No/yes/no/yes/no.

You've probably all heard quite enough of my unpopular Pulp opinions, but how about this - Catcliffe Shakedown is almost a classic, let down massively by an indefensible sneering tone in certain parts that's absolutely unworthy of the person who wrote Common People.

Russell was/is a right cunt.

Hehe. I mean it with all sincerity.

Sturdy wrote:

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No/yes/no/yes/no.

You've probably all heard quite enough of my unpopular Pulp opinions, but how about this - Catcliffe Shakedown is almost a classic, let down massively by an indefensible sneering tone in certain parts that's absolutely unworthy of the person who wrote Common People.

---

I know where you're coming from but at least they didn't release it, even as a b-side.

"Cocaine Socialism" - I loved it at the time, and for about 10 years after. However, I agree that "Glory Days" is better. At the very least, it has stood the test of time compared to its counterpart. 

Here's another one (which will probably see me lynched) - I don't get what all the fuss is about re "She's a Lady". I don't think it's a bad song by any means but it's hardly the stand out track on the album ("Pink Glove" does a lot more for me).

"...I don't think Babies is any good..."

I'm still... I don't have the words...

I'd trade every other Pulp song combined for Babies. Babies is in my top 5 songs by anyone ever. I'd trade babies for Babies. I'd suffer rabies for Babies. Now I'm just being silly. 

Freek wrote:

---

"...I don't think Babies is any good..."

I'm still... I don't have the words...

I'd trade every other Pulp song combined for Babies. Babies is in my top 5 songs by anyone ever. I'd trade babies for Babies. I'd suffer rabies for Babies. Now I'm just being silly. 

---

I first heard it when the Chart Show that was on ITV on a Saturday played it as part of the "video vault", at that time I had only just discovered Pulp and "Babies" did very little for me. I don't think it was a mistake to release it (twice) but I do think that the other singles from that era ("Razzmatazz", "Lipgloss" etc) are much better. 

Almost everything pre-Separations is useless.

PaulTMA wrote:

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Cocaine Socialism is terrible with horribly naff, one-the-nose lyrics and Glory Days is an enormous improvement.

---

 100% agree.

The His 'N' Hers version of Pink Glove is flat, lifeless and a wasted opportunity. I didn't like the song at all until I heard the Peel version some time later. That recording has all the tension, drama and excitement that's sorely lacking from the studio cut.

I've never dug the song This Is Hardcore. It's a very ambitious recording for sure, but I get no enjoyment from it and always skip it.

Ian wrote:

---

Freek wrote:

---

"...I don't think Babies is any good..."

I'm still... I don't have the words...

I'd trade every other Pulp song combined for Babies. Babies is in my top 5 songs by anyone ever. I'd trade babies for Babies. I'd suffer rabies for Babies. Now I'm just being silly. 

---

I first heard it when the Chart Show that was on ITV on a Saturday played it as part of the "video vault", at that time I had only just discovered Pulp and "Babies" did very little for me. I don't think it was a mistake to release it (twice) but I do think that the other singles from that era ("Razzmatazz", "Lipgloss" etc) are much better. 

---

 For selfish reasons I am grateful they re-released Babies as it meant I discovered them ahead of Common People.   By the age of 14 I got to feel very ahead of the curve.  :)

And besides, The Sisters EP is one of the best records ever made!

Here we go...

Never liked sorted, skipped it in 95 and still skip i now, weakest track on the album for me.

Seductive Barry (album version) does nothing for me and neither does Roadkill

Sturdy wrote:

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That whole situation with Separations, where it took 2 and a half years to come out? Kind of Pulp's fault, really. If they'd have played it straight with Fire it'd have come out in 1990. Painting the label as the villains is convenient but not entirely true.

---

 In a nutshell, what happened again?  I've read the book 3 times or so but having trouble remembering the specifics.

Didn't Rough Trade, whom Fire used as a distributor, collapse in 1991, delaying Seppy's arrival into the world?

 

Edit: Hadn't seen Mark's post. 

 

Re the seven album deal though, surely that's the very definition of an onerous contract offered when one side has all the bargaining power? I imagine Pulp signed it through gritted teeth. It's not Fire's fault that no other labels were showing an interest in the group in 1990 (and with Pulp having performed, what, three gigs in as many years, it was difficult for any label to check them out where they truly excelled in those days, live) but I can see why, as artists, the band were not fans of Fire.

