Blur

Sound Familiar?

“Song 2,” “Girls & Boys,” “Coffee & TV”

Who Are They?

Britpop titans who gave Oasis a run for their money.

This is a band I’ve only mentioned in passing (see my entry on Pulp), but now you loyal readers get to read the full story.

When childhood friends Damon Albarn and Graham Coxon met Alex James in 1988, they knew they had to start a band. The group (joined by drummer Dave Rowntree at a later date) called themselves Seymour, named after J.D. Salinger’s Seymour: An Introduction. Food Records’ big boss David Balfe hated the name, so the band decided to change it to Blur.

While touring the UK in 1990, Blur released the debut single “She’s So High,” which gained them some attention from UK music journalists. Their subsequent single, “There’s No Other Way,” became a smash hit and Blur quickly became pop stars.

Unfortunately, the debut album Leisure, released a year after the handful of singles, received mixed reviews. Blur was then faced with the challenge of proving their worth to the music industry.

Then they realized they were £60,000 (roughly $94,000) in debt. Bummer.

Blur toured the US in 1992 in an attempt to recoup their financial losses. When the boys felt comfortable enough to release a new single (“Popscene”), no one was really interested. As a result, plans to record a second album were pushed back.

During the American tour, Damon and company became increasingly unhappy and upset by the success of rival group Suede. After performing poorly on the same bill as Suede at a 1992 show, Blur was in danger of being dropped by their record label.

By this time in their career, our British heroes had undergone an image shift intended to celebrate their British heritage. The band’s new manifesto was basically: “We’re not American, so we shouldn’t try to sound like an American band.” (Remember that grunge was the big thing at this time, so the best way for a new band to compete with something that powerful was to try a new angle.)

Blur’s metamorphosis into Britpop royalty began with 1993’s Modern Life Is Rubbish and peaked with 1994’s Parklife.

Modern Life Is Rubbish didn’t chart in the US, but Americans went nuts for Parklife. The first single, “Girls & Boys,” peaked at #5 on the UK singles chart and #4 on the US Modern Rock chart. Believe it or not, this is the band’s highest charting single to date, not “Song 2.”

Parklife became the band’s crowning achievement, earning them four awards at the 1995 BRIT Awards. The follow-up, 1995’s The Great Escape, was released around the same time as Oasis’ (What’s the Story) Morning Glory?, and ultimately sparked what would become “The Battle of Britpop.” (No, seriously. This is a real thing. I’m not making it up for comic effect.)

“The Battle of Britpop” referred to the chart battle between Blur and Oasis. Spurred on by the media, both bands were engaged in what NME called the “British Heavyweight Championship” (I wish I were making this up) when Blur’s “Country House” and Oasis’ “Roll With It” were released on the same day.

Blur won the battle (“Country House” sold more copies than “Roll With It”), but lost the war. Morning Glory sold way more copies than The Great Escape and Oasis ended up becoming infinitely more successful (at least commercially) than Blur.

Tensions mounted after the ordeal with Oasis and the band became bitter about the whole Britpop scene. Graham Coxon grew increasingly more annoyed with Damon’s control over Blur’s musical direction and made it a point to listen to noisy American alternative rock bands.

(I can imagine that playing out like this):

Damon: “So guys, we’re British and –"

Graham: “FUCK YOU ALBARN. WE’RE LISTENING TO PAVEMENT.”

The result was the deliciously lo-fi Blur, released in 1997. UK fans didn’t really get it, but Americans bought the hell out of it. “Song 2,” the album’s lead single, became a ‘90s modern rock classic and was used on every soundtrack, advertisement, and television show known to man.

Where Are They Now?

Reunited with a new album in the works.

After the release of 1999’s 13 and nine-month world tour, Blur went on hiatus. Graham recorded a handful of solo albums, Alex wrote some songs with Marianne Faithfull, and Damon created the Gorillaz.

After some time apart (and the departure of Graham), Blur released Think Tank in 2003. The album largely relied on instruments other than the guitar since Graham was apparently the only guy who could play guitar well.

Think Tank faired pretty well, but fans were antsy to find out when Graham would come back, as Blur felt incomplete without him.

In 2008, Graham reunited with his bandmates for two shows at Hyde Park. After a summer festival tour in 2009, the world began to wonder when new Blur material would surface.

But Why Blur?

You know that new Blur material you’ve been waiting for? Well, it’s coming soon. And your favorite British boys will also headline a gig at Hyde Park (along with New Order and The Specials) to celebrate the closing of the 2012 Summer Olympics on August 12, 2012.

Here's their newest song, "Under the Westway." (Do your best to ignore the screaming girls.)

What Does Sam Think?

I believe I’ve made my opinion on Britpop pretty clear (again, see the Pulp entry). It’s cool and everything, but it’s not my favorite music movement of the ‘90s. Britpop is a little too formulaic (though you could argue this with grunge and pop-punk as well), and it sometimes feels like people only like it because it’s “foreign.” I will admit that ‘90s Britpop was slightly more interesting than the Britpop resurgence of the 2000s, though (looking at you, Coldplay).

But let’s talk about Blur, shall we? Yes, their first three albums are great examples of pure Britpop goodness, but I’m gonna be that guy and profess my love for the self-titled album (yes, the one with “Song 2”). It’s a little rougher, but it doesn’t stray too far from the sound on Parklife. I love that Blur took a chance and tried to separate themselves from Oasis. The result was a refreshing lo-fi/Britpop hybrid album that made these guys into something more than pop icons.

