I do not know Blur at all and there are clearly way too many versions of this album to try and figure it out. It appears on a list of the 50 Greatest bootlegs of all time by Uncut Magazine 2019. Completists will also enjoy the second CD’s remixes and radio versions, while the final CD features triumphant live shows at Glasto and Leeds Town And Country Club. There’s also an early version of “One Born Every Minute”, which later appeared as the b-side to “Country House”. The only other song that’s markedly different is “Trouble In The Message Centre”, with much changed atmosphere and lyrics to the released version. ![]() Parklife is the most interesting, however, as the third CD contains 10 unreleased demos from the 1993 sessions, including an early take of “To The End” with Elastica’s Justine Frischmann –Damon Albarn’s then-partner – whispering in French on backing vocals. It’s part of a series, collating all existing and leaked material of all seven Blur studio albums. This extraordinary four-disc set rounds up everything Blur produced around the time of Parklife, including the original album, remixes, radio sessions, demos and live performances. Recorded 1993/4, London, Leeds and Glastonbury 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.I have been looking for this version of Parklife for a few years. The disco rhythms and keyboards in "Girls & Boys" highlight Albarn's cutesy look at romance in the 1990s. 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. Layering the aesthetic of the 1980s film BRAZIL with the Kinks' DAVID WATTS, Blur is quite possibly the new British hope. Albarn's fascination with urban decay was apparent on MODERN LIFE IS RUBBISH, but with the followup PARKLIFE, Blur embraces the modern.ĭuring the instrumentals, PARKLIFE plays like a surreal game show. 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. Wedged in between retro and revisionist sits Blur. And if you listened to the British rock press, you'd think that they invented them. Recorded at Maison Rouge & Rak Studios, London, England from November 1993-January 1994.Īfter many decades of rock, there's an equation that still holds true-there are only twelve major chords to choose from. ![]() Producers: Stephen Street, Stephen Hague, John Smith, Blur. Blur: Damon Albarn (vocals, recorder, Hammond organ, harpsichord, melodica, keyboards, Moog synthesizer, vibraphone, programming) Alex James (vocals, bass) Graham Coxon (acoustic & electric guitars, clarinet, saxophone, percussion, background vocals) Stephen Street (keyboards, programming) David Rowntree (drums, percussion, programming).Īdditional personnel: Phil Daniels, Laetitia Sadier (vocals) Louisa Fuller, Rick Koster, Mark Pharoah (violin) John Metcalfe (viola) Ivan McCready (cello) Chris Tombling, Audrey Riley, Leo Payne, Chris Pitsillides (strings) Simon Clarke (flute, alto & baritone saxophones) Stephen Hague (accordion) Tim Sanders (soprano & tenor saxophones, trombone) Roddy Lorimer (flugelhorn, trombone) Richard Edwards, Neil Sidwell (trombone).
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