 

Of course trying to pull a fast one by getting their recordings paid for before trying to bugger off to a different label is pretty shitty not to mention unlawful but they wouldn't be the first band to try and do something similar (Dexys Midnight Runners, pre and post fame spring to mind). Art and commerce, huh, eternally difficult bedfellows.

-- Edited by Eamonn on Friday 22nd of November 2019 01:24:41 PM

I think that the Sudan Gerri versions of "Little Girl (With Blue Eyes"), "Blue Glow" and "The Will to Power" are slightly better than the final versions.

Sturdy wrote:

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True about the seven albums bit. Doesn't seem like a situation that was well handled though. But hey, easy for us to say with the benefit of 30 years' hindsight. No doubt it looked and felt very different from the fairly desperate perspective of early 90s Pulp, especially with Suzanne Catty shouting at them all the time.

---

 

I'd forgotten all about her! Can't remember if you got to talk to her for Truth And Beauty?  Wonder what became of her.

And did Mark Webber, apparently the complete opposite in terms of personality, replace her?  I need to re-read the book!

-- Edited by Eamonn on Saturday 23rd of November 2019 12:00:38 AM

Good thread. I think my most unpopular opinion would be that, however fun the reunion was, and it was, the band really ended that night at Magna. Their history in the true sense ended that night.

The reunion was wish fulfillment and I went rather nuts, but the sense of longing to see them play one last time has now been sated and I miss that sensation of longing. Had a similar sensation when Portishead finally released Third.

Also, whilst it was the first reunion gig I saw and I was soooo excited, the Blur gig at Hyde Park eclipsed the atmosphere at Pulp's...

superchob wrote:

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Good thread. I think my most unpopular opinion would be that, however fun the reunion was, and it was, the band really ended that night at Magna. Their history in the true sense ended that night.

The reunion was wish fulfillment and I went rather nuts, but the sense of longing to see them play one last time has now been sated and I miss that sensation of longing. Had a similar sensation when Portishead finally released Third.

Also, whilst it was the first reunion gig I saw and I was soooo excited, the Blur gig at Hyde Park eclipsed the atmosphere at Pulp's...

---

Yes I can see your point. Most other bands who have done reunion tours (Blur included) have released albums since. I can't help but feel that Pulp were just doing it for the money (though it was great to hear "My Lighthouse" and "Back in LA" played live 30 years after they were released)

Eamonn wrote:

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I think they did it because they had been asked loads of times and finally said yes because they couldn't think of a good reason to say no. They would get paid nicely, they could play their songs together which they missed doing, they could help Tim McCall's family whose funeral had reminded them how unfair life can be and how fortunate they were to be in demand from promoters. And I think at least half the group were keen on the idea of trying to come up with new material together. I also think they felt regret over how things had fizzled out in 2002. 

All just my thoughts/speculation on it but saying it was purely down to money (not that there's even anything wrong with that) is, I don't think, the full story.

-- Edited by Eamonn on Friday 29th of November 2019 12:07:27 PM

---

On reflection, I do agree with you. I think I just wanted an album  

Glory Days is better than Cocaine Socialism.

Different Class isnt the best Britpop album.

Different Class isnt their best album.

This Is Hardcore is too long.

We Love Life is their best album.

Relaxed Muscle is better than most of the work with Pulp.

Jarvis tries too hard make art and is better when relaxed (e.g. Relaxed Muscle, the second album)

Wickerman wrote:

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Different Class isnt the best Britpop album.

---

 

Ooof, interesting! Whose would you go for in its stead?

I do disagree - but if discounting DC then I think I'd probably plump for Shine 3

("My favourite Beatles album? Probably The Best of the Beatles")

Parklife had more substance than Great Escape. I love the way you can hear youth, yearning and hope in Definately Maybe rather than arrogance and bravado. Can't really classify Suede's first two albums as Britpop. Sleeper were underrated. I wonder what happened to Menswear? Probably playing the wedding circuit. I Should Coco could be in with a shout.

-- Edited by superchob on Saturday 30th of November 2019 09:12:26 PM

Wickerman wrote:

---

Glory Days is better than Cocaine Socialism.
I agree with you now but for about 10 years it was the other way round for me. 

This Is Hardcore is too long.
I don't think it's too long but it's more about poor song choices for me, I think "It's a Dirty World" and "The Professional" should have been on the album in place of "TV Movie" and "A Little Soul" which would have made better b-sides.

