Last
updated: 7/5/01
Modrophenia (Kiss The Stone Records KTS 302):
This is Blur's first bootleg and it's compiled from various performances. Last
four tracks are acoustic versions of "Sunday, Sunday", "Parklife",
"Jubilee", and "For Tomorrow", all very good except
"For Tomorrow" is a little slow which puts it a bit on the depressing
side. The second "Girls & Boys" performance doesn't have that
annoying "tink, tink, tink" sound in the beginning and towards the
end Damon sticks in the line: "Always should be someone you want to
f**k...". Contains "London Loves", rare to have live.
Highlights: "Chemical World", the second "Girls &
Boys", and the four acoustic tracks. Running time - 49:13. Rating: 6/10.
Blured (Black Adder Records BA1):
London Shepherds Bush Empire 5/26/94. Blur's second bootleg and their first
bootleg of a live show. Starts off with "Sunday Sunday" and goes into
the standard set list until track 5 which is "Girls & Boys". Then
comes one of the only two performances of "London Loves" ever on a
live CD (the other one is on Modrophenia). This one doesn't have
keyboards in the chorus, and the middle is pretty wild, so it's just OK.
"Trouble In The Message Centre" is good, then comes "Chemical World"
which is also good, but a little slow. "To The End" is nice with the
real string section being in it. A real surprise comes at the beginning of
"End Of A Century" when a little bit of "Anniversary Waltz"
is played. "End Of A Century" is almost as good as the performance on
Live At The Budokan. Phil Daniels comes out for "Parklife",
but it is not as good as the Glasto 94 show (see Sawdust Seizures). The
rest of the performances are like normal with some being below normal. Two
complaints about it: There is a little bit of stuttering inbetween the first
few tracks which ruins the continuity of the CD, and the ending of the CD is
strange because there is 2 minutes of silence after the show ends. The best
part of this CD is the quality. It gets kind of patchy at times, but generally
it is excellent. There is barely any crowd noise during the songs. Very
impressive for a bootleg. Highlights: "Trouble In The Message
Centre", "End Of A Century", and "For Tomorrow".
Running time - 72:01 (that's minus the space at the end). Rating: 6/10.
England 1994 (Live Storm Records LSCD
51595):
Same show as Blured, but with slightly better quality. In fact, it's
practically identical to the other CD with it's stuttering and the silence at
the end.
Sawdust Seizures (Kiss The Stone Records
KTS 338):
The Glastonbury 94 and Leeds T&C 94 shows. The best bootleg I've heard so
far. The Glasto show is so full of energy and sound, you feel like you're right
there. "Bank Holiday" is so fast you want to start a mosh pit &
Phil Daniels comically slips up the middle of "Parklife". The crowd
provide excellent backing vocals to it by singing along with near perfect
timing. The T&C show is of good quality as well, however it drops a bit
during the end of the show. Two great shows and well worth the money.
Highlights from Glasto: "To The End", "Parklife", and
"Bank Holiday". Highlights from T&C: "Jubilee",
"Popscene", and "End Of A Century". Running time - 77:32.
Rating: 9/10.
Blurred Vision (Home Records HR5993-0):
Boston 9/15/94. Not very impressive, basically the same live Blur. Damon's
talking bits in-between songs are quite entertaining. The last song, "This
Is A Low", is worth the price of the CD alone. The most wonderful version
I've heard yet, this is guaranteed to bring tears to the eyes of any true Blur
fan. Highlights: "For Tomorrow", "I Was A Heineken Super
Shopper" (a.k.a. Supa Shoppa), and "This Is A Low". Running time
- 62:20. Rating: 4/10.
Sons Of Mod (Bonzai Records BZCD 047):
Aston Villa Leisure Centre, 10/94. A little better than Blurred Vision,
but not by much. Obviously taped from the Radio 1 broadcast due to the plug at
the end of "End Of A Century". Contains live rarities "Trouble
In The Message Centre", "She's So High", and
"Badhead", all of which are great. Extra rare is an elementary
version of "Mr. Robinson's Quango" with barely audible but different
lyrics and "Tame"-like keyboard sounds. Highlights: "Trouble In
The Message Centre", "She's So High", "Badhead", and
"Mr. Robinson's Quango". Running time - 76:28. Rating: 6/10.
