Blur how many records sold

Announcing their arrival with debut album Leisure in , Blur continued to revolutionise the sound of English popular music with second release Modern Life Is Rubbish Five successive UK 1 albums followed - with Parklife and The Great Escape helping to propel the band to mass popularity in the UK and beyond.

In Blur reconvened as a four-piece to play a series of UK shows including two sold out dates at Hyde Park and a historic Sunday night appearance at Glastonbury. We missed the first half hour I think but getting in for free and on to the pitch for most of it was a good result all round. I was in secondary school and firmly in the Blur camp. I think most people liked both though to be honest, with most of the sheep declaring their Oasis fandom!

They played Knebworth and Loch Lomond after that and had crowds of like , I think, something mental like that. Noel Gallagher called Damon Albarn Dermot Oblong which I thought was pretty special a play on all the stupid names Blur would put on their tracks — they were very cheeky chappies. Oasis Blur Vote.

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Except instead of two boxers, there were two floppy-fringed, skinny-faced rock stars underneath the banner. Damon Albarn, the blue-eyed frontman of Blur and Liam Gallagher, the impressively heavy eyebrowed lead singer of Oasis.

Somehow, for the next seven hysterical days, now a quarter of a century ago, the pop charts became a proxy vehicle for an extremely aggressive playing out of the British class war. Of course, both sides were somewhat miscast. As for Oasis, anyone who had actually made the effort to visit the neat privet hedges and driveways of the Burnage area of Manchester would balk at the press description of the band as being from the urban Lancashire badlands. These bands, which included glam rock, Bowie acolytes Suede, retro-pop ironists Saint Etienne, arch art-school subversives The Auteurs and Blur themselves; festooned in Fred Perry shirts, Doc Martins and a love of The Who and The Jam, were not, on their own, likely to make any impression on the mass market.

The music press, however, tired themselves of having to put sub-Nirvana imitators on their front covers, decided to bunch them up together. In a time where there were two weekly music newspapers — NME and the Melody Maker — plus a glut of also now-defunct glossy music monthly titles, the pre-internet combination of marketing zeal, journalistic hyperbole and enthusiastic airplay from a newly cool BBC Radio One was enough to create a scene where the plaid shirts and howling self-absorption of grunge were usurped by something a little more fun and lot more British.

Ultimately though, the battle for number one in August between the two groups was one manipulated by the bands respective managements.