Madchester

Week 29: Blur- the Ballad of Darren

~ honestopinions19 ~ Leave a comment

I have decided to do a track-by-track review because it is the legends that are Blur. However, before I get to the review, I will introduce the band, as this is my debut review of them. They were formed in 1988 and initially named Circus before changing to Seymour. Damon Albarn was the sole member until bassist Alex James joined. Drummer Dave Rowntree followed in October before Damon recruited his childhood friend, who met when he moved to Colchester lead guitarist Graham Coxon. They then signed with Food Records in 1989. The label drew a host of names for the band as they were not keen on Seymour. They would decide on the name Blur.

They went on a UK tour in 1990 and released their debut single ‘She’s so High’, which reached 48th in the chart. For their following single, they worked with producer Stephen Street known for working with the Smiths and Morrissey, who the band were fans of. Stephen would produce the Stone Roses-esque ‘There’s No Other Way’, an instant hit with music fans and would peak at no.8 This would propel their status in the industry, but their third single ‘Bang’ was a total disaster peaking at no.24. Their label encouraged the band to keep the sound in line with the music coming out of Manchester at the time, dubbed Madchester. Their debut album, “Leisure”, came out in 1991 and charted at no.7.

Despite their mild success, they found themselves 60,000 pounds in debt and did a US tour in 1992 to clear their debt. They released their 4th single, ‘Popscene’, to promote the tour. It may only have charted at no.32, but the single would cement the Blur wall of sound we can still hear. The US tour was a bomb scare, with the members fighting and arguing.

When they returned, they worked on their second album, “Modern Life is Rubbish”, released in December, but then rejected by the label and wasn’t ready for release until May 1993. ‘For Tomorrow’ was 28th, and the record charted lower(15th)than their debut.

Their third album, “Parklife”, released the following year, got Blur the recognition they finally deserved. It helped that Oasis was being talked about and revived the Indie scene. For Blur, ‘Girls & Boys’ went in at no.5, their highest entry, but even better was “Parklife’, which became their maiden no.1 album. The band would win four awards at the 1995 Britannia Music Brit Awards.

The band would release “the Great Escape” the following year, which also went in at no.1, and they also went head-to-head with Oasis summer when they pitted their ‘Country House’ against the Mancunian’s ‘Roll with it’. Blur would beat Oasis to the no.1 single spot, and in the process, the media made up a bullshit ‘war” between the two bands, which saw fucking brainwashed idiots taking sides instead of appreciating both bands’ music.

Blur released their self-titled the following year, departing from the “Britpop” sound. Especially with the heavy rock song ‘Song 2’. Their first single, ‘Beetlebum’, a song that Noel Gallagher recently confessed that he thought was their best song and wished he had written. 

Blur gave themselves a bit of a break and released “13” in 1999, which spawned the hits ‘Tender’, and ‘Coffee & TV’. “13” was yet another no.1 record. The next album would be in 2003 without their lead guitarist Graham Coxon and would be replaced by the Verve’s Simon Tong (Yes, his brother was the drummer for Bloc Party). “Think Tank” would also at chart no.1. There were several rumours in 2004-07 of the band working on extended plays, but these never happened, and without knowing it, the band disbanded. 

They would reform in 2009 for a Hyde Park show, but it was Glastonbury, which would prove successful, and the fans hoped the band would stay together. They also headlined Oxegen and Tennents in the Park the same year. The band released their second greatest hits album after the successful reunion shows.

There would be several accolades and documentaries released before 2015 when the band announced they were back with their original lineup and released “the Magic Whip”, recorded in Hong Kong during a five-day visit in 2013. The band would hibernate after touring “the Magic Whip” until 2019 doing a special gig in London.

This brings us up to the present, where the band played EE Stadium, Wembley last month, and then played “the Ballad of Darren” in its entirety at AventimApollo last month. This will be the only time the new album will be played in its entirety live. The event was broadcasted online via a paywall, and of course, those who got tickets to witness it at the venue. Now, let’s get on with the review. I have given a long enough introduction to the band. I will also add that the album is named after their late security guard Darren “Smog” Evans:

the Ballad:

The opener begins with a drum machine that sounds tinny over minor keys and reflective vocals. This appears to be a hallmark of Damon’s solo material, but luckily for him and the listener, his bandmates from Blur are there to give the track more life akin to Blur. Graham Coxon especially rescues the song with his unique guitar playing and his backing vocals, then Alex James with his signature basslines. It is like Blur hasn’t had to shake off the rust of being absent from the studio for a decade.