Blackout (Insect Records IST 152):
Factory, Milan, Italy 12/94. The track listing is wrong with the first two
tracks. It lists "Lot 105" as "Introduction" and it lists
"Coping" as "Lot 105". Then it lists "Girls &
Boys" as "Boys And Girls" (which a lot of people do), and
doesn't credit "The Debt Collector" for being before "Bank
Holiday". The quality is kind of bad at the beginning but it gets better
as the CD goes on. Glad to have "Coping" on, but it's a chaotic
version. After "Jubilee", the power at the place goes out (hence the
title, I think), so there is about 1:30 of almost silence. The person who taped
this show had their mic too far back because people can be heard talking all
the way through. As far as the music goes, it's good. After the first few
tracks, the crowd turns the show into a big sing-a-long, which helps. Credit
should be given to the crowd for staying on key so well. Contains the best
version of "Tracy Jacks" I've heard yet, a good version of
"Badhead" and a teaser of "Ernold Same" at the end of
"Lot 105". Highlights: "Tracy Jacks", "End Of A
Century", "Badhead", and "Advert". Running time -
63:04. Rating: 6/10.
Mr. Robinson's Quango (Record label
unknown, SW 003):
Stockholm, 11/3/94. It's your basic bootleg with the usual songs. There's
nothing really special about it, except for Damon jumping into the crowd(?)
during the middle of "There's No Other Way" and turning the last half
of the song into an instrumental. Then the only real surprise follows when they
go into "The Inspector" cartoon theme while Damon gets out from the
crowd. Quite good. The crowd helps out in the singing during "To The
End", "Tracy Jacks", "Parklife", "Girls &
Boys" (They almost drown Damon out in the beginning), and "End Of A
Century". An elementary version of "Mr. Robinson's Quango" turns
up here with different lyrics like on Sons Of Mod. There are minor
spelling mistakes, like putting a "the" in "End Of A
Century", joining "Supa Shoppa" as one word, spelling
"(The) Debt (Collector)" with a "p" instead of a
"b", and slipping in an extra "l" in "Bank
Holiday". At least the tracks are labeled correctly! However, what really
kills this CD is the poor quality. Damon's vocals are very hard to hear except
for in the ballads. The only sounds that really come through well are the
drums, so all you Dave fanatics out there who can't live without hearing him
"whack the skins", this one's for you. I'd rather listen to Damon
singing! Highlights: "To The End", "Tracy Jacks", and "Badhead".
Running time - 70:23. Rating: 4/10.
Live In Europe (Desperado Records DP 12):
Alexandra Palace, London, 10/94 (same show as on the "Showtime" home
video). Most Blur fans have heard/seen this show, but this is the only CD
recording of it. Just to make it clear, it is not taken from the video, but
from the show itself. Like Sons Of Mod, it has an early version of
"Mr. Robinson's Quango" with different lyrics, and these can be
understood a little better than in the other recording. Damon changes the words
a little in "Trouble In The Message Centre" which is good.
"She's So High" is the best performace I've heard yet, and when Damon
jumps into the crowd during "There's No Other Way", Graham has to
take over the lyrics and sings, "Please don't kill our singer, please
don't kill our singer, ahhhhhhhhhhhhhh". Definitely a funny moment. This
leads into a track called "Too **** Big" which is the band playing
the theme to "The Inspector" while Damon gets out of the crowd. Damon
explains his actions by saying, "I felt the distance... this place is too
f**king big!". An audience member grabs the microphone during
"Advert" and shouts strange words. Everything else is just standard
live material. Highlights: "She's So High", "There's No Other
Way", "Too **** Big" and "Trouble In The Message Centre".
Running time: 73:38. Rating: 6/10.
Kantinenparty (Dome Records DOME 3):
Kantine, Cologne, Germany 10/10/94. The CD fades in with "Lot 105"
and goes through the usual list of songs for the 1994 tour. This CD also has
the original version of "Mr. Robinson's Quango", and it's the
clearest version so far. The most crowd participation comes in the singing of
"To The End" (labelled "The End"). The highlight of this CD
is the half-assed attempt of "The Debt Collector" with Damon's
exaggerated la-la singing being very funny. The CD ends with a good "This
Is A Low" (spelt "This Is A Law"). This CD is good quality, but
heavy on the bass and low on crowd noise. This CD is pretty ordinary all
around. Highlights: "The Debt Collector", "Mr. Robinson's
Quango" and "This Is A Low". Running time - 60:21. Rating: 5/10.
Entertainment (Moonraker Records
MOONRAKER 030/31):
This double CD bootleg is quite historic for three reasons:
1) It's Blur's first double CD bootleg.
2) It's the first bootleg from the 1995 tour.
