Parklife is the third studio album by the English rock band Blur, released in April
Parklife is the third studio album by the English rock band Blur, released in April

1994 on Food Records. After disappointing sales for their previous album Modern Life
1994 on Food Records. After disappointing sales for their previous album Modern Life

Is Rubbish, Parklife returned Blur to prominence in the UK, helped by its four hit singles:
Is Rubbish, Parklife returned Blur to prominence in the UK, helped by its four hit singles:

"Girls & Boys", "End of a Century", "Parklife" and "To the End". Certified four times platinum
"Girls & Boys", "End of a Century", "Parklife" and "To the End". Certified four times platinum

in the United Kingdom, in the year following its release the album came to define the emerging
in the United Kingdom, in the year following its release the album came to define the emerging

Britpop scene, along with the album Definitely Maybe by rivals Oasis. Britpop in turn would
Britpop scene, along with the album Definitely Maybe by rivals Oasis. Britpop in turn would

form the backbone of the broader Cool Britannia movement. Parklife therefore attained a cultural
form the backbone of the broader Cool Britannia movement. Parklife therefore attained a cultural

significance above and beyond its considerable sales and critical acclaim, cementing its
significance above and beyond its considerable sales and critical acclaim, cementing its

status as a landmark in British rock music.
status as a landmark in British rock music.

Recording After the completion of recording sessions
Recording After the completion of recording sessions

for Blur's previous album, Modern Life Is Rubbish, Damon Albarn, the band's vocalist,
for Blur's previous album, Modern Life Is Rubbish, Damon Albarn, the band's vocalist,

began to write prolifically. Blur demoed Albarn's new songs in groups of twos and threes. Due
began to write prolifically. Blur demoed Albarn's new songs in groups of twos and threes. Due

to their precarious financial position at the time, Blur quickly went back into the
to their precarious financial position at the time, Blur quickly went back into the

studio with producer Stephen Street to record their third album. Blur met at the Maison
studio with producer Stephen Street to record their third album. Blur met at the Maison

Rouge recording studio in August 1993 to record their next album. The recording was a relatively
Rouge recording studio in August 1993 to record their next album. The recording was a relatively

fast process, apart from the song "This Is a Low".
fast process, apart from the song "This Is a Low".

While the members of Blur were pleased with the final result, Food Records owner David
While the members of Blur were pleased with the final result, Food Records owner David

Balfe was not pleased with the record, telling the band's management "This is a mistake".
Balfe was not pleased with the record, telling the band's management "This is a mistake".

Soon afterwards, Balfe sold Food to EMI. Music
Soon afterwards, Balfe sold Food to EMI. Music

Blur frontman Damon Albarn told NME in 1994, "For me, Parklife is like a loosely linked
Blur frontman Damon Albarn told NME in 1994, "For me, Parklife is like a loosely linked

concept album involving all these different stories. It's the travels of the mystical
concept album involving all these different stories. It's the travels of the mystical

lager-eater, seeing what's going on in the world and commenting on it." Albarn cited
lager-eater, seeing what's going on in the world and commenting on it." Albarn cited

the Martin Amis novel London Fields as a major influence on the album. Oasis guitarist Noel
the Martin Amis novel London Fields as a major influence on the album. Oasis guitarist Noel

Gallagher was once quoted saying that Parklife was, "Like Southern England personified".
Gallagher was once quoted saying that Parklife was, "Like Southern England personified".

