Blur's Overrated Third Album...Parklife
Written: May 08 '02 (Updated May 31 '07)
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Product Rating:
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Pros: Some decent tracks like Girls and Boys, Badhead, etc...
Cons: Lackluster tracks and failed musical experimentation
The Bottom Line: Often credited as paving the way for Brit-Pop in the 1990's, Parklife from Blur isn't nearly as good as one might expect.
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| lambchops's Full Review: Parklife by Blur |
Blur will go down in history as one of the bands that helped to expose Brit-Pop to Americans. The album that solidified this position was 1994’s Parklife.
I will be the first to admit that I don’t get as much enjoyment out of this album as many fans. A song here and a song there prove rewarding but as a whole there are really much better Brit-Pop albums available readily for consumption.
Parklife is a celebration of life and an ode of British music of the 1960’s through the 1980’s. Before the release of this breakthrough album, Blur debuted with Leisure [1991] and the more widely appreciated Modern Life is Rubbish [1993]. The second full-length album took a lot of time and effort from both Blur and producer Stephen Street before Food and SBK both agreed to release it. Modern Life is Rubbish was ended up a critical and semi-commercial success in England although Americans weren’t even aware of Blur at that time. It really took until the aforementioned third album, Parklife that the Colchester, England formed foursome really hit gold. Oh, and platinum too.
Since Blur formed in 1989, vocalist and keyboardist Damon Albarn has been the main figure. Perennial bandmates are Graham Coxon (guitar), Alex James (bass), and Dave Rowntree (drums) also lent their talents. With the release of 1994’s Parklife the quartet debuted in the number one chart position in Britain and the single Girls and Boys briefly brushed the U.S. charts. Blur effectively blew the doors down with their songs and album thus allowing other British acts like Oasis and Supergrass to successfully follow.
Parklife is widely recognized as the career-defining album for Blur. I attribute that label to the fact that the album was a watershed for Brit-Pop as a whole. There are tracks I honestly enjoy; yet the album doesn’t quite feel right. Blur intended it to be a snapshot of living in England during the 1990’s. Honestly, I don’t believe the album to be quite that profound.
Certainly Girls and Boys is a fun little ditty. A cross between new wave, punk, and disco the song oozes with sex appeal and attitude. There are references to all versions of sexuality while on occasion even turning to social commentary. But where Girls and Boys best succeeds in being an entertaining song that requires little translation.
Of the remaining fifteen songs, most are just average. However, I do have a moist spot in my heart for the hauntingly retro To The End. The percussion is unique to say the least. Albarns’s angst-ridden vocals prove the perfect exclamation point on this track. Sure it seems forcibly quirky and very, very melancholic, but the song still manages to be notably musical.
This is a Low is one of the most depressing (and best) songs on Parklife. Blur swirls gently around complex melodies and lovely musicianship. I wouldn’t ever consider this song to be catchy—it’s too slow and too low—rather, it’s just nicely constructed and reminiscent of epic tracks from bands like Pink Floyd.
As the title track to the album, Parklife is clearly a very different song than the other fifteen. It’s actually focused on spoken word performed by Phil Daniels (who starred in Quadrophenia) and the accompanying saxophone. It’s a clap-along anthem of sorts I can certainly appreciate as a result of Blur’s innovative approach to music. It’s truly amazing that such a strangely unconventional track could prove so appealing.
Badhead is the final truly lovely track. Albarn sounds wonderful as backed by lightly strummed guitars and occasional keyboards. Of the sixteen tracks, this is probably the most globally appealing. It’s an adult contemporary pop track mixed with Brit-Pop and I like it.
There are a few other notable offerings like Tracy Jacks, End of a Century, and Trouble in the Message Centre. There are some absolutely aurally offensive tracks. I seriously could have done without the less than appealing freak-carnival feel of The Debt Collector and the forced-punk sound of Bank Holiday.
I’m find it quizzical that Parklife was such a phenomenon after it’s release. The album is good…that’s not a question. But is it great? I don’t think so. I enjoy the later Blur self-titled release much more with tracks like Beetlebum, On Your Own and the high-octane radio/MTV hit Song 2. Taking into account the fact that I like more songs than I don’t and the fact that some of those songs I like are outstanding, I will award Parklife four stars. There are better albums and for that matter better Brit-Pop albums and maybe even a better Blur album.
Track Listing:
1. Girls & Boys
2. Tracy Jacks
3. End Of A Century
4. Parklife - (with Phil Daniels)
5. Bank Holiday
6. Badhead
7. The Debt Collector
8. Far Out
9. To The End
10. London Loves
11. Trouble In The Message Centre
12. Clover Over Dover
13. Magic America
14. Jubilee
15. This Is A Low
16. Lot 105
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Looking for truly great albums that far surpass the creativity of this one? Check out Elastica [Elastica], Radiohead [The Bends], Oasis [Definitely Maybe], and Travis [The Man Who]. Also, if you’re new to Blur and unsure as to what album to buy consider owning 2000’s Best of Blur.
Recommended:
Yes
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lambchops
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Member: Shelly T.
Location: Metro Detroit, Michigan
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