3) It's probably the quickest release of a bootleg in history (coming out just
before "The Universal")
This is the complete Hamburg, Germany
10/23/95 show and either portions of or the complete Stolkholm, Sweden 10/19/95
show (I can't tell, the editing is so good). The first CD starts off with
"The Great Escape" intro, then they charge into "Charmless
Man". A sax replaces the trombone in "Fade Away" which makes the
song sound much nicer. The rest is like the usual, but the real highlight of
the 2 CD's is the two inclusions of "Entertain Me" with the second
one being the best due to Alex's bass line being more prominent and having a
definite John Taylor (Duran Duran) sound. Way better than the original.
I supposed the big question is how this
compares to their official double CD Live At The Budokan. While no
bootleg can compete with the sound quality or the packaging of Budokan,
a lot of the songs on Entertainment top it. "Fade Away",
"Country House (both)", and "He Thought Of Cars" are far
better than the Budokan versions. Damon doesn't rush his lyrics as much
and he generally stays on time. There is no "Yuko And Hiro" on Entertainment,
but we get "Entertain Me" twice for it.
Entertainment is not perfect, however. "The Great
Escape" and "Supa Shoppa" fall short of the Budokan
versions due to the smaller horn section. There is no "She's So High"
or "For Tomorrow", and the songs are a little repetitive due to the
two shows with most of the repeated songs being from the first CD. There are
also minor mistakes in the track listing. After "Mr. Robinson's
Quango", they go into "Mack The Knife" which is it's own track
called "Instrumental". They also list "Coping" as "Can
I" (as in "...can I go through this again..."). The quality of Entertainment
is quite good except for the beginning of the Stolkholm show when it gets a
little patchy.
This review can go on and on comparing it to
Live At The Budokan...oh, what the hell. Buy them both! Running times:
Disc 1 - 64:07, disc 2 - 70:12. Rating: 7/10.
Mile End (Kiss The Stone Records KTS 483):
Mile End Stadium 6/17/95, same show as on "Country House" CD2. This
is the famous show where Blur premiered "Stereotypes", "Country
House" and "Globe Alone". Although I am not a huge fan of
"Stereotypes", I must say this is the best performance I've heard of
it yet. It is very close to the album version. "Globe Alone" is
faster and more chaotic than the original, and "Country House"...we
all know how good that is. Some songs from the show were cut out: "The Debt
Collector", "She's So High", "Supa Shoppa", and
"Badhead". "Sunday Sunday" gets too wild in the middle,
which spoils it. "End Of A Century" is quite good with just guitar,
bass and drums during the first half. In "To The End", Damon
comically gets the lines mixed up. Two rare tracks come up here with a very
wierd "Far Out" (vocals by Alex-to the delight of the girls in the
audience) and Phil Daniels joining Damon for "Daisy Bell" as well as
"Parklife". Sad to see the "let's all `ave a disco" (from
"Girls & Boys") and the "Canary Wharf" bit (from
"For Tomorrow") cut out, but that's no big deal. The quality of this
CD is excellent, and when KTS says "The Ultimate In Quality", it is
definitely true.
People who went to this show says that it
was "mind-blowing", and Blur are always that when you see them live.
However, it is easy to be more critical with a bootleg, and although the
experience might have been "amazing", too bad the music wasn't.
Highlights: "End Of A Century", "Country House", "Stereotypes",
and "For Tomorrow (extended)". Running time - 70:20. Rating: 7/10.
Colchester Bang (Desperado Records DP 18):
This very rare CD is mainly a compilation of b-sides from 1990-1992. It starts
off with "She's So High" then goes into the extended versions of
"I Know", "Bang" and "There's No Other Way" with
"I Know" being the best. "Mr. Briggs" and "I'm All
Over" follow, then comes "Explain" which is one of their best
b-sides ever. Then comes the real rare tracks: "Uncle Love", "Garden
Central" and "I'm Fine", followed by the wacky instrumental
"Berzerk". The CD closes out with Damon and Ray Davies singing
"Waterloo Sunset" and "Parklife" (just the chorus).
The bulk of these tracks are taken
from vinyl, so they're not of the greatest quality and are a little slow in
speed. "Popscene" is terribly slow, those of us who've heard the
original will skip it, it's THAT bad! But the quality of the other tracks are
good enough to satisfy curiousities. Running time - 63:08. Rating: 8/10.
