Blur’s seventh album, released May 5, 2003, and the first without lead guitarist Graham Coxon, who only appears for a heartfelt goodbye on the final track.
The record has a completely different feel and pace to anything the ‘Britpop gods’ have done before. Recorded in the aftermath of Damon Albarn’s post-millennium cartoon-band venture Gorillaz, the experimental sounds and sentimentalities from that era have been (for the most part) pared down and re-presented with a much more personal, emotional feel. Think Tank, with its subdued vocals and tender compositions, is an evolutionary album; the sound of a band reflecting on a hectic decade of ground-breaking pop music and at the same time choosing a new direction for a new millennium, to produce an album that’s just as important now as Parklife was in ’94.
Think Tank was partially recorded on a group excursion to Morocco, and includes tracks produced by Norman Cook and William Orbit. The album cover features artwork by uber-cool graffiti artist Banksy.
- Ambulance (5:08)
The album opens with a lone drum machine tapping out an unusual rhythm and builds layer-by-layer to a textured tumult of harmonious noise. The first song featuring saxophonist Mike Smith.
- Out of Time (3:51)
A softly sung, Morocco-tinted lullaby that seems to be based on Albarn’s disillusionment with modern politics and the state of the world in general – as we know, modern life is rubbish. Also the album’s first single.
- Crazy Beat (3:14)
An immediately upbeat track – the Fatboy influence is clear – that was likeably jumpy enough to make single status; however, the raucous guitar and juvenile lyrics feel forced and out of place with the rest of the album.
- Good Song (3:08)
All is forgotten as soon as this feel-good track begins with a guitar melody that’s irresistible in its simplicity. A perfect choice for the album’s third single, released October 6, 2003.
- On the Way to the Club (3:47)
Next up is a dreamy, laid-back song with shades of the soft electronica hinted at by the band’s millennial single Music Is My Radar.
- Brothers and Sisters (3:47)
Albarn systematically and rather unsubtly reviews his drug-addled thoughts to an alternately moody and funky soundtrack.
- Caravan (4:35)
Filtered, barely comprehensible vocals and clicky percussion conjure up a contemporary vision of loneliness on another dreamy soundscape.
- We’ve Got a File on You (1:02)
An energised guitar builds up to a climax of Song 2-esque, shouty thrashing. Again, the old-school swagger stands out uncomfortably alongside the fresh sound of the other material, but it’s all over in a minute anyway – the track works well just to break up the pace a bit.
- Moroccan Peoples Revolutionary Bowls Club (3:02)
A wonderfully simple bass riff is repeated throughout the song to an accompaniment of interchanging voices and instruments.
- Sweet Song (4:00)
A soothing William Orbit-produced track; the title is all too apt.
- Jets (6:25)
Again, the simplicity of this highly unconventional track is key: a concise guitar figure is played repeatedly throughout, as background noise, bass and voice gradually join in the jam, ending in a lengthy saxophone outro extravaganza.
- Gene By Gene (3:48)
A door rattles; a guitar pings; a gate squeaks - all to the same punchy, infectious rhythm. Further on twangy bass and that distinctive brand of Gorillaz gospel vocals add perfectly to the mix. An unusual and excellent track.
- Battery in Your Leg (3:21)
The finale in more than one way: “You know you’re not alone/You can be with me” sings Albarn, frail and emotional, cherishing his last moments with Graham Coxon in this fitting farewell ballad.
Me, White Noise (hidden track, rewind from track one)
Blur utilise the best hidden track method here for a progressive elctronic piece featuring Phil Daniels, the British actor who provided the spoken bits in Parklife.