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Parklife Import

4.5 out of 5 stars 78 customer reviews

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Product Details

  • Audio CD (June 14 1994)
  • Number of Discs: 1
  • Format: Import
  • Label: Wb / Parlophone
  • ASIN: B000002TQB
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 4.5 out of 5 stars 78 customer reviews
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1. Girls And Boys
2. Tracy Jacks
3. End Of A Century
4. Parklife
5. Bank Holiday
6. Bad Head
7. The Debt Collector
8. Far Out
9. To The End
10. London Loves
11. Trouble In The Message Centre
12. Clover Over Dover
13. Magic America
14. Jubilee
15. This Is A Low
16. Lot 105

Product Description

Product Description

Japanese Version Featuring A Bonus Track: "Girls & Boys (Remix)".


Although Blur had long been recognised as one of the premier bands responsible for the reinvigoration of Britpop in the 1990s, it's 1994's Parklife that truly provided the template for the entire movement. At a time when Oasis were aping the sounds of their pub-rock heroes on Definitely Maybe, Blur drew from the legacy of the Kinks and Small Faces to create an album that's as English as a rainy Sunday in front of the gas fire. Parklife is full of songs that, quite frankly, don't make much sense outside of the British Isles, songs that find joy in the mundane, like "Girls & Boys" (a song about working-class holidaymakers in the sun) and "Parklife" (a day in the life of a cheeky, unemployed bench-sitter). Witty, ironic and irreverent, Parklife remains one of those rare albums that sum up a specific place and time (Britain in the mid-1990s). For that reason alone, it can be considered one of Blur's finest albums. --Robert Burrow

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Customer Reviews

Top Customer Reviews

Format: Audio CD
Parklife is one of Blur's best albums. Know what I mean?
On Parklife, Blur take their old-meets-new Britpop sound they developed on Modern Life is Rubbish and make it catchier, tighter and recorded with cleaner production. Damon Albarn uses a wider range of keyboards than he had before and Graham Coxon begins to experiment on his guitar (which would lead to the unusual lines in The Great Escape, the noise on "Blur" and eventually his own squiggly solo work). If you keep an ear out on headphones, you'll hear lots of background texture as well, be it sound effects, delay effects or bobbing electronica sounds.
This is probably one of the best, if not the best concept album of the 1990s. Britain in music, the UK culture distilled onto a disc. There are lyrical mentions to European holidays, bingo, sailing, Americanisation, the civil service, the cliffs of Dover, motorways, call centres, eccentrics, bone idlers and the stiff-upper lip . There are musical allusions to british styles of music, like punk, spoken word and synth pop, and to british musicians such as Syd Barrett (particularly on Far Out) and the Kinks. Even the Harpsichord, a very British instrument, makes an appearance on Clover Over Dover. No wonder this album made such an impact on the way the British looked at themselves. A lot of thought went into this disc, and that thought makes these catchy pop songs all the more enjoyable.
Despite the joking and irony, there are true emotions on this album. They range widely, from the party mood of "Girls and Boys", to the cynical feel of "Jubilee", to the jokey stomp of "Lot 105" to the depressing sweep of "This is a Low". There is something on this CD for however you are feeling. Fun, clever, catchy, and you can relate to it.
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Format: Audio CD
Blur is one of the last true 'album' bands in existence--that is, they focus their primary energies on making brilliant and adventurous records, à la The Beatles. Almost no band in the past decade has been so amazingly consistent, so cutting-edge and daring. "Parklife," their epochal 1994 release, still stands as the gold standard in the elustrious Blur back catalogue; it is a record that is boldly representive of its time period, yet light years ahead of it. Safely said, almost no band has ever made such a pure, diverse, and enthralling pop record, one that seems to encompass the very history of rock 'n roll. "Parklife" overflows with melody and atmosphere and Damon's lyrics unfold like a great story, jumping from one idiosyncracy of English life to the next. His characters, pulled from the everyday pages of English life, are rich and complex figures whose lives and actions beg for the listener's full attention. Yet, even if the listener is oblivious to the this record's staunch Englishness, the music is more than capable of enchanting your ear and enriching your mind. Beautiful guitar riffs, sonorous and thick bass lines, spacey organs, and sweeping horns and strings permeate these tunes. On "Girls and Boys," the catchiest bass line in the history of recorded music is intertwined with a minimalist guitar figure and a bleepy synth to make one of the best pop singles in history. On "This Is A Low," a backwards guitar figure cascades over light cymbal splashes, eventually giving way to Damon's echoey, melancholy chorus--when he longingly enunciates "This is a low/But it won't hurt you when you're alone," the hairs on my neck stand up.Read more ›
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Format: Audio CD
Awhile ago, I had picked up the Best of Blur to see if it was worth buying. While listening to it, I became inspired. Noticing a large(but not intimidating back catalog), I decided to give some of their actual albums a shot. Seeing as how Parklife was their most critcally acclaimed album, I decided to see what all the fuss was about. While I didn't warm up to it right away, it has nuzzled its way into one of my current favorites.
Tight song writing and great lyrical hooks are some of the main draws of this CD. What really helps this CD out is the almost XTC Skylarking-esque orchastration on all the songs. But where to me, XTC's music comes of as Medival folk, Parklife embodies the working class of Britain. With that in mind, Blur proceeds to poke fun in a satirical manner with lyrics that light and amusing, the band comes back with catchy numbers and great varation. To the disco beat of Girls & Boys and London Loves, to the quirk rock sounds of Parklife and Bank Holiday, each song remains fresh. Above all else, this CD features some of the most consistant song writing for an album with 16 tracks.
I still recommend Best Of Blur as an introduction for all the would be Blur fans for a great view of all their work, Parklife is possibly the best place to start. It stands as their best work that I've heard and one of the best Brit-pop CDs I've heard. I have a feeling I'll be listening to this one for awhile.
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Format: Audio CD
If there's one conclusion to be made after listening to Parklife, it's that Blur are most certainly English, and delight in satirising the English whilst remaining proud of their Englishness themselves. I mean, come on, for a start, the album is named after greyhound racing, and you can't get much more English than that.
Next, Albarn's voice is the most blatantly cockney voice since Joe Strummer's early Clash days. Next, 'Tracy Jacks'. I mean, no-one from another country could be called that, and the lyrics certainly couldn't be about a non-English person.
Musically (with the possibly exception of the out of place but possibly best song on the album This Is A Low, which is worryingly mature) it isn't exactly complex, or wonderful, but there are come cool, catchy tunes, not least the ultimate annoyingly catchy song of the decade, Girls and Boys.
However, lyrically, Albarn shines through, with his wry, funny, witty self-satirising lyrics, along with one song that is most certainly not about England, the great 'Magic America'. Parklife does represent a culture, but it does so in a way that isn't as fantastic as the following years' Oasis and Pulp albums. It is slightly over-rated, but it remains probably their best album, with the possible exception of its polar opposite 13.
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