Beck

. Considering the recent inactivity of the band and the diverse projects of Damon (working with Gorillaz), Dave (making computer cartoons) and Alex, the latter date - 2006, for a next studio project by Blur, is more probable.
. Coxon is also preparing for another record with similar release dates like his former band. Beck is a Scientologist. According to the band the next album will see grenlight in late 2005 or early 2006. He has also appeared as a guest on another animated show Space Ghost: Coast to Coast. There will be another Gorillaz album released before the Blur release.

In keeping with Beck's sense of humour, there is much self-deprecation ("Odelay is a word! Just look it up in the Becktionary"). Whether it will be an EP or a full-length album - it remains to be seen. Beck has done a guest voice on Matt Groening's animated show Futurama, playing himself. Blur are currently recording for a forthcoming release. Instead of pushing for an early release, a variety of bonus tracks including remixes from Boards of Canada and Dizzee Rascal will be released on March 29th, 2005. Ironicly, Coxon realigned with ex-Blur producer Stephen Street, to release his most successful and accessible solo album up to date Happiness In Magazines in middle 2004. Like many commercial artists, Beck's newest album fell victim to an internet leak in mid January 2005. Ex-Verve guitarist Simon Tong has been standing in place of Coxon on live dates.

The video for the first single, "E-Pro," has been released to the general public on msn.com. The album resulting from the sessions, Think Tank, was released in May 2003 to mostly favourable reviews and was nominated for Best British Album at the 2004 Brit awards. The record, Guero, produced by the Dust Brothers and Tony Hoffer, is tentatively slated for an early 2005 release. Albarn later told an interviewer that there had been a big struggle between himself and Coxon. In late 2004, Beck returned to the studio to work on his sixth major-label album. Since then Albarn had said that the door is always opened for Graham to return, but a possible project or a collaborative work of the full line-up is not very likely in the foreseeable future. Beck has a number of b-sides and soundtrack-only songs as well, including "Midnite Vultures" (curiously, not on the album of the same name), a cover of Korgis' "Everybody's Got to Learn Sometime" which appeared in the 2004 movie Eternal Sunshine of the Spotless Mind and David Bowie's Diamond Dogs from Moulin Rouge!. After several weeks of rumour and uncertainty, Coxon confirmed that he had been asked to leave the band for reasons connected with his "attitude" at a time when he had given up a heavy alcohol habit.

The Sea Change tour featured The Flaming Lips as Beck's opening and backing band. He was apparently unhappy at the choice of dance DJ Fatboy Slim as the sessions' producer. Although some radio singles were released no commercial singles were made available to the public. Coxon was variously reported to have failed to attend recording sessions or to have been shut out of them. The album also featured string arrangements by Beck's father David Campbell and a sonically dense mix recalling at times Mutations and elements of Midnite Vultures.
Tensions between Coxon and the rest of the band escalated during recording sessions in 2002. Sea Change was conceptualized as an album with one unifying theme—the stages following the end of a relationship. For a couple of years members of Blur engaged in a variety of side-projects around this time: Coxon made a number of solo albums, Alex James joined actor Keith Allen and artist Damien Hirst (who had both contributed their talents to the video for Blur's single, "Country House" earlier) to form Fat Les, while Albarn contributed to Gorillaz and travelled to Mali on behalf of Oxfam, producing the fundraising album Mali Music.

After Midnite Vultures came Sea Change in 2002, another airy and emotional album with producer Nigel Godrich. Albarn said that as they didn't stop for nine years, they needed break. For Beck, it was a return to the high-energy performances that had been his trademark as far back as Lollapalooza—the live stage set including a red bed that descended from the ceiling for the song "Debra" and the touring band was supplemented by a brass section. Exhausted by incessant recording and touring through the world, the band entered into a hiatus. In 1999, Geffen released the much-anticipated Midnite Vultures, an orgy of sexual and culinary innuendo that was supported by a world tour.
. A catalogue of the show was published by Plug In Editions/Smart Art Press. The box set featured 22 singles and all accompanying b-sides.

The show toured from the Santa Monica Museum of Art to galleries in New York City and Winnipeg, Canada. In addition, a box set celebrating Blur's 10th anniversary was released later that year. During 1998, Beck's art collaborations with his grandfather Al Hansen were featured in an exhibition entitled Beck & Al Hansen: Playing With Matches and showcased solo and collaborative collage, assemblage, drawing and poetry works. This album was the first record produced by William Orbit, not by longtime producer Stephen Street. Track 10, "Sing It Again,"was written for Johnny Cash, but Beck never submitted it, considering it "rubbish." Cash would go on to record "Rowboat," a song that originally appeared on Beck's Stereopathetic Soul Manure. In 1999, Blur released 13, more mature album lyrically dominated by the end of Albarn's turbulent relationship with Justine Frischmann - Elastica frontwoman as well as former's battle with drug and alcoholic addictions. Songs on the album consisted of older tracks, some even dating back as far as 1994. The success in America eventually spread over in Britain and by the end of the year the album bounced back into the charts.

