Blur: 21 – review

Graham Coxon

Groupe / Graham Coxon 214 Views comments

It is a hardy soul who'll get via all 21 discs, however Blur's full works make for an interesting pay attention

There's one thing oddly last about lavish CD field sets. Their completeness appears to say: "That is it." Those interested by Blur's future – already gloomy on the information that they've apparently abandoned a new album, and on the elegiac quality of their current new music, the gorgeous Under the Westway – could be forgiven for heaving a sigh on the arrival of 21, which collects nearly each notice Blur have released with 4 CDs of stuff they previously hadn't.

Definitely, 21 is exhaustive, virtually to a fault. There are great issues among the many B-sides and unreleased tracks: their collaboration with Marianne Faithfull, Kissin' Time; the unfastened, Can-like funk of Music Is My Radar. Still, it's a hardy soul who makes it all through, say, the version of She's So High that consists of the two-line refrain repeated in a strangulated yodel for 11 minutes, punctuated by slap bass, or the three versions of Pink Necks, a grindingly unfunny joke country monitor from the CD single of Finish of the Century. In contrast to their nice Britpop rivals, Blur audibly weren't within the enterprise of squandering the great things on B-sides.

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