Relaxed Muscle is better than most of the work with Pulp.
I disagree, I think the Relaxed Muscle album is pretty good but missing the range and depth of the Pulp albums. 

 

 

Pulp really should have a career-spanning anthology-type double album. Starting with the first Peel Session and ending with After You. All the hits, fan favourites and some rarities to make it interesting. Considering how long a run they had, it's mad that this wasn't even suggested.

-- Edited by timahall on Wednesday 4th of December 2019 10:34:58 AM

Hey, where was the deluxe anniversary remaster of Intro last year, eh? Nice cheeky gatefold for a couple of 10" records would've been an essential purchase. Orange vinyl, obviously. Don't care how many times I buy that record. If they'd only keep rereleasing it, I'd keep buying it

-- Edited by superchob on Wednesday 4th of December 2019 08:59:37 PM

Sleeve wrote:

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Mishapes and Come on Eileen (listen to both and you'll know what I mean)

---

I always thought "Death Goes to the Disco" sounded more like "Come On Eileen"

Is there people out there who don't think Somewhere Like The Moon is good?

It's a bit too insipid but it does have its charms. But it should not be on the lp ahead of HisnHers or Seconds or Street Lites.

Here's one: whilst all are good, Room 29 is the most worthwhile of Jarvis' post-Pulp albums.

Ian wrote:

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Here's another: "Room 29" does absolutely nothing for me.

I have tried...

---

 Ditto. I struggle to get to the end of it.

The first Jarvis album from 2006 is by far my favourite thing he's done post-Pulp.

This Is Hardcore is the best Pulp album (best album)
Joyriders, Pencil Skirt, and Underwear are all awful

-- Edited by Ste on Saturday 28th of December 2019 03:37:09 AM

timahall wrote:

---

Ste wrote:

---

This Is Hardcore is the best Pulp album (best album)
Joyriders, Pencil Skirt, and Underwear are all awful

-- Edited by Ste on Saturday 28th of December 2019 03:37:09 AM

---

I disagree with pretty much all of this. This Is Hardcore, whilst I love it, is my least favourite of the Island albums (and I prefer Separations too). And Underwear I could easily single out as one of the best songs of the entire 1990s. The mood, the lyrics and the absolutely divine instrumental passages. That song is Pulp to me. Joyriders I also adore, and to a lesser extent, Pencil Skirt.

---

Tend to agree too. On Pencil Skirt, for years I thought it DC's weakest moment, but over time I've come to rate it and Sorted and Something Changed are the two tracks I've become bored with. And if I was choosing, say, five songs that were emblematic of Pulp, there may well be room in there for Underwear. Maybe. Certainly in a Showcase Ten, or a gateway playlist to introduce a newbie to the joys of Pulp.  

superchob wrote:

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Maybe. Certainly in a Showcase Ten, or a gateway playlist to introduce a newbie to the joys of Pulp.

---

I'm sure something similar's almost definitely been done before, but that'd be a great topic, almost as revealing as this one to our varying tastes, and Pulp's variety

Me too. The reunion version is more like a remix of the original, perhaps unsurprising given it was produced by an electro/dance musician.

Jarvis appeared to be on a roll around 99/2000. A pity it was only partially captured by We Love Life. I wonder if the band played all the demo'd songs from 99-2000 to Scott Walker and he helped whittle them down.

-- Edited by Eamonn on Wednesday 8th of January 2020 04:40:35 PM

Please keep in mind I'm from Texas and don't get much Pulp over here so I don't know if these opinions are unpopular or not, but here goes:

Their best live concert was Auto Festival which features the best ever renditions (studio or live) of Happy Endings, Babies, Lyndhurst Grove

Live extended version of Live Bed Show is 10X better than studio Live Bed Show

His N Her's was their best album but needed better post-production. Nearly every song sounds better played live than the studio version.

The Fear and Sylvia are top-10 Pulp songs

This is Hardcore starts of great and runs out of steam

Go easy on me!

Dont be mad at me, but i really dont like Common People, its so long and they play only 3 notes again and again and again. This is mine unpopular opinion

You couldnt put out the This is Hardcore cover art these days. 

-- Edited by cutcopy on Friday 15th of May 2020 01:57:58 AM

(Sorry, I understand that reviving long-dead threads is an oft frowned-upon practice. When browsing old threads, I remembered seeing the moderator saying that 'bumping' threads was actively encouraged if anything, so I'm hoping I might get away with it just this once. Apologies.)

