Britpop has always been something Americans have received in manageable doses, ingesting a little Oasis, a little Manic Street Preachers, and as much Supergrass as our addiction to Matchbox 20 would let us enjoy.
And, of course, “Song 2.” Oh yes, you know the one I’m talking about. “WOOO-HOOO!” That simultaneously irresistible and infuriating tune comes to us courtesy of Blur, one of Britain’s premiere pop/rock bands, and one which American radio listeners have only sampled in unrepresentative bits and pieces.
With the release of Blur: The Best Of, however, a remedy has arrived, in the form of an 18 track album introducing us to the full breadth of style Blur has traversed over its last seven albums. From their origins in short, highly danceable pop ditties to their recent dabblings in extended moodiness and gospel, and through all sorts of quirky, experimental territory, Blur has managed to produce an excellent catalogue of hits which, as enjoyable as any individual song may be, doesn’t truly impress a listener until thrown into the sort of heterogeneous heap that is a best-of album.
And quite a heap it is; the 18 tracks are so diverse as to appear the product of different bands entirely. The first two tracks, “Beetlebum” and “Song 2,” are both from the band’s 1997 self-titled fifth album, presenting the Blur most familiar to American ears. They’re harmless and easy to like, but ultimately the most forgettable, so perhaps it’s just as well that they’re put out of the way early on. As unassuming invitations, however, they get the job done, and bleed nicely into the much older “There’s No Other Way,” off of Blur’s 1991 debut album, Leisure. Carefree, retro-feeling pop rock doesn’t get much better; this is the sort of song for which repeat buttons were made.
From there, the album begins to subject the listener to Blur’s less accessible tracks, but for those willing to give such idiosyncratic gems as “Coffee and TV” and “No Distance Left to Run” a few listens, the excellent songwriting and intriguing production of even Blur’s most unprecedented tunes is astounding. The songs swing between emotional density (“The Universal”) and outright goofiness (“Charmless Man”), and all of it impresses.
Perhaps this sort of observation should go without saying on a best-of album, but it begs mention all the same: there isn’t a weak moment to be found. The context of surprise and nonlinearity lets even the most oddball track feel like it belongs.
In addition to the 18 track best-of disc, the album also comes with a second 10 track live disc, recorded at the Wembley Arena in December of 1999. In one sense, this is an obvious play for the money of fans that own all of the other albums and have no need for a best-of collection. In another sense, however, it’s a great addition to an already stellar release. The sound quality and mix is excellent, and the only weakness, really, is the similarity of the live renditions to the studio cuts. Only two of the songs on the live disc don’t appear on the best-of disc, making it a fairly redundant listen, but enjoyable nonetheless. Highlights include the energized “Girls and Boys,” on which singer Damon Albarn rustles up some raucous audience participation.
Whether you’re a fan of the band, a fan of the genre, or only casually interested in Brit pop, this album has something to offer.