St Charles Square:

For me, this track was the quintessential sound of Blur from the 90s and reminded me of tracks such as ‘Girls & Boys’ and ‘Charmless Man’. Again, Graham takes centre stage with his overdrive guitar tones.

Barbaric:

This is Damon putting the Gorillaz sound onto Blur. The subject, though, is not of the kind associated with the Gorillaz, as it is about a relationship falling apart and one of the lovers being hopeful yet bitter about it. However, they adopt something that Damon’s now friend Noel Gallagher is exceptionally good at blending melancholia lyrics over upbeat instrumentation. Staying with the Manchester thing, this track has an instrumentation that Morrissey and Johnny Marr excelled at within and outwit the Smiths. Graham Coxon’s intricate guitar playing gives the melancholia of Damon Albarn hope.

Russian Strings:

A more delicate side to the band, which sounds like ‘the End’ with overlaying guitars slow fading on the outro. 

the Everglades:

So far, ‘St Charles Square’ is the only track that has resembled Blur’s 90s sound, and this track doesn’t give us a glimpse of it happening anytime soon. In fact, with the plodding acoustic guitar, this is more Simon and Garfunkel, complete with strings.

the Narcissist:

This was the track that everyone heard before the album was announced, and it was safe to say that it was an instant hit with their fans, but also music fans in general. Again, another track with melancholia but enveloped in 80s pop and 90s American Indie, so an example would be the kind of music associated with Pavement. There is also that tinny drum machine featured at the beginning of the record with Dave’s stomping drums to save the percussion element. Who wants to listen to a cheap drum machine without an actual drummer? This song is already featured in the band’s encores of their “the Ballad of Darren” tour, which shows that this track is already on its way to becoming a Blur classic.

Goodbye Albert:

Graham’s axemanship shines through as he blends aggressive with tender playing through the use of the pedal effects, so there is a lot of distortion. Alex hasn’t gone for his rapid playing on this, but rather a sense of delicacy with the bass. The lyrics delivered by Damon are him departing from his youth and entering into a more mature yet darker side of getting older. Also, as he confessed to Zane Lowe recently, he finds it difficult to sing the early Blur songs because his vocals were more youthful then, and now his vocals are a lot more bassy as he has got older. This song may be about Damon letting go of his youthful vocals and adopting the bass vocals he has acquired with age.

Far Away Island:

Damon has done many far-out projects outwith of Blur, and this one is a Brian Eno-esque experimental track. A psychedelic track over strings, with Damon adopting the vocals of a junior school kid. Will it go down well with the fans? Why not? Brian Eno makes far-out songs, but it works. You have to look at U2’s “the Joshua Tree” as a good example.

Avalon:

As we approach the end of the record, you can sense a more upbeat vibe as ‘Avalon’ opens with horns. The track itself hints towards uplifting moments, which is briefly interrupted by the sound of fighter jets ready to engage in aerial combat. The lyrics reflect the fighter jets in aerial combat, but there is a particular sinister lyric where Damon says, ‘Then I overdo my dose, and I don’t even know I’m here anymore’, which could also mean that the fighter jets are a metaphor for one taking an overdose to end their life. However, after that verse, Damon utters the line, ‘but the glass is still half-full. As mentioned earlier, the track, on the whole, is uplifting and full of optimism, then countered with the fighter jets sample. This could well be Damon feeling in turmoil about the future. I am unsure why he would feel this, as he is among the great songwriters.

the Heights:

A nod to the late David Bowie with an acoustic guitar at the intro that sounds like David’s tenure as Ziggy Stardust and the classic ‘Space Oddity’. Damon’s vocals follow. Then, of course, the rhythm section consisting of Alex and Dave brings the uplifting element. Graham had a backseat over this Sgt Pepper’s-esque track, or their counterparts Oasis who had the Beatles-esque ‘All Around the World’. Unfortunately, although they tried to element that exquisite sound of the Beatles, or Oasis, it didn’t work. The track has far too much going on, so it sounds like a mess. The band should have finished on ‘Avalon’. Yes, it had brief melancholic moments, but the rest was bombastic and uplifting.

Overall:

I will add an overall summary because you might look at the track-by-track review and think, “Fuck that. It sounds shit”. However, that is not the case at all. Yes, it is an experimental laced with Ziggy Stardust, Brian Eno, and Pink Floyd, but that adds to the mystery of Blur. They shouldn’t be known as an Indie outfit, but that is willing to evolve, and that’s the case here. I sincerely hope the band do not call it a day after the current tour because they are working as a unit in the studio and onstage. Damon and Graham have had strong chemistry since the band reformed in 2009, and the music is better for it.