Anyway, I have a few opinions, I don't know how unpopular or popular they are but anyway...

'Razzmatazz', despite being a huge fan favourite, is a little too mean-spirited for me to like it all that much. I prefer 'Lipgloss', which is similar thematically but much more sympathetic. All that "you started getting fatter" stuff - it just makes him sound nasty, and I get that's partly the point but there's more sophisticated 'Jarvis as mean-spirited enacter-of-revenge' songs than 'Razz'. There are some nice lines, and the instrumental is well-crafted, though also not quite on par with other songs from the time (Babies, Pink Glove, Lipgloss, DYRTFT, She's A Lady before Buller butchered it). The sleeve is lovely, though.

This Is Hardcore, the album, is in many ways the most conventional record the band ever recorded. Some songs make strong statements but don't really back them up. I really like 'Sylvia' but it doesn't have much Pulpiness, and while 'Dishes' has charm to match its cheesiness, 'TV Movie' gets too bogged down in self-loathing. 'A Little Soul' is a similar case, but scores higher through an improved arrangement and better lyrics - should never have been a single though. And while 'It's A Dirty World' makes enough of a statement that I think it'd strengthen the album if it were there... eeeeh, I just personally don't like it very much. Sorry.

'Help the Aged' too, while deserving praise for its ambitious lyrical matter which is sometimes deftly articulated ("You can dye your hair, but it's the one thing you can't change"), is just a bit too unlovely for me. It doesn't quite work as a lead single... it's a bit gloopy. Lyrically, part of it is too on-the-nose (the Sid James-ness of "Give us all a feel"), part of it is incredibly sincere and compassionate, part of it is wry and works well (the line about the elderly "sniffing glue"), it's an odd mix of seriousness and irony, and it doesn't all work. It's clever how the song pretends to be oldies' easy-listening music, then explodes into this big chorus, but by the third time round that chorus has worn a little thin. I can understand why Russell didn't like it; it's a daring enough statement but there's something a little cheap in there, something a bit formulaic. But mostly, I just find it unappealing - not in the sense that I'm trying to ignore the death in it, or anything like that... sort of the opposite, to be honest.

And weirdly enough, I think part of this is to do with generational perspective.. I suppose I could be wrong on this, but it feels a bit like back in the 90s, it was a relatively new social phenomenon for the majority of the people to live to reach a ripe old age - the UK had been through two world wars in the last 80 years - and since then, a bit of the novelty has worn off. There is a huge media oversaturation of death-and-gloom on our screens, of morbid media, midlife crises, 'we're-all-going-to-get-old-and-be-miserable' and to the extent that I think Gen Z has had it hammered into our heads that we're, yes, all going to die at some point (honestly with the climate emergency, it's the 'reaching old age' part where there's a dangling question!) and 'Help the Aged', then, doesn't sound like it's saying anything really new. To be honest, I find this stuff sounds a bit too theatrically overwrought, a bit too oh-woe-is-me despair, especially out of the mouth of a 33 year-old. I can appreciate its ambition in reminding young, drugged-up Britpoppers that they too will develop wrinkles/need crutches et al, but it hasn't aged very well in our death-obsessed society. I don't know if it's because of 9/11, if that caused the cultural change, the saturation of media to be so concerned about death, or pushed our youth-obsession into overdrive... all those Pixar movies that riff upon death and take themselves so seriously, all the moribund Coldplayisms of the 00s charts, and overriding it all the sense of all-encompassing social and cultural decay in concert. I'm really fed up of the fetishisation of youth, of being young, I think it's something that young people broadly really fixate on these days, they don't need to be reminded. I think that's where I really wish Pulp had gone, maybe elsewhere on This Is Hardcore - they were older popstars, they could've attacked the nascent glorification of young-ness and its dictation of what's fashionable coming before all else (and maybe this sort of statement, the whole 'FACE IT YOU ARE YOUNG' business, is what's missing from The Day After the Revolution).

I mean, I respect it. I respect "Funny how it all falls away", a great line and an ironic one (because it's not very funny at all). But it's flawed in a way that it's a bit harder to stand up for than all the preceding singles under Island. Nowadays, it's harder to get behind. Basically, after coronavirus and everything, it's just a little too consciously miserable for me. We all have moments where we feel the sort of things discussed in 'Help the Aged', that's maybe where the song's power comes from/where its success lies, but to me it's just a bit too on-the-nose, a bit too musically conventional, a little bit rote for reasons that aren't really its fault, it's just being stood up in a different and later cultural environment. Still, it can teach us stuff, even if it's looking rough.