The songs themselves span many genres, such as the synthpop-influenced hit single "Girls
The songs themselves span many genres, such as the synthpop-influenced hit single "Girls

& Boys", the instrumental waltz interlude of "The Debt Collector", the punk rock-influenced
& Boys", the instrumental waltz interlude of "The Debt Collector", the punk rock-influenced

"Bank Holiday", the spacey, Syd Barrett-esque "Far Out", and the fairly new wave-influenced
"Bank Holiday", the spacey, Syd Barrett-esque "Far Out", and the fairly new wave-influenced

"Trouble in the Message Centre". Journalist John Harris commented that while many of the
"Trouble in the Message Centre". Journalist John Harris commented that while many of the

album's songs "reflected Albarn's claims to a bittersweet take on the UK's human patchwork",
album's songs "reflected Albarn's claims to a bittersweet take on the UK's human patchwork",

he stated that several songs, including "To the End" and "Badhead" "lay in a much more
he stated that several songs, including "To the End" and "Badhead" "lay in a much more

personal space". Title and cover
personal space". Title and cover

The album was originally going to be entitled London and the album cover shot was going
The album was originally going to be entitled London and the album cover shot was going

to be of a fruit-and-vegetable cart. Albarn stated tongue-in-cheek, "That was the last
to be of a fruit-and-vegetable cart. Albarn stated tongue-in-cheek, "That was the last

time that Dave Balfe was, sort of, privy to any decision or creative process with us,
time that Dave Balfe was, sort of, privy to any decision or creative process with us,

and that was his final contribution: to call it London". The cover refers to the British
and that was his final contribution: to call it London". The cover refers to the British

pastime of greyhound racing. Most of the pictures in the CD booklet are of the band in the greyhound
pastime of greyhound racing. Most of the pictures in the CD booklet are of the band in the greyhound

racing venue Walthamstow Stadium, although the actual cover was not shot there. The album
racing venue Walthamstow Stadium, although the actual cover was not shot there. The album

cover for Parklife was among the ten chosen by the Royal Mail for a set of "Classic Album
cover for Parklife was among the ten chosen by the Royal Mail for a set of "Classic Album

Cover" postage stamps issued in January 2010. Release
Cover" postage stamps issued in January 2010. Release

Reception Parklife remains one of the most acclaimed
Reception Parklife remains one of the most acclaimed

albums of the 1990s, released in April 1994, debuted at number one on the UK Album Charts.
albums of the 1990s, released in April 1994, debuted at number one on the UK Album Charts.

The album stayed on the chart for 90 weeks. However, the album only charted at number
The album stayed on the chart for 90 weeks. However, the album only charted at number

6 on the Billboard Top Heatseekers album chart in the United States. Johnny Dee, reviewing
6 on the Billboard Top Heatseekers album chart in the United States. Johnny Dee, reviewing

Parklife for NME, called it "a great pop record", adding "On paper it sounds like hell, in practice
Parklife for NME, called it "a great pop record", adding "On paper it sounds like hell, in practice

it's joyous." Rolling Stone gave the album four out of five stars. Reviewer Paul Evans
it's joyous." Rolling Stone gave the album four out of five stars. Reviewer Paul Evans

wrote, "With one of this year's best albums, [Blur] realize their cheeky ambition: to reassert
wrote, "With one of this year's best albums, [Blur] realize their cheeky ambition: to reassert

all the style and wit, boy bonding and stardom aspiration that originally made British rock
all the style and wit, boy bonding and stardom aspiration that originally made British rock

so dazzling." AllMusic's Stephen Thomas Erlewine commented: "By tying the past and the present
so dazzling." AllMusic's Stephen Thomas Erlewine commented: "By tying the past and the present

together, Blur articulated the mid-'90s zeitgeist and produced an epoch-defining record." Conversely,
together, Blur articulated the mid-'90s zeitgeist and produced an epoch-defining record." Conversely,

Robert Christgau stated that the only good song on the album was "Girls & Boys".
Robert Christgau stated that the only good song on the album was "Girls & Boys".