If You Want More - Take This (Sounds Of
The Other Side) (Damon Records DAMON 21095):
This is a compilation of b-sides to "There's No Other Way" CD and
12" remix, both "Sunday Sunday" CD's, "To The End"
CD1, both "Parklife" CD's, "End Of A Century" CD, and
"Country House" CD1. Also contains "Eine Kleine Lift Musik"
and "Girls & Boys (P.S.B. 7" mix). The tracks are great quality
and it is a good choice of songs. Running time: 76:39. Rating: 8/10.
Stereotapes (Snake Records SNAKE 007):
Paradiso, Amsterdam, 3/22/96. This CD only has 10 tracks, and starting with
"It Could Be You", it's safe to say that it's not the complete show.
After that, they launch into "Coping" which is labelled
"Copying". "Tracy Jacks" is next and fades out and
"Charmless Man" fades in after it. This CD was taken from a radio
broadcast, which is why the songs fade in and out. "This is for anyone who
remembers the 80's", Damon announces as they go into "Girls &
Boys". After a nice "To The End", they go into the best
performance of "He Thought Of Cars" I've heard yet. Very well done.
Damon treatment of the lyrics to "Stereotypes" is funny, then there
is rhythmic clapping (which may suggest that it's a real show, just badly
edited) and they return with "There's No Other Way" which is labelled
"Fade Away" (how can they confuse them?). The song fades out too soon
and leaves the listener saying, "That's it?". The quality's good, but
this CD's not really worth the money. Highlights: "He Thought Of
Cars", "End Of A Century", and "Tracy Jacks". Running
time: 35:58. Rating: 7/10.
(Specific information provided by Ger Potze.)
Yellow Clouds (Moonraker Records
MOONRAKER 73):
The Warehouse, Toronto, 10/7/95. This show features the basic set list from the
"TGE" tour recorded in excellent quality with complete sound effects,
an orchestra, and embellishment as found on Blur's studio material. Although
Damon's spirits at the start of the performance sound on the low side, he
definitely gets into it by the end of the show. The first real straying from
the set list comes right after "Mr. Robinson's Quango", when the song
dissolves into a shortened, keyboard-only waltz version of Albarn's solo Trainspotting
piece, "Closet Romantic", with a backdrop of Graham's feedback.
Another rarity, though I'd hardly call it a treat, comes when the band perform
a drawn-out molasses-like version of "He Thought of Cars". The only
other place I've seen this song is on disc two of the Budokan. Overall,
the quality of this recording is superior for a bootleg: all instruments have
about equal ear space, and the crowd certainly doesn't drown out the music, but
are still prominent in between songs. The only drawback to this disc (and a
minor one at that) is that the bass was recorded slightly high, which lends a
thicker, harder feel to the songs than otherwise. Highlights:
"Popscene", "Fade Away", "Globe Alone". Running
time - 56:40. Rating: 7/10.
(Review written by Bran.)
Another Side Of Blur (Forbidden Fruit
Records FFCD 007):
One's enjoyment of this bootleg CD depends on a few things: what side of the
pond you're on, how much money you have, and how big of a fan you are. The
reason is this: Blur writes a TON of great songs that don't end up on albums
and their US record company doesn't put out many singles. What I'm guessing
most fans want is a COMPLETE collection of all of their b-sides and compilation
tracks (2 cds? 3 cds?!). This collection is of randomly picked songs which
leaves out plenty. I spent $30 on it and though it saved me from buying several
singles, other singles only have one of 3 songs that were chosen to be on here.
As far as being in the US, I loved the
"There's No Other Way" single but only "Inertia" is on
here. Also, the US version of "Modern Life..." includes
"Popscene", "Peach", and "When The Cows Come
Home" which are all on here as well. Having to pay import prices over here
also fuels our desire for a full compilation. I'm embarassed to say how much I
spent on Ride & Stone Roses singles only to have a compilation of them come
out. Even the San Francisco band Jellyfish (who I do a website for) put out
four UK (2 two-cd sets) singles, and only one in the US, only to have a
Japanese compilation get released which had ALL of the tracks. Sometimes
collecting a ton of singles can be fun, but it's a bit expensive for most. For
thrifty fans, more of the compilation tracks ("Substitute",
"Oliver's Army", "Eine Kleine Lift Musik") might've been
nice to have on one CD but only "Maggie May" is included. 14 of the
22 tracks are from "Parklife" era singles, but omits "Daisy
Bell" and "Let's All Go Down The Strand". What gives? Even
though the CD was released in 1996, there is no "Great Escape" era
tracks.
