Blur was formed in 1989 and, despite various solo and side projects, the original line-up remains intact even today. The band consists of schoolmates Damon Albarn (b. 23.03.68 – song, piano, guitar) and Graham Coxon (b. 12.03.69 – guitar) who first met at Stanway Comprehensive School in Colchester. Together with Alex James (b. 21.11.68 - bass), a fellow student of Coxon at Goldsmith College, and Dave Rowntree (b. 08.05.64 – drums), another friend of Coxon, the foundation of what was to become (and still is) one of the most amazing bands of the 1990’s was laid! But it wasn’t until the four guys convened in London that the band was formed, initially entitled Seymour, where they became part of the gig circuit at Camden’s Dingwalls venue at the bottom of the bill. It took the quartet a year and several live performances before Andy Ross and David Balfe signed them to Food Records after which the band chanced their name to Blur.

Only two years after their formation, Blur made a huge impression on particularly the English music press with their debut album, Leisure, from 1991. After two successful singles, She’s So High and There’s No Other Way, the album entered the UK charts at number 2. Leisrue was produced by Steven Street (also producer for The Smiths and, later, some of Morrissey’s solo stuff) and was released at the end of a musical era, i.e., the “baggy”/”Madchester” movement. The band released the speedy Popscene (only available as a single – and a bit of a rarity amongst hardcore Blur fans!) which failed to rise above number 34 in the UK charts, thus leaving Blur in despair about their future as a band. As the audience looked away from the Byrds-fixated guitar pop of the period, Blur, however, reinvented themselves on their follow-up album, Modern Life Is Rubbish, which was out in 1993. Although the album’s sales profile of 50,000 copies didn’t exactly match that of Leisure or expectations, Blur rebuilt their confidence through loads of touring and a headline appearance at the Reading Festival. Despite its so-called “failure”, Modern Life Is Rubbish is one of Blur’s most brilliant album (my personal favourite). It strongly manifests Blur’s change of style from their debut album and Albarn’s skills as a song writer. The music on Blur’s second album has a much broader perspective with its ironic observations from the sideline and its humorous horn and string arrangements.

Finally, in March 1994, with the release of the single Girls & Boys, Blur got some of the credit they deserve(d)! The single was the first to be released from the band’s third album, Parklife, which went straight to the number one spot in the national charts. Released in May, 1994, Parklife triggered off a whole new epoch within British music which was to be (for some, infamously) known as “Brit-pop”. On Parklife, the band is well into the tragic-comic of Englishness and, lyrically, Albarn renders (and mocks!) the English middle class. After a consolidation of their musical genius at London’s Alexandra Palace in front of 8,000 fans and several awards later, the band set forth working on what was to become their best-selling album (to this very day, anyways), The Great Escape. Blur’s forth album was released in 1995 and includes a number of hit singles such as Country House, The Universal, and Charmless Man - singles that made Blur famous on a global basis.

With 1997’s release of the band’s self-titled album, yet another change of style took place. Blur is a very introspective album greatly inspired by the American alternative scene; mainly due to Coxon’s love for bands such as Pavement, Tortoise, and Beck. Commercially, the album is a step backwards for Blur, though, musically, it is considered their best work so far. Differing strongly from Blur’s previous work, Blur achieves great popularity in the USA where the single Song 2 is used to celebrate “touch down” at a vast number of American football stadiums. Another interesting thing about Blur is that it was partly recorded in Iceland where Albarn became co-owner of a café! An absolute superb album which just gets better and better every time it’s on the stereo!

March 1999, saw Blur releasing the album called 13 with artwork by Coxon. With this album, Blur more clearly than ever illustrated that they are a band in constant progress – a band which advocate musical development and do not fail when it comes to ‘challenging’ their listeners. Again, the American alternative scene seems to be the main inspiration and it has fostered new musical experiments on 13. It seems to be one of Blur’s most profound releases ever with lyrics on a very personal level. Fantastic-o!!

The most recent release by Blur was their Blur: The best of which was out in October 2000. It is a double vinyl album featuring 17 classic songs and one brand new track - also released as a single - called Music Is My Radar.

On an ending note and in relation to seeing Blur live, I’d like to thank (from the bottom of my heart) two special persons: Lizzy, for getting me in for free in Oxford, February 1999, and making sure Biffo helped wee me when I needed it. And Jamie, for sorting out the tickets - and joining me - for the fan club gig in London, January 1999.

* If you wish to expand your knowledge on Blur, I suggest you get hold of Blur:3862 Days – The Official History by Stuart Maconie, Virgin Books, 1999. A really interesting piece of work that takes you through the life of probably the biggest band ever!

There's a vast number of Blur-related sites on the Net. The ones below are only a selected few...

* For the Official Blur site, go here.

* Want to become a member of Blur's brilliant fan club? If so, click here.

* Also worth checking out is Jamie’s website with loadsa cool stuff, Blur Cream Organization, or go directly to the Blurchat

* For some interesting Graham Coxon interviews click here.

Enjoy this pic of Mr. Albarn himself whilst he's signing his autograph for me! The photo was taken late at night outside the Que Club in Birmingham after the fan club gig on June 24, 1998.