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Talvin Singh: Closing the divide". BBC News. 8 September 1999. Archived from the original on 27 January 2007 . Retrieved 10 June 2009. In a more mixed assessment, Heather Phares of AllMusic felt that "the group's ambitions to expand their musical and emotional horizons result in a half-baked baker's dozen of songs, featuring some of their most creative peaks and self-indulgent valleys." [21] Keith Cameron of NME concluded that 13 was "Blur's most inconsistent and infuriating statement thus far. Infuriating, because divested of four solid-gone clunkers 13 could pass muster as the best of Blur." [25] Robert Christgau gave the album a three-star honourable mention rating, indicating "an enjoyable effort consumers attuned to its overriding aesthetic or individual vision may well treasure", and remarked that "halfway there, it sits down in the middle of the road and won't budge." [33] Tension in the studio ran high during the recording sessions. In Orbit's words, "There was a battle between Damon's more experimental direction, and Graham's punk one, and Graham prevailed. If that tension had been growing on previous LPs, it came to a head here." [18] "Things were starting to fall apart between the four of us," drummer Dave Rowntree later revealed. "It was quite a sad process making it. People were not turning up to the sessions, or turning up drunk, being abusive and storming off." [7] "I had songs," Alex James remarked. "I played them to William. He liked them. But I was sulking. I didn't play them to the others... Now I know how George Harrison felt." [19] Coxon admitted, "I was really out there around 13, which made for some pretty great noise but I was probably a bit of a crap to be around." [7] has received accolades from music critics, which ranks it among the greatest albums of the 1990s, according to Acclaimed Music. Some of these can be found below. [39] [40] Masley, Ed (31 December 1999). "The Best of 1999/Pop CDs". Pittsburgh Post-Gazette . Retrieved 31 December 2016.

Harris, John (13 June 2009). "It's been strong medicine the last few weeks". The Guardian: 1. Archived from the original on 20 June 2012 . Retrieved 2 September 2012. Blur formed in 1989 as Seymour in Colchester, composed of Damon Albarn, Graham Coxon (1989-2002, 2008- ), Alex James (2), and Dave Rowntree. Britpop is dead, long live Blur". The Telegraph. 11 March 1999. Archived from the original on 2 September 2018 . Retrieved 2 November 2020. Gundersen, Edna (30 March 1999). "Blur sharpens focus on '13' ". USA Today. Archived from the original on 31 October 2016 . Retrieved 5 July 2017. Salaverrie, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (PDF) (in Spanish) (1sted.). Madrid: Fundación Autor/SGAE. p.950. ISBN 84-8048-639-2 . Retrieved 23 September 2022.Japanese album certifications – ブラー – 13" (in Japanese). Recording Industry Association of Japan. Select 1999年3月 on the drop-down menu Nationwide Mercury Prize". Nationwide Mercury Prize. Archived from the original on 7 February 2011 . Retrieved 11 August 2008. New producer William Orbit (of Madonna fame) loosens up Blur for their sloppiest, most playful set yet, spiking the mix with church organ, electric piano and shambling drum loops. It's the kind of album you can't wait to play for your guitar-geek pals, as Coxon makes his ax squeal, hum, fizz and even levitate at the end of "1992," a top-notch freakout that almost lets you forgive his recent solo record. Like all Blur albums, 13 has filler: too much studio-improvised headphone goop. But the real songs go places. "Tender" is a gentle gospel sing-along, while Albarn sings some surprisingly sincere heartache ballads (best line: "I lost my girl to the Rolling Stones"). "Coffee and TV" propels a marriage proposal over a warm gush of guitars that sounds like Pavement sitting in with Brian Eno circa Taking Tiger Mountain -- after three or four minutes, your only complaint is that the song has to end. As do the other great moments on 13, "Coffee and TV" gives you the pleasant feeling of getting run over by a hit squad on Vespas: all in all, a smashing time. (RS 809) a b "Indie soap opera: Justine Frischmann, Damon Albarn and Brett Anderson". The Guardian. April 2003.

a b Cameron, Keith (10 March 1999). "Blur – 13". NME. Archived from the original on 17 August 2000 . Retrieved 18 November 2015. Hiatt, Brian (19 March 1999). "Blur Plan Three North American Promo Shows". MTV . Retrieved 15 May 2015. British album certifications – Blur – 13". British Phonographic Industry . Retrieved 17 October 2012. a b Sillitoe, Sue (August 1999). "STEPHEN STREET: Producing Blur, Cranberries & Catatonia". Sound on Sound. Archived from the original on 29 October 2013 . Retrieved 3 September 2012.Recording took place from June to October 1998 in London and Reykjavík. The album marks a departure of the band's longtime producer, Stephen Street, with his role being filled by William Orbit, who they had chosen after the release of the remix album, Bustin' + Dronin' (1998). Relationships between the band members were reported to be strained, with members frequently missing from the sessions. Lyrically, the album is significantly darker and more innovative than Blur's previous efforts, being heavily inspired by Damon Albarn's breakup with long-term girlfriend, Justine Frischmann, which followed an increasingly strained relationship. This album was the last for over a decade to feature the original line-up as Coxon left the band during the sessions of their next album Think Tank (2003), before returning for The Magic Whip (2015). Finally, we may also share your Personal Information to comply with applicable laws and regulations, to respond to a subpoena, search warrant or other lawful request for information we receive, or to otherwise protect our rights. Eccleston, Danny (March 1999). "There Was No Other Way..." Q. Archived from the original on 13 December 2013 . Retrieved 9 December 2013.

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