Song recommendations: ‘St Charles Square’, ‘Avalon’, ‘Far Away Island’

9/10

Week Forty-Eight: Noel Gallagher’s High Flying Birds- Who Built the Moon?

~ honestopinions19 ~ 2 Comments

1

Here is the track-by-track review of the third album:

Fort Knox:

 Noel has gone on record saying that this track was written for Kanye West, but he thought it was so good that he felt he deserved it more than Kanye. Anyway, the track has repeated lyrics and guitar chords, albeit when he starts repeating, “You’ve Gotta Get Yourself Together”. This track would be good as an introduction to the forthcoming concerts or great as an alarm clock (Although I doubt you would wake up to such smooth music.) I like the album after just one track and am pleased that David Holmes has sent Noel far out compared to the trademark Oasis-style wall of sound. Will Oasis fans who are narrow-minded like this? Probably not, but they’re fucking idiots, anyway. More on that in the overall review.

Holy Mountain: 

So, just like what was featured on “Riverman” from the sophomore record, “Chasing Yesterday” from 2015 (Yes, I said, “Sophomore”,. So fucking what? I’m writing this, not you.) We hear a horn section featuring. This is also the lead single used to promote the record. It’s a bit of bubble gum pop but is exceptionally catchy. You will get the chorus stuck into your head.

Keep on Reaching: 

David took Noel out of his comfort zone with this track with some soulful vocals followed by an instrumental section that could only be described as funk inspired. The beginning also features some excellent keyboards and a ballsy kick drum.

It’s a Beautiful World:

 It’s incredible what effects you can use in the studio. Because of the way sound effects are used to make his voice sound muffled, complete with reverb (Is that the word I’m looking for?), I am still waiting to hear this on the live version, in the warm-up concerts or on Later…with Jools Holland last month. Nonetheless, it still worked live. This track could be described as both cosmic pop and psychedelic. You have a breakdown section before the solo where the touring member, Charlotte, speaks in French (Noel had said that it was too late to change the spoken word when Charlotte informed him that she mentions the end of the world. Noel did not like that and would have preferred “It is not the end of the world” to tie in with the feel-good vibes of the record. Also, more on that later.) It is also worth noting she plays the scissors on this track (Yes, that’s correct. The scissors. Fucking mental!).

She Taught Me How to Fly: 

This track is a weird one for me. Although it isn’t my favourite, it certainly is one of my favourites. I love the lyrical content, and I fucking love playing it on the guitar. This ode to his wife, Sara, has a sound that is very close to New Order. Some may disagree, but this track could easily have been made for New Order. It has a bass style similar to that of New Order’s former bassist, Peter Hook. Noel has headed back to the Madchester days with this.

Be Careful What You Wish for: 

This track was written as a message to his three children on what to heed and learn from life as they grow older and more aware of the world. Again, this track is far out for Noel, and it is a continuous melody throughout, albeit with a slight change in the chorus. This is probably the most anti-anthem song he has done since “(Get Off Your)High Horse Lady” with Oasis on their final album from 2008, “Dig Out Yer Soul”. I have heard this song live, which is indeed a song that cools down the audience. I think he will only play this live for the children. The message conveyed is the preaching you would hear in Speakers’ Corner. If I recall correctly, he said this song was born after he walked through Speakers’ Corner in the summer of 2017.

Black & White Sunshine: 

This is my favourite off the record, but that changes every day. Albeit, this track remains at the forefront of my heart and mind. I love the message conveyed and the upbeat feel of the track. The vocals delivered with a punch the air passion. This is Noel’s “Fuck you” track for all those who want to bring evil to the world. Is this as close to the Oasis wall of sound on the album so far? Not for me. It is still a track that Noel would only sometimes do, although in some reviews I have read, they believe that to be the case. No matter what you might think, this track leaves me feeling optimistic and cheerful.

Interlude (Wednesday Part 1): 

Why, oh why, do artists/bands have these? Oasis was very guilty of having interludes, but they are nothing more but throwaway tracks chucked onto a record because, who the fuck knows? Utterly pointless. Just throw on a track that didn’t quite make the cut. At least, it will be a completed song. Noel has said that the interludes featured on the record are, indeed, songs that are uncompleted, that he may revisit at a later date. The song features acoustic guitar, drums and bass before being accompanied by synthesisers. Nothing much else to say.