Accolades Parklife has received accolades since its
Accolades Parklife has received accolades since its

official release and is largely seen not only as one of the best albums of 1994 and its
official release and is largely seen not only as one of the best albums of 1994 and its

decade, but of all time. The album was nominated to the 1995 Mercury Prize, but it lost to
decade, but of all time. The album was nominated to the 1995 Mercury Prize, but it lost to

M People's Elegant Slumming. Blur also won four awards at the 1995 Brit Awards, including
M People's Elegant Slumming. Blur also won four awards at the 1995 Brit Awards, including

Best British Album for Parklife. The album was listed as one of the 1001 Albums You Must
Best British Album for Parklife. The album was listed as one of the 1001 Albums You Must

Hear Before You Die. In 2006, British Hit Singles & Albums and
Hear Before You Die. In 2006, British Hit Singles & Albums and

NME organised a poll of which, 40,000 people worldwide voted for the 100 best albums ever
NME organised a poll of which, 40,000 people worldwide voted for the 100 best albums ever

and Parklife was placed at number 34 on the list. The album has been hailed as a "Britpop
and Parklife was placed at number 34 on the list. The album has been hailed as a "Britpop

classic". Parklife influenced a number of British guitar bands, including The Boo Radleys,
classic". Parklife influenced a number of British guitar bands, including The Boo Radleys,

Supergrass, Gene, Echobelly and Menswear. In July 2014, Guitar World ranked Parklife
Supergrass, Gene, Echobelly and Menswear. In July 2014, Guitar World ranked Parklife

at number seven in the "Superunknown: 50 Iconic Albums That Defined 1994" list.
at number seven in the "Superunknown: 50 Iconic Albums That Defined 1994" list.

Track listing All lyrics written by Damon Albarn except
Track listing All lyrics written by Damon Albarn except

"Far Out" by Alex James, all music composed by Blur.
"Far Out" by Alex James, all music composed by Blur.

Personnel Blur
Personnel Blur

Damon Albarn – lead and backing vocals, keyboards, hammond organ, moog synthesizer,
Damon Albarn – lead and backing vocals, keyboards, hammond organ, moog synthesizer,

machine strings, harpsichord on "Clover Over Dover", melodica, vibraphone, recorder, programming
machine strings, harpsichord on "Clover Over Dover", melodica, vibraphone, recorder, programming

Graham Coxon – guitars, backing vocals, clarinet, saxophone, percussion
Graham Coxon – guitars, backing vocals, clarinet, saxophone, percussion

Alex James – bass guitar, vocals on "Far Out", crowd noise
Alex James – bass guitar, vocals on "Far Out", crowd noise

Dave Rowntree – drums, percussion, programming, crowd noise
Dave Rowntree – drums, percussion, programming, crowd noise

Additional musicians Stephen Street – vintage keys, sound effects,
Additional musicians Stephen Street – vintage keys, sound effects,

some programming Laetitia Sadier – vocals on "To the End"
some programming Laetitia Sadier – vocals on "To the End"

Phil Daniels – narration on "Parklife" Stephen Hague – accordion
Phil Daniels – narration on "Parklife" Stephen Hague – accordion

String quartet Chris Tombling
String quartet Chris Tombling

Audrey Riley Leo Payne MBE
Audrey Riley Leo Payne MBE

Chris Pitsillides Duke strings;
Chris Pitsillides Duke strings;

Louisa Fuller – violin Rick Koster – violin
Louisa Fuller – violin Rick Koster – violin

Mark Pharoah – violin John Metcalfe – string arrangement, viola
Mark Pharoah – violin John Metcalfe – string arrangement, viola

Ivan McCready – cello Kick horns;
Ivan McCready – cello Kick horns;

Richard Edwards – trombone Roddy Lorimer – flugelhorn, trombone
Richard Edwards – trombone Roddy Lorimer – flugelhorn, trombone

Tim Sanders – tenor sax, soprano sax Simon Clarke – baritone sax, alto sax, flute
Tim Sanders – tenor sax, soprano sax Simon Clarke – baritone sax, alto sax, flute

Charts and certifications References
Charts and certifications References

Harris, John. Britpop! Cool Britannia and the Spectacular Demise of English Rock, 2004.
Harris, John. Britpop! Cool Britannia and the Spectacular Demise of English Rock, 2004.

ISBN 0-306-81367-X Notes
ISBN 0-306-81367-X Notes