Mutations was a departure from the electronic density of Odelay, and was filled with folk and blues influences. the record received strong reviews and the album and its second single "Song 2" became a moderate hit. Recorded over two weeks, during which Beck recorded one song a day, the sessions produced 14 songs. In U.S. Produced by Nigel Godrich of Radiohead fame, it was intended as a stopgap measure before the next album proper. - the album and the first single, "Beetlebum" debuted at number one but quickly fell down the charts - as the group's mass audience didn't accept this incarnation. Odelay was followed in 1998 by Mutations. However the band's reinvention didn't earn them initially warm reviews in U.K.

Within the year, Odelay had received perfect reviews in Rolling Stone and Spin magazines, been listed on countless "Best of" lists, had received double-platinum status, and earned an impressive number of industry awards, including two Grammies. These influences sparked in Blur's self-titled fifth album, which was released in February of 1997 to very positive reviews, nearly rivaling with those of the Great Escape. The lead single, "Where It's At," received heavy airplay and its video was in constant rotation on MTV. By the end of the year, Albarn was declaring that he was no longer interested in British music and was fascinated with American indie rock, a genre that Graham Coxon had been supporting for years. That one-hit wonder label was put to rest with the release of 1996's Odelay, a collaborative effort with the Dust Brothers, creators of the Beastie Boys' Paul's Boutique. Instead they decided to spend the entire year out of the spotlight. It didn't help that a lot of audiences (especially at Lollapalooza) were only familiar with "Loser"' and would generally ignore his other work. In the face of negative press and weak public support, Blur nearly broke up in early 1996, following a scuffle between chief artists Coxon and Albarn.

Beck took his act on the road with the 1995 Lollapalooza tour. Still, some critics panned him as a one-hit wonder. charts at number one and earned overwhelmingly positive reviews, it sold in smaller numbers, and by the beginning of 1996, Blur was seen as has-beens, especially since they once again failed to break the American market, where Oasis had been (at least partially) successful. At the same time, he released One Foot in the Grave on independent K Records and Stereopathetic Soul Manure on Flipside Records. While The Great Escape entered the U.K. Beck would comment often that like "Loser," the song that inspired it, the "slacker" label was very ironic. Although Blur won the battle, with "Country House" becoming the group's first number one single, they ultimately lost the war, as Oasis became Britain's biggest band with their second album, (What's the Story) Morning Glory?, completely overshadowing the follow-up to Parklife, The Great Escape. In 1994, Geffen's release of Mellow Gold made Beck a mainstream success—and led to his iconic status as the "slacker" representative of the alternative rock scene. The strategy backfired.

Eventually, he chose Geffen Records, who offered him terms that included allowing for the release of independent albums while under contract. Blur released "Country House", the first single from their new album, in August amidst to media attention because Albarn had the single's release moved up a week to compete with the release of "Roll With It," a new single from Blur's chief rivals, Oasis. Their 1993 12" vinyl "Loser," from an initial run of 500 copies, created a sensation on alternative radio that led to a furious bidding war between labels to sign Beck. The group spent the first half of 1995 recording their fourth album and playing various one-off concerts, including a sold-out stadium show. It was in this atmosphere of heady creativity that the founders of Bong Load Custom Records discovered Beck. By the beginning of 1995, Parklife had gone triple platinum and the band had become superstars. Some of his earliest and most thought provoking recordings were achieved by working with Tom Grimley at Poop Alley Studios, a part of WIN Records. Oasis, Elastica, Pulp, the Boo Radleys, Supergrass, Gene, Echobelly, Menswear, Mansun, Radiohead, Suede and numerous other bands all benefited from the band's success.

In the spirit of an artist struggling to make a name for himself, his shows were memorable for their mix of humor and eccentricity. With the success of Parklife, Blur opened the door for a flood of British indie guitar bands who dominated British pop culture in the mid-'90s. During this time, Beck sought out (or snuck onto) stages at venues all over LA, from punk clubs to coffee shops.
. To support himself, he took a variety of low-paying, dead-end jobs, and even lived in a shed, all the while continuing to develop his music. It was a completely different story in England, as Blur had a string of hit singles, including the ballad "To the End" and the mod anthem "Parklife," which featured narration by Phil Daniels, the star of the film version of the Who's Quadrophenia. Beck returned to LA at the turn of the decade, destitute but motivated. charts, peaking at number 52, but the album never cracked the charts.

New York City and the late '80s found himself part of the punk-influenced anti-folk music movement. The stylized new wave dance-pop single "Girls and Boys" entered the charts at number five; the single managed to spend 15 weeks on the U.S. In Germany, he spent time with his maternal grandfather, fluxus artist Al Hansen. Released in April 1994, Parklife entered the charts at number one and catapulted the band to stardom in Britain. After dropping out of high school in the mid-1980s, Beck educated himself and traveled widely. Modern Life... turned out to be a dry run for Blur's breakthrough album, Parklife. Hopefully compared by critics to the more obscure moments of Bob Dylan and given an enthusiastic seal of approval by Allen Ginsberg, Beck was a link between the folk and beatnik past and the hip-hop present. Modern Life Is Rubbish received good reviews in Britain, peaking at number 15 on the charts, yet it failed to make much of an impression in the U.S.

