BLUR Parklife LP FOOD 1994 UK orig+inner FOODLP10 DAMON ALBARN-GRAHAM COXON
€
100
$
116
€ 100
Sold For
Jun 2, 2023
Sold Date
May 2, 2023
Start Date
1
Number Of Bids
Italy
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eBay
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Description
THIS IS THE UK ORIGINAL PRESSING on FOOD Records. SINGLE COVER + INNER SLEEVE. NO Pink Hype Sticker on cover. The cover is in VG+ condition: normal wear BUT light discolouration/wear on corners, mild creases on edges/corners, few very little lines/dots on front (top edge, centre, near spine), left spine is fully readable; INNER in great condition; please for details see photos (with and without flashlight). The vinyl is in VG+ condition (some mild crackles) and plays wonderfully and without lessening in sound quality.
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BLUR
Initially, Blur were one of the multitude of British bands that appeared in the wake of the Stone Roses, mining the same swirling, pseudo-psychedelic guitar pop, only with louder guitars. Following an image makeover in the mid-'90s, the group emerged as the most popular band in the U.K., establishing itself as heir to the English guitar pop tradition of the Kinks, the Small Faces, the Who, the Jam, Madness, and the Smiths. In the process, the group broke down the doors for a new generation of guitar bands that became labeled as Brit-pop. With Damon Albarn's wry lyrics and the group's mastery of British pop tradition, Blur were the leader of Brit-pop, but they quickly became confined by the movement; since they were its biggest band, they nearly died when the movement itself died. Through some reinvention, Blur reclaimed their position as an art pop band in the late '90s by incorporating indie rock and lo-fi influences, which finally gave them their elusive American success in 1997. But the band's legacy remained in Britain, where they helped revitalize guitar pop by skillfully updating the country's pop traditions."PARKLIFE"
Produced by Stephen Street Steve Hague
1994 LP FOOD RECORDS FOODLP10 MADE IN ENGLAND ORIGINAL PRESSING SINGLE COVER + INNER SLEEVE WITHOUT SMALL PINK HYPE STICKER
NOTES: Printed in U.K. Printed glossy card inner sleeve of some lyrics and chords. Small round pink sticker on cover stating "Including Girls & Boys and To The End 16 Tracks" THIS ONE WITHOUT.
Runouts are stamped except "Town House Dmm" on side A, which is etched.
Barcode and Other Identifiers Barcode: 7 24382 91941 4
LABELS: FOOD - (Side A): ARTWORK LABEL - WHITE TEXT (Side B): WHITE LABEL - BLACK TEXT
Catalog on cover: (spine) FOODLP10 (rear) 7243 8 29194 1 4 UK: FOODLP 10 Catalog on inner: 7243 8 29194 1 4 Catalog on labels: (Side B only) FOODLP 10 7243 8 29194 14
Matrix / Runout (Side A, Stamped/Etched): FOODLP 10 A-1-1-1- Town House DMM D Matrix / Runout (Side B, Stamped): FOODLP 10 B-1-1-1- D
On labels: (on Side A only): FOOD LET US PREY (on Side B only): Tracklist, Catalog, etc. On Back Sleeve: Marketed by Parlophone, distributed by EMI. Place of manufacture as stated on label Printed in U.K. Tracklist + Credits All tracks...........℗ & © 1994 The copyright.........exclusive licence to EMI Records Ltd.
tracklisting Side A: GIRLS AND BOYS - TRACY JACKS - END OF A CENTURY PARKLIFE - BANK HOLIDAY - BADHEAD - THE DEBT COLLECTOR - FAR OUT Side B: TO THE END - LONDON LOVES - TROUBLE IN THE MESSAGE CENTRE CLOVER OVER DOVER - MAGIC AMERICA - JUBILEE - THIS IS A LOW - LOT 105
grading RECORD VG+ but (please, read above description) SLEEVE VG+ but (please, see pictures and read above description)
Modern Life Is Rubbish established Blur as the heir to the archly British pop of the Kinks, the Small Faces, and the Jam, but its follow-up, Parklife, revealed the depth of that transformation. Relying more heavily on Ray Davies' seriocomic social commentary, as well as new wave, Parklife runs through the entire history of post-British Invasion Britpop in the course of 16 songs, touching on psychedelia, synth pop, disco, punk, and music hall along the way. Damon Albarn intended these songs to form a sketch of British life in the mid-'90s, and it's startling how close he came to his goal; not only did the bouncy, disco-fied "Girls & Boys" and singalong chant "Parklife" become anthems in the U.K., but they inaugurated a new era of Brit-pop and lad culture, where British youth celebrated their country and traditions. The legions of jangly, melodic bands that followed in the wake of Parklife revealed how much more complex Blur's vision was. Not only was their music precisely detailed -- sound effects and brilliant guitar lines pop up all over the record -- but the melodies elegantly interweaved with the chords, as in the graceful, heartbreaking "Badhead." Surprisingly, Albarn, for all of his cold, dispassionate wit, demonstrates compassion that gives these songs three dimensions, as on the pathos-laden "End of a Century," the melancholy Walker Brothers tribute "To the End," and the swirling, epic closer, "This Is a Low." For all of its celebration of tradition, Parklife is a thoroughly modern record in that it bends genres and is self-referential (the mod anthem of the title track is voiced by none other than Phil Daniels, the star of Quadrophenia). And, by tying the past and the present together, Blur articulated the mid-'90s Zeitgeist and produced an epoch-defining record...(AllMusic)
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