As far as rare stuff, "Day Upon
Day" is included, "Bank Holiday" & "Parklife"
(from the Jools Holland New Year's show), "Waterloo Sunset/Parklife"
(Ray Davies & Damon duet on the White Room TV programme & it's
priceless, too bad it fades out too soon) and a great recording of infamously
adoring Japanese fans greeting the boys at tokyo airport with an acapella/kazoo
medley of "Lot 105/Bank Holiday/Intermission".
Everything on here is perfect quality (as
well it should be!) and for your money, you get close to 70 minutes worth of
music. Still, it leaves you with a lot of holes in your collection. Running
time - 69:33. Rating: 5/10.
(Review written by Adam.)
FM (Moonraker Records MOONRAKER 131):
The Avalon, Boston, 2/11/96. The CD starts off with "Intermission"
(which is labelled "Intro") complete with horns and dies a chaotic
death. Something happens to Damon in "Popscene" and there is no first
verse. At the end of "Tracy Jacks" Damon mumbles some sort of poetry
through a megaphone. "Coping" is listed as "Can I" again,
this performance has nice spaced out keyboards in the middle and at the end. In
"To The End" the horns are lower pitched than usual, which makes it
different and good. A short blast of "I Don't Want To Be By The
Seaside" precedes a pretty decent performance of "Mr. Robinson's
Quango". "Girls & Boys" has a nice loud bass and is slightly
slower than the usual live speed. There's nothing too special about this CD,
it's pretty average. Highlights: "To The End", "This Is A
Low" and "Coping". Running time: 79:40. Rating: 5/10.
Summer (Moonraker Records MOONRAKER 161):
RDS, Dublin, Ireland, 06/22/96. Not the complete show, "It Could be
You" and "Jubilee" have been taken out. This is the show where
they debuted "Song 2" and "Chinese Bombs", both sound wierd
but good with their different lyrics. There's a change in the start of this
show, they open with "Stereotypes" which is fairly good. After an OK
"Tracy Jacks" and a good "Charmless Man" comes a great
"End Of A Century". Then they do a cover of The Special's
"Niteklub" with Terry Hall on vocals. Put Gwen Stefani on vocals and
it could pass for a No Doubt song. That's followed by a racing
"Popscene" which is pretty decent, followed by an even faster
"GA" with Damon screaming during the intro. "This Is A Low"
is great, followed by the hits "Girls & Boys" and "Country
House" with the crowd helping out on vocals for both. "For
Tomorrow" is the extended version and it's almost as good as the one from
Mile End. There is a loud organ in "There's No Other Way", which is
followed by a track labelled "Interlude". No, it's not the ending to Blur,
but really a quick bash out of "My Sharona". Damon briefly sings in
French during "To The End" and changes the words in the bridge of
"Parklife". The CD closes out with "The Universal" complete
with fireworks.
All the songs may not have been
performed the best they've done, but this is the longest single CD bootleg yet,
so there is a lot of material to listen to. That plus the great quality makes
this CD worth getting. Highlights: "End Of A Century", "This Is
A Low", and "For Tomorrow". Running time: 79:50. Rating: 8/10.
The Great Live (Star Records STAR 019):
Mile End 1995 and "Taratata" French TV performance 5/26/96. The
packaging notes that the first part of this CD is from the Westwood One Radio
Show 6/3/96, so you think you have something new. You start listening to it,
and after a few minutes, it starts to sound familiar. That's because it's
really songs from the Mile End show from 1995. The 1996 date seems to be a
broadcast date. Other CD's have been made of this show, so you feel ripped off
if you've heard it already. At least some of the songs selected for this CD are
the best ones of the show. So you skip down to the only good part of this CD,
the "Taratata" TV performance. It sounds like it was recorded from a
10 year old television. The quality is not great. But you get
"NiteKlub" with Terry Hall (labelled "Life Car"....erm,
yea) and "Friends Of P." with Matt Sharp (labelled "The Friends
Of Me"). You also get "Charmless Man", "Stereotypes",
"Girls & Boys" (with great bass work by Alex in the middle) and
"Country House". All these tracks are pretty decent.
Yes, Blur are great live, too bad this CD
doesn't live up to its title. Highlights from Mile End: "Country
House" and "Stereotypes". Highlights from Taratata:
"NiteKlub", "Friends Of P.", and "Girls &
Boys". Running time: 61:48. Rating: 3/10.