Steve and Nick = best rhythm section of any band around the Britpop scene. Fight me.

Russell doesn't get enough credit in the public eye, and without him being responsible and organised, Pulp would never have made it. At the same time, I don't entirely sympathise with his thoughts on Pulp's musical direction, even if I agree about 'Help the Aged'. It seems to me that he wanted them to make music more like 'F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.' - and then they did exactly that! (In all fairness, there's stuff in Stephen's interview I'm writing up about this. Russell is quite magnanimous about it all, really.)

'Someone Like the Moon' is one I always skip, yet I also always feel a little sorry for it when I see people singling it out. It's a nice little mood piece, and helps balance out the album... perhaps I'd still cut it for 'Street Lites' or 'His 'n' Hers', I'm not sure, but it do feel a bit sad for it? I don't know why, really.

In general, This Is Hardcore suffers as an album from being a bit too steeped in Jarvis's self-hatred. I don't know why I'm rubbishing it so much - I do really like it!

'Weeds' should've been a single instead of 'The Trees', which might actually be the least marketable song on the album (aside from 'Wickerman' and 'Roadkill').

And finally... I really, really like 'Mis-Shapes'. This feels like an unpopular opinion! Owen Hatherley criticised the song as a bad application of class warfare to target "the wearers of different jackets", but god, why can't we just have a fun song slagging off bullies and intolerant people? The idea of a song for geeks and weeds and all sorts, rising up against the people who've made things more difficult for us, just being who we are... Well yeah, maybe we do have more of our minds, actually! And even if we don't, we're allowed to think it from time to time. It's a guilty pleasure, a shout-out-loud triumph where you get to revel in being an outsider instead of othered against your will, and I love it and I think it's brilliant, it can touch so many people in a healthy way, it might be juvenile but that's OK. And far from being a rehash of 'Common People', it's brilliant, a big stomping arrangement with lovely theatricality. "Brothers, sisters, can't you see? The future's owned by you and me!" Perfection. It's not my favourite song on the album, but it's an unapologetic triumph. To many people, Pulp have always been mis-shapes in the public eye. This is part of who they are, and I'm glad they've accepted that rather than continuing to disown the song. (And it was so good at Bridlington...)

Eamonn wrote:

---

Sam, are you going to Sheffield? You need to chat to Sturdy about future Pulp writings, taking on the baton for public consumption 

---

 Awh Eamonn you're too kind ! I'm just rambling on honestly, doubt I could write something anything like T&B.

I don't think Sheffield is on sadly... (god, I wish...)

 

Hmm, another little opinion - as much as the violin shouldn't have been cut from 'She's A Lady', Ed Buller's biggest mistake was what he did to the bass, rubbing out Steve's brilliant bassline to a faded outline of itself. It should be so much higher in the mix, and I miss it as much as Russell's violin. (I wonder if it eventually became 'Party Hard', they're a bit similar just with stress in different places.)

Go Andy!! Controversial but I love the conviction.

Thought you would have went for I Spy or Feeling though...

For me:
Rattlesnake is an absolute banger
Pencil Skirt is an obvious skip
It album is one of the best Pulp albums ever
Silence is a good song
Down By The River shouldn't be on Separations LP
Someone Like The Moon is like an NPC, Roadkill too
Maureen had to be a single :(

-- Edited by hugomrtnzz on Friday 9th of June 2023 02:32:29 PM

Maybe unpopular, but I think (Cunts Are Still) 'Running The World' may be the finest thing Jarvis has ever done, as it is literally evergreen. The year 2000 is no longer fun and futuristic, 'Sorted for Es and Wizz' is rooted in bygone rave culture, and even 'Common People' wasn't really so on-the-money after the band got famous... but Cunts Are Still Very Much Running The World. And you can tell, because they also seem to be running the Labour Party as well.

(Sorry, but the latest green policy commitment being defaced has me shaking with rage.)

 

hugomrtnzz wrote:

---

Someone Like The Moon is like an NPC, Roadkill too

---

 Not sure about Roadkill. It's not my favourite Pulp song by any means - I tend to skip it - but it's just so heartbreakingly bereft. Probably the saddest thing they've ever done.

