Track Listing

1. Tender
2. Bugman
3. Coffee And TV
4. Swamp Song
5. 1992
6. BLUREMI
7. Battle
8. Mellow Song
9. Trailerpark
10. Caramel
11. Trimm Trabb
12. No Distance Left To Run
13. Optigan 1

Product Details

• Amazon Sales Rank: #4469 in Music
• Released on: 1999-03-15
• Number of discs: 1
• Dimensions: .21 pounds

Amazon.co.uk Review
It all begins with a music-box noise, not entirely unlike the beginning of Trumpton (you know, the kids' programme with the curiously named firemen). Welcome to yet another new identity for Blur. Gone are the caricatures of bed-and-breakfast owners and bankers, the cockernee knees-ups, football and pub laddisms. 13 is the starkest, most personal Blur album ever, going further in the direction the previous self-titled album hinted at. Dealing, for the most part, with frontman Damon Albarn's broken relationship with Elastica's Justine Frischmann, it's as if Blur have ripped their heart out and left the bloody mess for all to see. "Tender", with its repetitive cycle of a tune and gorgeous gospel choir, must surely remind you of someone special, while "No Distance Left to Run" is pure, unashamed heartbreak. Relief comes in the form of the sweet, Graham Coxon-penned "Coffee and TV" and "B.L.U.R.E.M.I", which recalls their punkier days. Oh, and "Bugman" appears to have utilised the previously untapped musical properties of a vacuum cleaner. "Country House" this is not. --Emma Johnston

CD Description
13 marks Blur hitting the 10-year mark as a band. During their first decade, the band went from being lumped in with Manchester bands such as Happy Mondays to becoming Brit-pop foils to Oasis. Their self-titled 1997 release found them inhabiting the same lo-fi neighborhood as American indie rockerslike Pavement. On 13, the London based quartet joins forceswith techno-pop producer William Orbit on a record whose inclusiveness manages to find room for both the gorgeous, choir-adorned "Tender" and "B.L.U.R.E.M.I"., a song that sounds like the illegitimate offspring of Wire, Devo, and Rick Dees.
Blur's work with Orbit finds them plunging deep into a lake of space-rock overflowing with wondrous sounds such as the pinging, Floyd-like tinkling, and hypnotic rhythms of "Battle", and the sputtering transmissions and bristling distortion permeating "Bugman". In straddling the dissolving lines between genres in the late '90s, Blur manages to trod the same ground as Underworld on "Trailerpark" and subscribes tothe aforementioned jittery, lo-fi aesthetics on "Trimm Trabb". Despite all this experimentation, Blur still sneaks in perfect pop nuggets such as "Coffee & TV", where cheery harmonies share space with a squealing guitar.

Customer Reviews

OH MY GOD
The moment that i heard "tender" on the radio i could not wait to hear the album. When I did finally hear it, i was not dissapointed. Following on from the inspirational "Blur", "13" is simply a perfect album. The singles released from it showed the public the many different sides of Damon Alburns song writing abilities. Every song is different from the one before, and William Orbits input is imeadetely obvious. The best song on the album has to be "Trimm Trabb", because I have never before heard such a wonderfully atmosheric song, the whole song has been "composed" exceptionally well, with many different instruments being used. There is not one song that does not tantalise and engulf your ears and mind. "Bugman" is amazing aswell, with Coxon shining in this mind blowing, pumping song. A top quality album.

What a great and influential album!
I've read a couple of reviews for this album and I felt it need some extra input. I've also noticed when people talk about the songs on the album they tend to talk about the singles or the guitar based songs. I dont think they're what this albums about. Dont overlook the albums finest, most experimental tracks. This is not an album for blur fans, this is an album for music fans. I'm certain a lot of people have no idea how good this album is. This is a dark album, an album whos greatest moments are born out of emotional pain. Listen to 1992 and Caramel and tell me there not amazing songs. Thats it...

Underrated Masterpiece
The critics mauled it, Mogwai hated it so much that they printed a line of t-shirts that perfectly expressed their disgust, and the loyal fanbase seems to be completely divided. I have no idea why. This is quite possibly my favourite Blur album. Certainly their most accomplished. It has a fixed concept for one thing (Damon's messy breakup) and it's about as experimental as The White Album or Ok Computer. Whilst it doesn't really break any new ground sonically, it's one giant leap for Blur, and in a musical climate where regression seems to be awarded (Oasis, take a bow), one has to admire their efforts.

Like most great albums, every track stands out. However, there are three that hold that extra special place in my heart. Three that I reccommend to newbies as examples of the majesty of latter day Blur. First, the sinister punk metal thrash of Bugman that really pulls the rug from under your feet after the aptly named Tender. It's ferocious and unforgiving, making perfect use of the most stressful sounds imaginable. Quite possibly the best use of a vacuum cleaner in a song ever.

Then the sheer monolithic brilliance of Battle. Essentially, Blur trying their hand at trip hop, the sound brings to mind Portishead or DJ Shadow at their most insightful. With an ominous synth riff, crashing drums and beauitful melodic vocals, it's a gem from start to finish. Graham Coxon's guitar consumes the entire debacle in a glorious wall of sound before releasing the chaos, but by this time it's transformed into a fuzzy organ solo. Genius.

Finally, the frankly insane Caramel. It's weird, it's wonderful, it starts off sounding a lot like Animals era Pink Floyd. A cosmic prog oddyssey that breaks down under the strain of its own majesty. Then turns into a creepy Eraserhead organ suite. Then a car starts, then we're treated to an electroclash outro. I've said it before and I'll say it again...genius.

Whilst the dense experimental proggressive suites are thrilling and enduring, it's the bare minimum approach of No Distance Left To Run that breaks the most hearts. With nothing but a tragic distorted guitar and Damon crooning on the verge of tears that "It's over", the effect is devestating. Programmed last for a reason, it sticks in the head long after the CD's finished. But then, all of these songs do.

An underrated masterpiece, my favourite Blur album, the best album of 1999...I can't reccommend it enough. It's perfect.