When I started writing this series of Listens To! posts, my idea was to: A: Listen to the tonnes of albums I have acquired over the years that I hadn’t bothered to actually listen to yet and give my thoughts as I listened for the first time. B: Catch up on those artists that I was aware of/liked certain songs by, but whose albums I had never listened to in their entirety. C: Potentially get some new favourites based off what I heard or by recommendations from my billions of readers. D: Because there are a tonne of albums which always appear on best of lists which I have never heard. As a musician, music fan, and human with working ears, I feel that I should give these a go. To get some focus, I decided to go to 2000 Edition of ‘Colin Larkin’s All Time Top 1000 Albums’ because it looks fairly comprehensive (and there are a few extra sections listing top 100 albums by genre which cover selections left out of the main 1000 which I will also try to cover).
Greetings, glancers. Today we return to Colin Larkin’s Top 1000 albums and our first Blur entry. I’m hopeful that I’ll enjoy this one as by and large I’ve liked what I’ve heard over the years from Blur and they are a pretty large missing piece from my musical knowledge, outside of their biggest songs. I just hope the accents don’t annoy me.
What I Know About Blur (Band): Britpop darlings, massively successful, one half of the infamous Oasis versus Blur Civil War in the 90s, built around Coxon, James, Albarn, and probably another one. I know most of their singles pretty well, but I’ve never owned or heard any of their albums in full. I was always on the Oasis side of the argument. Something about Blur in the early days seemed too cheery, too happy and silly, and Damon’s face and singing style/voice annoyed me. Later songs I enjoyed more and the band grew on me, but still I never actually went back to listen to any albums.
What I Know About Blur (Album): Nothing, I wasn’t even aware they had a self-titled album. I would have assumed this was their debut, until I saw that it wasn’t. Looking down the track list I recognise, and like, two of the songs, but aside from that I don’t know anything else about the album.
Beetlebum: Has a short scratchy intro before the famous distorted riff comes in. The vocals and melodies have a Beatles feel, a drowsy post-grunge appeal with an exuberant melancholy pop chorus. I’ve always liked this one.
Song 2: This one everyone knows. I remember mocking and appreciating the Smells Like Teen Spirit stylings of the song when it was first released, and the song has continued to hold worldwide popularity, always popping up some movie or TV show. Good start to the album, but that’s the two songs I recognise out of the way.
Country Sad Ballad Man: Another scratchy opening. Twangs and drums. Eventual tune. Distant vocals. Weirdo vocals. More droopy, sleepy vibes. Interesting enough. Solo with unrelated string bending. Alien noises. Explosion. Wasp trapped in an eye socket. Flipping a pancake into a toilet.
MOR: Nice guitars. Building. Bowie vocals. Chorus. It’s certainly loud and bouncy. The vocals and singing accent don’t do it for me. Chorus is okay, I’d say after a few listens of this this would either completely piss me off or finally click with me, not sure which but I’m veering towards being pissed off.
On Your Own: Spaceman intro. WipEout. Robots eating and crapping guitars. More Bowie vocals. ‘Ooooh-ooooh’ harmonies. It’s all a bit too drunken and chanty for my liking, one to sway about to with ‘the lads’ as you fall out of ‘the’ pub. ”.
Theme From Retro: Throb in. Drums. Circus funeral. Ghosts bobbing for apples. This is just one big Bowie wank fest, innit?
You’re So Great: Better start. Basic stuff at a pleasing tempo. Vocals not quite right of course. Nice bonus guitar. Rinse and repeat.
Death Of A Party: More distortion and organ mishaps. Okay verses, more drowsiness. Chorus is better but misses a trick by not going on for another few moments, another line and another progression from ‘gently on the shelf’. It goes on for another verse, then goes on a bit more, then stops.
Chinese Bombs: Faster guitars. Drum disaster. Clearly a joke song, but it’s better than most of their serious ones on this album.
I’m Just A Killer For Your Love: Funk. Drum mess. Scratchy guitars, why not. More drowsy verses and chorus. Getting sleepy. More noises for the second half of the song. Sounds like a bunch of knobs let loose in a studio for a few hours with no idea what they’re doing.
Look Inside America: Another acoustic start. Big vocals. Strings bonus. Rest of band appears. Bowie chorus. Can’t shake off those drowsy tones and melodies. There are a few good moments here, but outweighed by the guff. Surprise harp and guitar ending. Because we haven’t had a song with a harp on it yet.
Strange news From Another Star: Continuing the loose tonal theme. Change to acoustic, much better. Good verses, lets hope it doesn’t get thrown away. Much better chorus, still drowsy, still Bowie, but keeps the best moments of both. Easily the best song since the 2nd track. Even gets the ending right.
Movin On: Good intro. Jaunty riffs. Fun enough, doesn’t go anywhere but not too offensive. Comedy ending.
Essex Dogs: Apparently this includes ‘Interlude’. That should be good. Throbbing. Tin cans. Like an old Spectrum racing game. Words. Is it about Essex? I’ve no idea, but I know I never want to go there. Guitars and lasers. More words. Distant singing and bass. Robot orgy. Bits and pieces. It’s fine, works well as an experimental piece. Here come Interlude. It’s okay too, repeating the same weirdo sounds.
Colin Larkin’s Ranking: 271/1000
What I Learned: That the first Blur album I listened to contained far fewer pop and commercial songs than I was expecting. That singing in your speaking accent will always annoy me, especially when it’s wanky posh English. That Blur tried to experiment and, well, failed.
Does It Deserve A Place In The Top 1000 Albums Of All Time: Not in my opinion, no. I understand now, after reading some of the album’s wiki page that this was a departure for the band in almost all departments. It seems like a strained attempt at a magnum opus, of being something they were not, or at least had not been. They tried, but it doesn’t work for me. There are maybe three or four songs here I’d gladly hear again, with another one or two being passable, but the rest is pretension by a group who don’t appear to have the skills to be pretentious.
Is this your favourite album? Do you think it deserves a place in the Top 1000 Albums of all time? Let us know in the comments!