-- Edited by lipglossed on Friday 9th of June 2023 04:05:45 PM

andy wrote:

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His other songs you mention are a testimony of an era, they dont sound dated to me, i never thought as disco 2000 being a futuristic song, more a coming of age song. They belong in history books just like taxman by the Beatles for instance. There's bits that refer directly to the said era, but the general feelings remain. Love not found on one hand, excess on the other.

---

 Oh I agree with you - was being a bit tongue-in-cheek with that bit! Disco 2000 is a very relatable song, very accessible and a coming-of-age song as you say.

OK - nothing to do with sound but video. "This is Hardcore" is absolute amazing song with a beautiful video UNTIL that late moment JC stumbles out with the flower fan girls. I love those 50s movies from Douglas Sirk and that video NAILS them with a thoughtful, wonderful Pulp spin. I love the parts the band members play - esp. Nick - seems really getting into character. But once they pull away from the Sirk remake, and get into the Busby Berkeley musical stuff, it starts to feel silly.

One of the many things about Pulp that drew me was that JC, Steve, and myself all went to film school but never ended up the big movie directors we thought we'd be. But we still ended up rock stars - well they did literally and I am in my own mind as I'm a middle school English teacher.

Nickers wrote:

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OK - nothing to do with sound but video. "This is Hardcore" is absolute amazing song with a beautiful video UNTIL that late moment JC stumbles out with the flower fan girls. I love those 50s movies from Douglas Sirk and that video NAILS them with a thoughtful, wonderful Pulp spin. I love the parts the band members play - esp. Nick - seems really getting into character. But once they pull away from the Sirk remake, and get into the Busby Berkeley musical stuff, it starts to feel silly.

---

Ooh, of course you're entitled to your opinion but I actually want to defend this, because I really like that part - all these dancers and yet he's not really part of their show, he's an afterthought, rather than being the grandstanding film noir star (from the first section) he thought he'd be, he's off to the slide getting bumped into and jostled by the dancers and their flower fans, pushing in his face. He's just getting in the way. It's perfect. He's not Fred Astaire, he's Fred Askew, being twisted around out of the way by the women around him. 

And the closeups of his face, with the red background and blue fans - just wonderfully composed shots. Wow.

-- Edited by lipglossed on Sunday 18th of June 2023 11:37:04 PM

I do respect Jarvis for branching out in an interesting way. I mean, Damon Albarn can get a bunch of celebrities in a recording booth, which is exactly why Gorillaz peaked with Demon Days and have been going downhill ever since. Jarvis always does intriguing things even if Room 29 isn't exactly Different Class.

It took me five or six listens to click but I think its mostly great especially Tearjerker (love playing this on piano), Belle Boy and Daddy, You're Not Watching Me.

I think Jarvis really stretched himself in a different way knowing that he only had Chilly's piano accompaniment to do any heavy lifting.

This Room 29 business passed me by. You've piqued my interest. If it divides people it must be worth hearing

Sturdy wrote:

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I do like Modern Life but it follows the same pattern as most Blur albums - frontloaded with bangers (most of which happen to be the singles) followed by about 3 hours of half-assed mumbling and mucking about, interspersed with the occasional gem. It blows my mind that This Is Hardcore has this reputation of being 'difficult' when Blur pulled this nonsense REPEATEDLY for over a decade, and somehow sold more records!

That's not really an unpopular Pulp opinion, just me mouthing off, sorry.

---

 

Early Blur records are uneven. Up to Parklife, which is a close to perfect album. Modern Life has just the worst track selection ever. Pick some bside, swap them and the record is pretty amazing too. 

Then The Great Escape which is hated. (but i love it). Trimm it to 10/11 tracks and its a great record. Blur S/T is perfection and has got some amazing bsides.

13 is the "difficult" one, their Hardcore if you will. 

To me their "worst" record is Think Tank. Its a bit depressing and lacks Coxon's madness. 

But i get your point. Blur records are a bit "out there" so if you "only" enjoy the polished singles, you probably wont like the rest.

I like their non sense, its a very british band. Maybe the most british one for a non british listener. 

-- Edited by andy on Tuesday 20th of June 2023 11:08:12 AM

I think the "It" album is absolutely beautiful and underrated and same for "We Love Life"..with the outtakes included, its pure magic.
And I'd swap out Weeds.