COMPARISSON, BUT THIS ONE IS POETICALLY GIFTWRAPPED FOR TWO OF THE GREATEST BRITISH FOUR-PIECE BANDS IN BRITISH HISTORY. You can probably guess both by now. In the winter of 1969 the Beatles, already strained from their recent White Album sessions, were quickly encouraged into a new recording marathon by Paul McCartney. The idea behind what was intended to produce the Get Back sessions, was live jamming, returning to the band’s live and productive roots, free from the artifice of their last few album. Oh, and under the constant surveillance of documentary cameras. It seems inevitable now that, despite the new talent that came in behind the organ and recording desk to bolster the Fab Four and loyal producer George Martin, those sessions resulted in the band’s darkest days. Members lost then retrieved, the album shelved. And it still wasn’t over. We’re fortunate that all Beatles soon regrouped to record the disparate but altogether more friendly Abbey Road Sessions. But their split was all the more painful when John Lennon stole off to producer Phil Spector with the tapes that would be reassembled for the Let It Be album, eventually emerging a month after the pre-eminent force in pop music ended in 1970.

Jump forward four decades and history repeated. But this time it wasn’t the rhythm guitarist but the lead guitarist of a British four-piece who snuck off to a producer with the band’s jamming sessions. This time it was a member who had seemingly, impossibly, emerged from a prolonged departure from his band, not one heading into definite hiatus. And he even had the blessings of his band-mates. And this time, those tapes (if only they still were) weren’t gifted to a left-field originator of anything like the wall of sound; they found their way back to Stephen Street, the producer as indelibly linked to Blur as George Martin was to the Beatles.

So, it’s a safe bet Damon Albarn won’t be releasing The Magic Whip Naked in three decades time – although that certainly may play well in some markets.

What’ve You Got?

The Magic Whip is an album that rewards over time. It’s a difficult, awkward child in many ways – and one that could be forgiven for feeling unwanted. The reports following Blur’s ad hoc recording session in Hong Kong in May 2013 weren’t optimistic, with fans consoling themselves that at least the band had stepped into a studio for longer than one song. But that time, it turned out, was just too short. Albarn lamented that lyrics hadn’t been laid down at the time and so those jamming sessions – the band’s primary style of recording since 1997’s Blur – seemed destined to drift away. Until Stephen Street and Coxon did their magic. Some London additions from the four-piece later, some lyrics topped up by Albarn taking another stop-over in Hong Kong later… And earlier this year the band, and particularly Albarn, found themselves rather surprisingly announcing a new LP. And the result, although it shouldn’t be surprising, is that The Magic Whip is a unifying triumph that rubs in how difficult that star shaped hole has been to fill in the 16 years since the four-piece last recorded an album together. Continue reading “Blur: The Magic Whip Reviewed”

Blur: 12 of the best post-Britpop

Blur Post-Britpop - Coffee and TV

Blur Post-Britpop - Coffee and TV

A year ago Jokerside celebrated the 20th anniversary of Parklife with a terrible commemorative re-writing of THAT song. Now, nearly 20 years after Blur made their Britpop swansong, 12 years after their last album, they return with their fourth ‘-post’ effort. So, now they’re undeniably less of a Britpop band then they were, what have they really done in the intervening two decades?

IT’S ALMOST 20 YEARS SINCE THEIR LAST BRITPOP RELEASE, ABOUT 16 SINCE THEIR LAST ALBUM AS A FOURPIECE, BUT BLUR HAVE STILL MANAGED TO PACK A BIT IN. THREE SEMINAL ALBUMS IN FACT. The game changing eponymous album released less than two years after The Great Escape, the mystical and Gorillaz unleashing 13 and then, with a four year gap and one of the four departed, the soft oddity Think Tank. Post-Britpop Blur may not have been quite as consistent as during the first four albums, but with the eighth out today it’s clear that the turbulence saw them produce some of their greatest tracks.

If there’s an adage that’s come out of The Magic Whip coverage it’s that the older the Blur album, the more you can write about it. Or perhaps, the more you need to write about it. That’s partly down to the fact that every paragraph has to begin with variations of “Jettisoning” ‘Abandoning” and “Dispensing” alongside “Britpop persona”. But now, 15 years into the 21st century, Blur have definitely tipped the balance. And fundamentally Think Tank is far more interesting than Parklife. Blur’s canvas has massively enhanced with each difficult and different album. And it’s not as simple as third person stereotypes making way for first person observation or losing their guitarist. Much of the time Blur’s music remains remarkably consistent, just interpreted and broadened by high production at different times and different places, and crucially by increasingly more accomplished and motivated musicians (People. Of. The. World). As a result Lonesome Road, the third single from The Magic Whip, can merrily sit side to side with 1993’s For Tomorrow as not only an unmistakable Blur song but a fine companion piece.

But before the new album, here’s a look at 12 Blur tracks that came after they “Removed themselves from Britpop”. Not the 12 best, but 12 of the best from the last 19 years that tell a story of one of Britain’s finest bands. Continue reading “Blur: 12 of the best post-Britpop”

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