Beetlemania! (Silver Wolf Records HOWL9):
London Astoria 2/10/97. The notable aspect of the show itself comes from the
primary presentation of their new material in a live format. The concert itself
is enticing and energetic; the band sinks into their performances of standards
"Girls & Boys" and "Advert" true to their original,
well established tones. "Popscene" feels canned, deteriorated;
"This is a Low" exhibits signs of being spent. The finest moments are
indeed when the band ventures into the newer breadth of material and put forth
100% of the energy the standard numbers called for. The songs from the latest
LP have a distant, unfocused quality that recall a lazy feel in some arenas
(Death of a Party) and a brutal synergy (Song 2, On Your Own). It is far from a
knockout performance due to it's uneven nature but the concert is more greatly
affected from the half-mused editing; the continuity is constantly threatened
from delays in the recording as well as direct cuts from song to song. In the
long run the bootleg feels more like collection of live singles than a whole performance.
The finest moments (Death of a Party,
Sing) are occasionally marred due to the underdubbed bass lines swallowed under
the mass of Coxon's guitar. This is not the fault of the band but due to the
lackluster editing techniques employed on the disc. The recording quality is of
virtue, however, taken directly from a soundboard and capturing every whisper
Albarn mutters as well as a detonating drum track that should be an established
standard. All in all the faults of the disc are overshadowed by the brilliance
of the performance; raw emotion (Sing, Oily Water) is as effervescent as the
most spirited of performances (M.O.R., Inertia). The crowd noise is kept to a
minimum despite some ever-present handclapping and sing-a-longs that broaden
the quality of the disc. This is bootleg recording that recalls the outstanding
quality of most of the boots I have heard from the Mile End show and most
notably the performance energy of "Entertainment" and "Sawdust
Seizures". If it weren't for some shoddy editing and dubbing this would be
an outstanding bootleg. Highlights: "Sing", "Oily Water",
"Death of a Party", "Beetlebum", and "Movin' On".
Running time - 76:26. Rating: 7/10
Review written by Kevin Edelman.
Stop Dreaming (Kobra Records KRCD 021):
Same show as on Beetlemania! but with little breaks inbetween songs.
Some intros are trimmed slightly. Something happens to Damon in the bridge to
"Girls & Boys" as there are no vocals and no singing from the
crowd. "Oily Water" is more musical and less noisy than usual and
there is no "Inertia". "Chinese Bombs" nicely leads into
"Advert", which is labeled "Supa Shoppa" (how someone can
mix those up is beyond me). The keyboard in "Death Of A Party",
"This Is A Low", and "On Your Own" is barely audible, which
weakens the feel of the songs. "Parklife" follows and Damon changes
the lyrics slightly. It flows nicely into an excellent "The
Universal" and "Sing" where Damon actually sings instead of
using the monotone on the original. Very nice. The quality is great, and the CD
is good, but not outstanding. Running time: 73:18. Rating: 7/10.
Extra Free (Tornado Records TCD 018/019):
Live from Blitz, Tokyo, Japan 6/3/97. This 2 CD set is definitely a find for
the hard core fan. Contains 3 EXTREMELY rare tracks: "Beard",
"Fried" and "Strange News From Another Star". At the
beginning of "Beard", Damon complains about the brass section not
being on the stage. So he encourages the crowd to yell for them. The song
itself is basically an improvisation of the original with added solos from the
horns. "Fried" is a storming romp like the original from 1989, but
the lyrics are slightly different. Damon has to go over the chords to
"Strange News From Another Star" with the band because this is their
first time playing it live, but it is done very well. Sounds like the band
remembered the song during the performance. The b-side "Swallows In A
Heatwave" is performed too, but it is not much of a rarity except for it
being on CD. Damon's tannoyed vocal makes the lyrics hard to understand.
As far as the other songs go, a big
complaint of this set is that the first CD is mis-labeled. The first track is
listed as "Beetlebum", but in reality is a musical intro with an
opera singer. So all the tracks are moved down one track number and
"Advert" and "Bank Holiday" are combined as the last track
on the first CD. "Country Sad Ballad Man" is very good.
"Advert" has a very quirky musical intro with Damon mumbling,
"Food processors are great!". "Chinese Bombs" is performed
so fast that Damon can barely keep up. In "Song 2", the crowd joins
in with the "whoo-hoo"'s giving it much impact. "Supa
Shoppa" is performed similar to the performance on Budokan, but not
as good. After "The Universal", Damon announces that it was Ivan's
(their tour manager) birthday that night, so Graham supplied a half-assed
performance of "Happy Birthday". A decent "Sing" closes out
this 2 CD set.