Though Damon Albarn is the creative forced behind Blur (and his work with the Gorillaz is pretty fantastic as well), the shift in sound can easily be credited to Graham Coxon. If it wasn’t for his interest in American alternative bands like Pavement, Blur would forever be known as “those little Oasis wannabes.”

I think these guys are still capable of great things and I can’t wait to see where they’ll end up next.

Oh, and if you think “Song 2” is overrated, you’re lying to yourself. (WOO-HOO!)

-- Sam Boyer, reported from the ‘90s

Pulp

Sound Familiar?

“Common People,” “Disco 2000,” “This Is Hardcore”

Who Are They?

The Britpop band that rode the waves made by Blur and Oasis, but was--in fact--the most original.

When you think of the Britpop explosion of the mid-‘90s, what are the first bands that come to mind? Oasis? Blur? Maybe even Suede?

Among all these one-name bands from across the pond, there was Pulp, making music way before the Gallagher brothers exchanged their first “fuck yous.” Formed in 1978, Pulp’s musical style mirrored the Sheffield sound (electronic New Wave, like The Human League). Their first album, It, was released in 1983 and largely consisted of romantic pop songs influenced by Leonard Cohen.

The album was a commercial failure, leading founder and vocalist Jarvis Cocker to throw a hissy fit and threaten to break up the band. After a handful of lineup changes, Pulp was signed to Fire Records in 1985. (Fun fact: Soon after signing to the label, Jarvis fell out of a window while trying to impress a girl with his Spider-Man impersonation. He had to use a wheelchair for a while, which he proudly performed in onstage.)

The next release (1987’s Freaks) failed to meet Jarvis’ standards, but bassist Steve Mackey, who joined the band in 1989, introduced Jarvis to the magical world of house music, pulling Pulp into a more dance-oriented direction.

The band left Fire Records and signed to Island Records, which proved to be a good move. Once His ‘n’ Hers dropped in 1994, Jarvis finally began experiencing the success he has so desperately craved since Day 1. Pulp ultimately had their first Top 40 hit with “Do You Remember the First Time?,” an ode to popping the cherry. (Fun fact: A short film was produced to promote the track. It consisted of a series of interviews with fans and celebrities describing their “first times.”)

Pulp’s success was due in part to the massive media interest in Britpop and the moderately huge single “Common People” from 1995’s magnum opus, Different Class. The album was pretty dark compared to (What’s the Story) Morning Glory? or even Parklife. Jarvis’ lyrics were highly sexualized, and the single “Sorted for E’s and Wizz” became a lightning rod for “pro-drugs” accusations.

Despite all the controversy (or maybe because of it), Different Class garnered immense critical praise and catapulted Pulp into their own little spotlight (I can’t say the spotlight because they were kind of overshadowed by all the other Britpop bands). (And another fun fact: At the 1996 BRIT Awards, Jarvis invaded the stage during Michael Jackson’s performance of “Earth Song” and “wiggled his backside” at the audience. Michael was pissed and Jarvis ended up spending the night in Kensington Police Station charged with actual bodily harm and assaulting the child performers. The charges were later dropped.)

After the circus that was the Different Class era, the band began to disintegrate. Jarvis developed a cocaine addiction and key member Russell Senior ditched the group. This Is Hardcore, released in 1998, mirrored the band’s real-life struggles, touching on even darker subject matter than its predecessor. (You don’t have a dirty mind for thinking the title track is a reference to porn. It really is.)

Where Are They Now?

Reemerging from a hiatus for a new tour!

Pulp released one last album (2001’s We Love Life) before calling it quits. To no one’s surprise, Jarvis became the most successful member after the breakup. He’s released a couple solo albums and the BBC is basically in love with him.

Jarvis also ventured into acting, lending his voice to Wes Anderson’s Fantastic Mr. Fox (as Petey) and playing the lead singer of The Weird Sisters in Harry Potter and the Goblet of Fire. How can you not love this man?

Bassist Steve Mackey has also been busy. He’s produced tracks for M.I.A. and Florence + The Machine.

Pulp reunited in 2010, playing various festivals in the UK and touring Europe and Australia in 2011. They co-headlined the Reading Festival and the Leeds Festival with The Strokes in August 2011.

But Why Pulp?

Though they’ve been back together and touring the UK for a couple years now, Pulp is making an appearance at this year’s Coachella Festival, the first show in the US in a decade.

What Does Sam Think?

Out of all the musical movements of the ‘90s, Britpop has always seemed the stalest to me. I like Blur, but I have a love-hate relationship with Oasis. (My love for Radiohead is irrelevant because they really had nothing to do with Britpop).

But Pulp kind of changed my mind. They played disco-influenced pop rock songs with ridiculously sexualized subject matter. My confession: I love disco. And sexy songs. I love sexy disco songs. No shame.

Pulp can definitely hold its own with a sound like that. Different Class is such a fun record, even if it does take a dark turn. Listening to “Common People” just brings a smile to my face. It’s like the disco version of “Wonderwall.” It makes you want to grab that boy/girl of your dreams and dance the night away (and maybe grind a little when no one is watching).

Their darker material (anything from This Is Hardcore) isn’t exactly party music, but it’s got a lot of soul. Jarvis’ demons drive the record, but Pulp’s signature sound isn’t lost at all. The darkness actually makes things more interesting. And writing a song about the porn industry also helps.

If you’ve never listened to Pulp before, you’re definitely missing out. Even if the mere mention of disco makes you cringe, give this band a chance. You may find yourself breaking out the platforms and spandex and having your own little “disco inferno.”

-- Sam Boyer, reporting from the ‘90s.