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Modern Life Is Rubbish

Blur Audio CD
4.4 out of 5 stars  See all reviews (45 customer reviews)
Price: CDN$ 12.30 & FREE Shipping on orders over CDN$ 25. Details
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Frequently Bought Together

Modern Life Is Rubbish + Parklife + The Great Escape (2CD Deluxe)
Price For All Three: CDN$ 53.74

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  • Parklife CDN$ 16.55

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  • The Great Escape (2CD Deluxe) CDN$ 24.89

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Customers Who Bought This Item Also Bought


Product Details


1. For Tomorrow
2. Advert
3. Colin Zeal
4. Pressure On Julian
5. Star Shaped
6. Blue Jeans
7. Chemical World (Includes Hidden Track 'Intermission')
8. Sunday Sunday
9. Oily Water
10. Miss America
11. Villa Rosie
12. Coping
13. Turn It Up
14. Resigned (Includes Hidden Track 'Commercial Break')
15. Pop Scene - Blur
16. Resigned - Blur
17. Commercial Break - Blur
18. When The Cows Come Home (Bonus Track)
19. Peach (Bonus Track)

Product Description

Amazon.ca

Blur's second album saw them finding their feet just before they suddenly went supernova. In songs like "Chemical World", they started developing the themes of everyday British life that would follow them to their Parklife era. "Sunday Sunday" provided its own blueprint for the Britpop scene, showing the traditional Sunday dinner with the family for what it really is ("You gather the family round the table and eat enough to sleep"), while "Advert" follows in the spirit of Blur's musical ancestors (art school punks and mods). "Blue Jeans", meanwhile, demonstrates that Damon Albarn has always had a talent for writing delicate, sad ballads. Modern Life Is Rubbish deserves to be heard, not only to show how much Blur changed over the years, but because it still stands up and holds its own against anything they came up with later in their career. --Emma Johnston

Product Description

BLUR Modern Life Is Rubbish (1993 UK Food Records 14-track CD album including For Tomorrow Chemical World & Sunday Sunday picture sleeve FOODCD9)