Bungle and avant garde composers such as John Zorn who experimented with similar genre raiding, Beck achieved notice with his free-flowing, sometimes absurd lyrical stylings. The record was released in May in Britain; it appeared in the United States that fall. Beck's music is often considered to be typical of much popular alternative music of the 1990s with its disdain for genre conventions, obtuse and ironic lyrics, and the melding of samples with played instruments. However, what set him apart from rock groups such as Mr. At this point the band was quite angry and irritated, thus they refused. When his parents separated, he stayed with his mother and brother in LA, where he was influenced by that city's diverse musical offerings—everything from hip-hop to Latin music—and his mother's art scene – all of which would later reappear in his recorded and published work. Modern Life Is Rubbish was set for release in the spring of 1993 when SBK asked Blur to re-record the album with producer Butch Vig (Nirvana, Sonic Youth). Beck Hansen was born in Los Angeles, California to parents, David Campbell, a musician, and Bibbe Hansen, a visual artist. and charted at number 28 in the U.K.

Beck Hansen (born Bek David Campbell, July 8, 1970) is an American musician and songwriter. Blur complied and recorded "Chemical World," which pleased SBK for a short while; the song would become a minor alternative hit in the U.S. Southlander. record company, SBK, believed there was no American hit single on the record and asked them to return to the studio. Download sample of "Sissyneck" from Odelay. Food was ready to release the record, but the group's U.S. Blur went back into the studio and recorded Albarn's "For Tomorrow," turned out to be a British hit.

After spending nearly a year in the studio, the band delivered the album to Food records. The record company rejected the album, declaring that it needed a hit single. XTC's Andy Partridge was originally slated to produce Modern Life Is Rubbish, but the relationship between Blur and Partridge soured, so Street was again brought in to produce the record. For a couple of years, Blur struggled to abandon this title and prove the critics wrong. Although receiving good reviews, the album fit neatly into the dying Manchester pop scene, causing some journalists to dismiss the band as manufactured teen idols.

"She's So High," the group's first single, made it into the Top 50 while the follow-up, "There's No Other Way," went Top Ten. Both singles were included on their 1991 Stephen Street-produced debut album, Leisure. But the band's legacy remained in Britain, where they helped reinvent guitar pop by skillfully updating the country's pop traditions. Through some reinvention, Blur reclaimed their position as an art pop band in the late '90s by incorporating indie rock and lo-fi influences, which finally gave them their elusive American success in 1997. With Damon Albarn's wry lyrics and the group's mastery of British pop tradition, Blur was the leader of Britpop, but they quickly became confined by the movement; since they were its biggest band, they nearly died when the movement itself died.

In the process, the group broke down the doors for a new generation of guitar bands who became labeled as Britpop. Blur was one of the multitude of British bands who appeared in the wake of the Stone Roses, mining the same swirling, pseudo-psychedelic guitar pop, only with louder guitars. Following an image makeover in the mid-'90s, the group emerged as the most popular band in the U.K., establishing themselves as heir to the English guitar pop tradition of the Kinks, the Small Faces, the Who, the Jam, Madness, and the Smiths. Originally called Seymour, Blur was formed in London in 1989 by vocalist/keyboardist Damon Albarn, guitarist/back vocalist Graham Coxon, and bassist Alex James, with drummer Dave Rowntree joining the lineup. Blur is the name of a british rock band.

See eyeglass prescription, lens or the eye. Blur refers to the appearance of an unfocused image. "Good Song" (2003) (#22). "Crazy Beat" (2003) (#18).

"Out of Time" (2003) (#5). "Music is My Radar" (2000) (#10). "No Distance Left to Run" (1999) (#14). "Coffee & TV" (1999) (#11).

"Tender" (1999) (#2). "M.O.R." (1997) (#15). "On Your Own" (1997) (#5). "Song 2" (1997) (#2).

"Beetlebum" (1997) (#1). "Charmless Man" (1996) (#5). "Stereotypes" (1996) (#7). "The Universal" (1995) (#5).

"Country House" (1995) (#1). "To the End" (1994) (#16). "End of a Century" (1994) ( #19). "Parklife" (1994) (#10).

"Girls & Boys" (1994) (#5). "Sunday Sunday" (1993) (#26). "Chemical World" (1993) (#28). "For Tomorrow" (1993) (#28).

"Popscene" (1992) (#32). "Bang" (1991) (#24). "There's No Other Way" (1991) (#8). "She's So High" (1990) (#48).

Blur: The Best Of (2000) (greatest-hits album, #3). Bustin & Dronin (1998) (live/remix album). Live at Budokan (1996) (Japan-only live album). The Special Collectors Edition (1995) (Japan-only B-Side album).

Think Tank (2003) (#1). 13 (1999) (#1). Blur (1997) (#1). The Great Escape (1995) (#1).

Parklife (1994) (#1). Modern Life Is Rubbish (1993) (#15). Leisure (1990) and (1991) (#7).