If Love is the Law: 

The first track to feature another artist on the record in the shape of Noel’s good friend, Johnny Marr, who plays guitar and harmonica. This track has a Smiths sample (I think Johnny is playing “Hand in Glove” on the harmonica, I’m not entirely sure, but it’s definitely from a Smiths track.), so how appropriate Johnny features?

It is worth noting that Noel’s estranged younger brother, Liam co-wrote a song with a similar title with Chris Helme of the Seashorses (It went on to be a hit in 1997 and is one of the songs synonymous with the band.).

the Man Who Built the Moon: 

Wow. This is the title track, albeit the name is slightly changed. I love this track; it is majestic and features haunting keyboards, complete with lyrics that appear to be less of a song and more of Noel narrating a fable. This is very much a departure from Oasis, as I think the song could be used for a Science-Fiction film like Star Trek or some insane film about space by Steven Spielberg. The chorus is littered with horns, which adds to that whole feel about it.

End Credits (Wednesday Part 2): 

Ah, dear. Here we go again. Although it is an improvement from the first part, interludes do not belong on an album. The keyboards are very angelic, though. This is the end of the standard album, but I am reviewing the Deluxe edition, complete with the Japanese bonus track.

Dead in the Water: 

Well, those who yearn for Oasis will love this. This track was recorded off the cuff on air at Rté 2FM Studios in 2015 during an interview and short performance during the “Chasing Yesterday” tour. Is it wholly improvised, as Noel says at the end of the track as the presenter asks him? Well, I don’t believe him. It was far too polished to have been made up there and then, especially when you hear the keyboard solo by Mike Rowe. There’s no way Mike could have done that without getting a feel for the track. This song talks about Noel looking to hold onto a love that seems hard to recover. The standout line, apart from the whole chorus, is where he talks about having no money while looking at a photograph. Now, who can this be about? Because he had plenty of money when he met Sara. Is this Noel reaching out to someone in the past? Was it written for Louise in his Oasis days, and has it been given new life? Whoever it is about, it is very powerful lyrically and reminds me of the sort of song by the Smiths that would have inspired him to write this. This is classic Noel, though. Singing with a tint of melancholy in his voice and laying his soul bare.

God Help us All: 

This track features as the Japanese bonus track and was first discovered in 2007 from a studio session for, I don’t even know. It might have been “Dig Out Yer Soul”. This track was also played in a soundcheck during the ill-fated 2008/09 Tour for “Dig Out Yer Soul” during Noel’s last few years in Oasis. This song has kept much of those two versions, as you get the impression it was recorded in an empty theatre and sounded like a demo. There are rumours it was re-recorded during the “Noel Gallagher’s High Flying Birds” studio sessions in 2010 and 2011 but wasn’t pursued to feature on the final track listing for the 2011 debut album. I forgot to mention that it also re-emerged on the “High Flying Birds” Tour of 2011/12 with a new verse featured on this recording. Anyway, he plays acoustic guitar while singing about what appears to be Armageddon.

Overall: 

It is no secret that it was, indeed, Noel who inspired me to write and pick up a guitar and several other instruments back in the mid-1990s. I also make no secret while everyone else preferred Liam at school, I aspired to be Noel and have been a fan of his from my very first listen to Oasis. Once again, Noel has proved why he is a tremendous songwriter. Even taking him out of his comfort zone while working mainly in David Holmes’ home studio, Noel has made it work. David got Noel listening to some rather obscure music and even got him to play instruments Noel tends to struggle with and would only dare play live once he has played them enough to feel comfortable with. Noel was originally very disheartened and didn’t believe working with David was the right decision. David would tell him time and time again to stop writing songs that sounded like Oasis. Indeed, for “the Man Who Built the Moon”, David got him to write out 26 choruses before he was satisfied with Noel’s 27th attempt. So..back to earlier, the Oasis fans, whom I have referred to as “fucking idiots”, are mainly what I like to call the “Supersonic 2016 Generation”. They appeared after the 2016 film and could not get past how Noel’s singles for this were totally different from Oasis material and therefore proceeded to bash it and generally be narrow-minded. An artist is free to express their music however they want. Something lost on these bunch of twats. Also, going back to another point earlier mentioned during “It’s a Beautiful World”, Noel has made a record that is very much upbeat and spits in the face of the evil people in the world who want to destroy the earth. He has even said that this record was about feeling great and upbeat and taking our minds off all the bad things we hear about in the mainstream media. I would love to score this album perfectly, but the interludes are where it falls down for me. It is also perfect, and even if you don’t get it after a few listens, it will grow on you. 9/10