Although the rare tracks are worth buying
it, and there are some good standard tracks too, it's not too great all around.
The sound quality is quite muffled and many songs aren't performed to their
best. But it's a 2 CD bootleg and I guess that makes up for it. Highlights:
"Country Sad Ballad Man", "Beard", "Fried", "Strange
News From Another Star", "Death Of A Party", "Song 2"
and "This Is A Low". Running times: Disc 1 - 55:19, disc 2 - 57:01.
Rating: 6/10.
Red White & Blur (T. Rex Records TRCD
049):
Brixton, England, 12/11/97. The CD jumps right into a good version of
“Beetlebum” with Alex adding lots of extra notes in the bass line towards the
end. After “M.O.R.” and “There’s No Other Way”, they come up with a rare “Colin
Zeal”. “On Your Own” comes up really early in the set complete with a spaced
out ending with Damon mumbling, “I’m alone” among other muffled phrases. After
a good “She’s So High” comes a performance of “For Tomorrow” that is almost as
good as their Mile End performance. “Country Sad Ballad Man” has a nice intro
with Damon describing his knowledge of PJ Proby. A surprise comes at the end of
“Advert” when the band go directly into “Bank Holiday” which is unlisted on the
sleeve and has no separate track. “Death Of A Party” is good with a nice guitar
part at the end. After “This Is A Low”, the CD fades out and fades back up for
a decent performance of “The Universal” and a rowdy “Song 2”.
The sound quality of this CD is excellent.
The fast songs get their life thrashed out of them in standard fashion, and
it’s basically just a standard CD with some good performances. Highlights:
“Beetlebum”, “She’s So High”, “For Tomorrow”, and “Death Of A Party”. Running
time: 72:42. Rating: 7/10.
Over Against The Popscene (Green Mint
Records, GM-006):
Glastonbury 1998. It's the Radio 1 recording of it (at least I assume so due to
the woman who continuouly interrupts saying, "This is Radio 1 and you're
listening to Blur live at Glastonbury 98"). It starts off with "On
Your Own", then goes into "Beetlebum". This is the kind of song
that makes me *love* live albums. This version is lovely...it chills me. Then
comes "Country Sad Ballad Man" Ooohhh...can it get better than this?
I'd heard about Damon stopping the performance before, but to really *hear* it
is rather nice. This is my favourite live album and it's because of this one
song....who else would stop in the middle of a song for the sake of the fans in
the front? The numbering of the tracks becomes odd here because where Blur
picks up with the end of the song actually shows up as track number 5. Then
comes the "South Park song" which was introduced first at their fan
club show. It's great. "Repetition" is also played, here for the
first time on a live CD. The CD closes out with a lovely version of "This
Is A Low".
The sound quality of this CD is very clear.
Highlights: "Beetlebum", "Country Sad Ballad Man", and the
"South Park song". Running time: 60:59. Rating: 8/10.
Review by Julia.
The Very Best '98 (No label):
This is basically a collection of tracks from the first 5 albums in a random
order. It really gets strange when "There's No Other Way" is stuck
between "Girls & Boys" and "Parklife". The bulk of the
tracks are from Blur, but there are only two tracks from both Leisure
and Modern Life Is Rubbish. It almost seems like it should be The
Very Best '97 until the "bonus" track, which is
"Popscene" live from Peel Acres 97. This was on the 1998 album Bustin'
+ Dronin', so I guess that justifies the 98.
The quality is good, and it's kind of nice
hearing these songs in a different order. Total running time - 73:09. Rating:
7/10.
Headist (No label):
2 CD's of live and radio performances from the BBC 1991-1997. The first CD
starts off with a 1992 radio performance of "Headist" (which the
studio version is now the b-side "Into Another"). The keyboards stand
out more in this version than on the studio version. After radio performances
of "Hanging Over" and "Colin Zeal" comes "Oily
Water" live from 1991 with very distored vocals. Next Damon shouts
"Radio 1 is great!" and a distorted radio performance of
"Advert" from 1993 comes in. Then a slower, less wild performance of
"Bank Holiday" comes in, followed by a very good performance of
"Parklife" with the chorus sounding like the studio version. Next is
the radio performance of "Why Has The Signature Of 3/4 Become Obsolete In
The Late 20th Century?" (which the studio version is now the b-side
"Anniversary Waltz"). Next comes a live version of "Sunday
Sunday" from Glastonbury 1992. Then comes radio performances from 1994,
including "Lot 105" which is good with a lawnmower-type sound at end.