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Customer Reviews

Most helpful customer reviews
5.0 out of 5 stars Excellent sophomore effort from Blur! June 13 2004
By Sakos
Format:Audio CD
After the promise of 1991's Leisure, Blur finally offer up a masterpiece of recording with their second album! Damon Albarn decided to write songs with a decidedly British slant, both lyrically and musically, and along the great musicianship of Graham Coxon, Alex James, and Dave Rowntree, produced this wonderful album. Landmark cuts include the jaw-dropping For Tomorrow, Chemical World, Starshaped, Oily Water, Sunday Sunday, and Blue Jeans. Although the quality drops a tad near the end of the album, overall this is a tight, wonderful album. American fans should buy the USA version, as it's the only place you can get Blur's amazing 1992 one-off single Popscene.
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4.0 out of 5 stars It is, isn't it? March 5 2004
Format:Audio CD
The Madchester scene was helpful in getting Blur a record contract, but the image that it left them dragged them down as the scene faded. Blur needed a vision. On a tour of America, memories of their british homeland inspired them to write the songs that would become Modern Life is Rubbish, arguably the beginning of britpop.
There is still a hint of their Leisure days on tracks like Oily Water and Turn it Up, but other than that, Modern Life is Rubbish is a leap forward for Blur, a reinvention. This is a band that mines the history of British music, from the Kinks-style satire of Sunday Sunday to the Syd Barrett-vibe of Miss America. It even pays tribute to Teardrop Explodes lead singer Julian Cope on Pressure on Julian. This is a band that gives us goofy instrumentals between tracks. This is a band that pokes fun at commercialized world, on songs like the punky Advert and the resigned Resigned. This is a band that thinks the rush of the city isn't worth it, as heard in the lyrics of Coping and Colin Zeal. This is a band that thinks Modern Life IS Rubbish.
Modern life may be rubbish, but the performance of this album isn't. Damon Albarn's voice is a lot more confident than it is on Leisure, and the lyrics are more complex, and sometimes downright funny. ("practice doesn't make perfect when you're interbreeding", from Villa Rosie). Damon also gets to show off his talents on piano and a wide variety of keyboard, something he didn't get to do as much of on Leisure. Graham Coxon's guitar playing is delicious, as catchy and as vibrant as you can get for this kind of music. Both Alex James' bass and Dave Rowntree's drumming are varied and help to keeps things interesting.
Some reviews have called this album weird.
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5.0 out of 5 stars Modern Rock may be Rubbish....but... Feb. 14 2004
Format:Audio CD
Not a new release by any means, but spinning in my head for good reason.
Blur's second album, released in 1993, was a direct invite into the stormy world of Britpop, which was about to explode into mainstream. In the United States, the extension of Britpop leads only to Oasis and very early Radiohead (which is a shaky comparison at best), and often gets bogged into the sugar-pop of the Spice Girls or the alt-grunge of Bush before being recognised as its own separate and definitive category.
Blur remain the lone symbols of what was once Britpop, having just released a 7th album to number one sales and singles and receiving a recent vote of album of the year by Q magazine (surprisingly ahead of Radioheads latest). Where Suede have disbanded, reformed, disbanded, and now are allegedly reforming again, Oasis have declined to repetitive schlock, and Radiohead have turned their heads to the left-field, Blur have survived through the gentle art of constant reinvention, while still retaining a core sound.
MLIR Marks Blur first foray into what became "traditional" Brit-Pop. They tore off their 'baggy' style (enforced upon them by the execs at Food Records) and replaced it with a tongue-in-cheek cynicism that was distinctly...well...British.
While fool's gold tracks like "Sunday Sunday" and "Turn it Up" are easily mass-pleasure romps, the rest of the album is a vignette of 1993 from the UK perspective. I say this because a vignette of 1993 from the US perspective would consist of a one word answer that starts with an 'S' and ends with an 'eattle'.
The album opens with "For Tomorrow," one of the "hit singles" frontman Damon Albarn was told to write in order to get his band's follow-up to 1991's Leisure released.
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5.0 out of 5 stars First Take of the English Trilogy Dec 7 2003
Format:Audio CD
"Leisure"(1991)was still the product of a band in the search for their own sound(though having one of Blur's best songs-"There's no other way")and litlle prepared for success,as the black hole they entered after "Popscene"(1992)plummeted down the charts showed.Virtually written off by every journalist in Britain they set out to prove their worth,honed their pop formula,found their own voice and released their first great album-"Modern Life is Rubbish"-ressurrecting for the 90's the british spirit of bands like the Kinks,Squeeze or Jam(Which is visible in the superb retro cover).
FOR TOMORROW-One of Blur's trademark songs;the guitar in the beginning followed by Damon singing "He's a twentieth century boy"(T-Rex anybody) still make for one of the best song intros(and albums for that matter) in modern music history.
ADVERT-An excellent tune with outstanding vocal harmonies in the chorus.
COLIN ZEAL-The closest to the KInks sound,and all the better for that.
PRESSURE ON JULIAN-Reportedly about Julian Cope(it sees Blur acknowledge one of their influences)it's a great track in the spirit of the album.
STARSHAPED-The most uplifting track,it hasn't got though a chorus to match the verses feel of teenage gusto.
BLUE JEANS-The most gorgeous melody in here,one of the standouts.
CHEMICAL WORLD-Faster than the last one,was one of the singles.
SUNDAY,SUNDAY-The most direct song of this recording,great guitar,vocals,chorus and it's fast too.Perfect.
OILY WATER-The worst track,probably because the demo version of this song was considered good enough to be in the album,well it wasn't.Should have been more worked upon.
MISS AMERICA-Possibly Damon's best vocal perfomance lies here.
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Most recent customer reviews
5.0 out of 5 stars Eccentricity has rarely sounded so good
As a genre, Britpop has certainly had its moments, but too many of its more noted practitioners haven't quite been able to emerge from the overwhelming shadow of their Beatles... Read more
Published on Nov. 17 2003 by Wheelchair Assassin
5.0 out of 5 stars Magic Marker America
Fittingly for an album that was originally going to be called "Britain vs America", this album was bastardized on its American release. Read more
Published on Sept. 3 2003 by kendall lopere
5.0 out of 5 stars probably the best blur album - amazing!
there's so much to absorb on this double LP it may be a little off-putting unless you really give yr undivided attention to it (headphones would be a good idea). Read more
Published on Aug. 4 2003
3.0 out of 5 stars Brit popped
When I was 14, had been into music for only short time, my tastes mostly influenced by my older sisters record collection. Read more
Published on July 29 2003 by Sacco
4.0 out of 5 stars Scorned?
I will not reiterate what has already be said. With that in mind I have but one comment about this album. I came to like blur very late and first bought the "best of... Read more
Published on April 25 2003 by Cancer
5.0 out of 5 stars The best Blur CD
If you cant choose what Blur CD to get, GET THIS ONE! I love it so much I had to learn every song on the piano. Read more
Published on Feb. 21 2003 by "bofoxyjangles"
3.0 out of 5 stars Pressure on Julian
Modern life is rubbish is the second Blur alblum I've bought and I loved it. Oily water is one of my favorite tracks along with tommarow and Chemical world. Read more
Published on Aug. 5 2002 by Fig
5.0 out of 5 stars A stunner!!
I don't know how I missed this one. Raucous, noisy, crazy and delightful - amazingly as fab as the best early 80's XTC albums (Black Sea, The Big Express), maybe even better! Read more
Published on Jan. 23 2002 by ElevenSpeed
5.0 out of 5 stars Latter-Day Kinks
I own all of Blur's cds, and this is the one I consistently pop in the cd player. Sure, some of their other releases garnered more critical acclaim, but for me this is the most... Read more
Published on Nov. 22 2001 by Thaddeus Wert
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