Blur
The Best Of

THE REVIEW

Odio et amo
 
This could be the phrase to introduce a biography of Blur. I think they are the most controversial band of the last 15 years.
Starting as a timid imitation of the Stone Roses, they began to personalize their style by the 2nd album, drawing from the English pop tradition of groups like the Beatles and the Who. This album is considered the starting point of Britpop, bringing English rock back to the top of the charts. But soon there would be a new change for the band: after the critical failure of “The Great Escape” and the defeat in the sales war with Oasis, they decided to approach American low-fi with their self-titled album and 13.
I usually don't like Best ofs, but for this one, I have to make an exception. I believe that only the songs contained in this CD are worth saving from the first part of Albarn and associates' career (the Britpop era). These songs are cute but nothing special or particularly innovative, as they merely copy the Kinks, the Beatles, Bowie, and the Who to create songs with easy commercial appeal. Moreover, this best of is well-crafted, with 18 of the band's most famous songs.
Let's start with the tracks: the CD begins with Beetlebum, a melancholic ballad that in parts recalls Lennon. It's followed by the two-minute punk-rock of Song 2, featuring the famous “whoo-whoo” (watch the video). The next song, There's No Other Way, belongs to their first album. It's very lively and danceable (almost like a boogie) and it will be the one to bring them success in 1989.
After these three very good tracks, they stumble with The Universal (The Great Escape). The song is a sickly sweet and self-celebratory ballad, in my opinion, downright horrible. Coffee & Tv (13) is a partial return to Parklife schemes, while the next song, sharing its name with the aforementioned album, is very fun and carefree (the choruses repeating “Parklife” at the end of each verse are amusing). End Of A Century is a semi-ballad (I wouldn't know how else to define it) and in No Distance Left To Run, Albarn’s soft-spoken voice creates an atmosphere that reminds me of a person on the edge of a cliff. Tender is a wonderful song: a mix of gospel (the choirs) and country music. It’s followed by Girls And Boys, and here we need to open a parenthesis. I think you all remember the song's original version, with the recurring Oh-oh-oh-ohoh chorus throughout the song: here it is removed (except for two instances) and the excessive original disco rhythm is somehow toned down, making the song very, very beautiful.
The first time I heard Charmless Man, I thought: “Blast! It’s the commercial song” (it was a good luck charm for me and my friends during the World Cup, and we all know how that turned out). A beautiful song, unlike the following She’s So High, which, although it has an enveloping melody, after the fifth repetition of the same phrase makes you want to exclaim: “Damn, I get that it’s so great, but you’re starting to get on my nerves.” Country House is acceptable, but nothing special. To The End has an orchestral background and On Your Own, with its distorted riffs, is one of my favorite Blur songs. This Is A Low is an honorable song, as is For Tomorrow (the only track taken from Modern Life Is Rubbish). The track is really catchy and you find yourself humming it during Latin class. Music Is My Radar is the only unreleased track: the song, electronic, is quite unique in Blur's discography.
I'm finished. Now I just want to apologize if it's too long, but I've been criticized for not being thorough in reviews, and this is the result.

THE END