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Blur Definition & Meaning

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. In January 2010, No Distance Left to Run, a documentary about the band, was released in cinemas and a month later on DVD. The same month, their 1994 album Parklife was one of ten classic album covers from British artists commemorated on a UK postage stamp issued by the Royal Mail; the collection was unveiled by Led Zeppelin guitarist Jimmy Page.

Coxon later pointed to Parklife as the moment when " went from being regarded as an alternative, left field arty band to this amazing new pop sensation". The band's third single, "Bang", performed relatively disappointingly, reaching only number 24. Andy Ross and Food owner David Balfe were convinced blur's best course of action was to continue drawing influence from the Madchester genre. Blur attempted to expand their musical sound, but the recording of the group's debut album was hindered by Albarn having to write his lyrics in the studio. Although the resulting album Leisure peaked at number seven on the UK Albums Chart, it received mixed reviews, and according to journalist John Harris, "could not shake off the odour of anti-climax".

The Great Escape, which Albarn told the public was the last instalment in the band's Life Trilogy, was released in September 1995 to ecstatic reviews. Entering the UK charts at number one, the album sold nearly half a million copies in its first month of sale. However, opinion quickly changed and Blur found themselves largely out of favour with the media once again. Following the worldwide success of Oasis' (What's the Story) Morning Glory?

Think Tank was yet another UK number one and reached number 56 in the United States. The band did a successful tour in 2003, with former Verve guitarist Simon Tong filling in for Coxon. Although he had previously dismissed it, Albarn grew to appreciate Coxon's tastes in lo-fi and underground music, and recognised the need to significantly change Blur's musical direction once again. "I can sit at my piano and write brilliant observational pop songs all day long but you've got to move on", he said. He subsequently approached Street, and argued for a more stripped-down sound on the band's next record. Coxon, recognising his own personal need to—as Rowntree put it—"work this band", wrote a letter to Albarn, describing his desire for their music "to scare people again".

The announcement of the album's release included a press photo which featured Blur, dressed in a mix of mod and skinhead attire, posing alongside a mastiff with the words "British Image 1" spraypainted behind them. At the time, such imagery was viewed as nationalistic and racially insensitive by the British music press; to quieten concerns, Blur released the "British Image 2" photo, which was "a camp restaging of a pre-war aristocratic tea party". Modern Life Is Rubbish peaked at number 15 on the British charts, but failed to break into the US Billboard 200, selling only 19,000 copies there. XTC's Andy Partridge was originally slated to produce Modern Life Is Rubbish, but the relationship between Blur and Partridge quickly soured, so Street was again brought in to produce the band.

Albarn's lyrics—more heart-felt, personal and intimate than on previous occasions—were reflective of his break-up with Elastica frontwoman Justine Frischmann, his partner of eight years. While Q called it "a dense, fascinating, idiosyncratic and accomplished art rock album", the NME felt it was inconsistent and " a quarter-of-an-hour too long". 13 debuted at the top of the UK charts, staying at that position for two weeks.