Parklife [Special Edition]

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Modern Life Is Rubbish established Blur as the heir to the archly British pop of the Kinks, the Small Faces, and the Jam, but its follow-up, Parklife, revealed the depth of that transformation. Relying more heavily on Ray Davies' seriocomic social commentary, as well as new wave, Parklife runs through the entire history of post-British Invasion Brit-pop in the course of 16 songs, touching on psychedelia, synth pop, disco, punk, and music hall along the way. Damon Albarn intended these songs to form a sketch of British life in the mid-'90s, and it's startling how close he came to his goal; not only did the bouncy, disco-fied "Girls & Boys" and singalong chant...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Modern Life Is Rubbish established Blur as the heir to the archly British pop of the Kinks, the Small Faces, and the Jam, but its follow-up, Parklife, revealed the depth of that transformation. Relying more heavily on Ray Davies' seriocomic social commentary, as well as new wave, Parklife runs through the entire history of post-British Invasion Brit-pop in the course of 16 songs, touching on psychedelia, synth pop, disco, punk, and music hall along the way. Damon Albarn intended these songs to form a sketch of British life in the mid-'90s, and it's startling how close he came to his goal; not only did the bouncy, disco-fied "Girls & Boys" and singalong chant "Parklife" become anthems in the U.K., but they inaugurated a new era of Brit-pop and lad culture, where British youth celebrated their country and traditions. The legions of jangly, melodic bands that followed in the wake of Parklife revealed how much more complex Blur's vision was. Not only was their music precisely detailed -- sound effects and brilliant guitar lines pop up all over the record -- but the melodies elegantly interwove with the chords, as in the graceful, heartbreaking "Badhead." Surprisingly, Albarn, for all of his cold, dispassionate wit, demonstrates compassion that gives these songs three dimensions, as on the pathos-laden "End of a Century," the melancholy Walker Brothers tribute "To the End," and the swirling, epic closer, "This Is a Low." For all of its celebration of tradition, Parklife is a thoroughly modern record in that it bends genres and is self-referential the mod anthem of the title track is voiced by none other than Phil Daniels, the star of Quadrophenia. And, by tying the past and the present together, Blur articulated the mid-'90s Zeitgeist and produced an epoch-defining record. [EMI's deluxe 2012 double-disc expansion of Parklife contains the 1994 album on the first disc and a host of B-sides and rarities on the second. Parklife is where Blur hit their stride and this is evident even throughout the B-sides collected here. Sure, there are songs that are proud throwaways -- Graham Coxon's spiteful, boozy pisstake "Red Necks" and Alex James' tweaked twee "Alex's Song" -- but there are also moments of shivering beauty, as in the Ziggy Stardust homage "Peter Panic," the gleefully nasty disco "People in Europe," and the barbed pop of "Threadneedle Street." To these B-sides acoustic versions of "Jubilee" a song that does not easily lend itself to such an arrangement, "Parklife," and "End of a Century" are added, rounding out a generous and entertaining bonus disc.]
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Product Details

  • Release Date: 7/31/2012
  • Label: Parlophone (Wea)
  • UPC: 603497913060
  • Catalog Number: 791306

Tracks

Disc 1
  1. 1 Girls and Boys (4:51)
  2. 2 Tracy Jacks (4:19)
  3. 3 End of a Century (2:45)
  4. 4 Parklife Starring Phil Daniels (3:05)
  5. 5 Bank Holiday (1:42)
  6. 6 Badhead (3:25)
  7. 7 The Debt Collector (2:10)
  8. 8 Far Out (1:37)
  9. 9 To the End (4:04)
  10. 10 London Loves (4:15)
  11. 11 Trouble In the Message Centre (4:09)
  12. 12 Clover Over Dover (3:22)
  13. 13 Magic America (3:37)
  14. 14 Jubilee (2:47)
  15. 15 This is a Low (5:16)
  16. 16 Lot 105 (1:18)
Disc 2
  1. 1 Magpie (4:16)
  2. 2 Anniversary Waltz (1:22)
  3. 3 People In Europe (3:28)
  4. 4 Peter Panic (4:21)
  5. 5 Girls And Boys (7:16)
  6. 6 Threadneedle Street (3:18)
  7. 7 Got Yer! (1:48)
  8. 8 Beard (1:44)
  9. 9 To the End (4:05)
  10. 10 Supa Shoppa (3:02)
  11. 11 Theme From An Imaginary Film (3:34)
  12. 12 Red Necks (2:53)
  13. 13 Alex's Song (2:45)
  14. 14 Jubilee (2:32)
  15. 15 Parklife [From 'End Of A Century' Spanish C (2:59)
  16. 16 End of A Century (2:44)
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Album Credits

Performance Credits
Blur Primary Artist
Phil Daniels Narrator
Damon Albarn Harpsichord, Recorder, Vocals, Background Vocals, Melodica, Moog Synthesizer, Vibes, String Machine, Hammond B3
Simon Clarke Soprano Flute, Alto Saxophone, Baritone Saxophone
Graham Coxon Acoustic Guitar, Clarinet, Percussion, Electric Guitar, Saxophone, Background Vocals
Richard Edwards Trombone
Stephen Hague Accordion
The Kick Horns Horn
Alex James Bass Guitar, Vocals, Crowd Noise
Roddy Lorimer Trombone, Flugelhorn
Ivan McCready Cello
John Metcalfe Viola
Leo Payne String Quartet
Mark Pharoah Violin
Chris Pitsillides String Quartet
Audrey Riley String Quartet
Dave Rowntree Percussion, Drums, Crowd Noise
Tim Sanders Soprano Saxophone, Tenor Saxophone
Stephen Street Keyboards
Christopher Tombling String Quartet
Rick Koster Violin
Louisa Fuller Violin
Duke Strings Strings
Neil Sidwell Trombone
Technical Credits
Pet Shop Boys Arranger, Producer, Remixing
Blur Producer, Engineer
Damon Albarn Composer, Programming
Graham Coxon Composer
Stephen Hague Producer, Engineer
Alex James Composer
Bob Kraushaar Engineer
John Metcalfe String Arrangements
Dave Rowntree Composer, Programming
Stephen Street Programming, Sound Effects, Producer
Bob Thomas Cover Photo
Frank Arkwright Remastering
Miranda Sawyer Liner Notes, Interviewer
John Smith Producer, Engineer
Scott Minshall Reissue Design
Stephen Smith Producer
Bob Thomas Cover Photo
Jason Guiness Coz Technical Maintenance
Pete Gleadhall Programming
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