After those tracks comes 4 acoustic songs from 1994. These 4 tracks are also on
Blur's first bootleg Modrophenia. Next comes "Popscene" from
the 1994 MTV show and "This Is A Low" from Glastonbury 1994. These
two tracks are also on the bootleg Sawdust Seizures. The first CD
finishes with a live performance of "There's No Other Way" from
Glasgow 1993.
The second CD starts off with songs from
1995 (the same show as on "The Universal" CD2). "Country
House" from this show is good, but has a weak solo. Then a 1997 radio
performance of "Song 2" follows with less distortion than the studio
version. Next comes a very good performance of "Country Sad Ballad
Man". Damon sings the lyrics with a mild distortion that makes his voice
go slightly higher in pitch and making it sound "cute". He almost
sounds like a different singer. Next comes "Movin' On". When the song
kicks in, Graham plays his guitar part wrong, then Damon stops the song and
mumbles, "What the f**k are ya doin'", followed by, "and he's
the one who isn't drinking!" They restart the song complete with a sci-fi
keyboard ending. Then comes "M.O.R." and "Beetlebum", which
has a fuzzy, distored ending similar to how some songs end on 13. Next
come tracks from Blur's performance with the band Silver Apples in 1998. The
first track is a Silver Apples song that is not identified on the CD. Then
comes a monster 16 minute jam session. It starts off with strange sounding
music, then it evolves into a beautiful serene keyboard bit before picking up
again with a "Song 2" style beat. It evolves into some kind of spoken
bells thing, then returns to the "Song 2" style as played before. It
then gets faster and more chaotic until the end. Quite a tour de force, but
it's a lot to take in at one time. The last performance from this show is
"Essex Dogs" which speeds up to the live speed of "There's No
Other Way" at the end. The CD finishes off with a radio broadcast of the
studio version of "Never Clever" from the CDFOOD100
compilation.
The quality goes up and down with various
performances, and the editing is pretty choppy. However it is a nice
collection, especially for the fans who started later. Highlights:
"Country Sad Ballad Man", "Parklife" (from 1993),
"Movin' On", and the "Silver Apples Jam". Running times:
disc 1 - 69:24, disc 2 - 71:14. Rating: 6/10.
Apprentice (No label):
The Hippodrome, London, 3/15/99. The CD starts off with "Tender",
which is nice with a big "oh my baby" ending. Then comes
"Bugman", which is pretty rockin'. But it doesn't stop in the middle,
like on the recording. It flows right into its ending, but without Damon
singing "space is the place". Next comes "Coffee & TV"
which Graham sings nicely, and Damon provides nice background vocals. After a
cool simulated fade out of the song by the band, they go into "Swamp
Song", with Damon providing Courtney Love-type screams towards the end.
They follow that with "1992" and "B.L.U.R.E.M.I." which is
kind of done in the style of "Globe Alone", but Dave's drum solo is
drowned out by Graham's guitar, and the song gets sped up and frantic at the
end. Then comes "Battle" with Damon's echoey vocals. The song gets
very tranquil in the middle, then gets blasted with distortion as Damon screams
"ba-tol!". Next is "Mellow Song" which begins with Damon
begins alone by playing acoustic. It would be very nice if it wasn't for the
radio squealing in the background. Just when you get into the song and you're
in your own mellow world, your dream gets shattered by the sounds of a blasting
guitar and melodica. A nice "Trailerpark" follows, then comes the
drums of "Trimm Trabb" which start the song off nicely. The middle
part is pretty spaced out, and Damon's vocals are very distored at the end. A
nice "No Distance Left To Run" closes out the group of songs from 13.
The "oldies" encore begins with
"Beetlebum" with the changed lines at the end: "come on, come
on, come on it...". Then comes the usual thrashed versions of
"There's No Other Way", "Popscene" and "Song 2".
The continuity of the CD is ruined by the bad editing in the intros of the last
2 tracks. These encore tracks are not particularly good because better versions
exist on other CD's. The CD ends with Steve Lamacq's rambling, which thankfully
gets cut off.
The quality of the tracks are pretty good except
for the slight background squealing. It would be a good bootleg without the
encore tracks, but oh well. Highlights: "Tender", "Bugman",
"Coffee & TV" and "Swamp Song". Running time: 72:35.
Rating: 7/10.
It's Been Emotional (T-Rex Records
TRCD105):
Medipark, Koln, Germany, 2/24/99. Two things are noticed right away about this
CD. First, it comes in a card sleeve, which is very different. Second, the
quality is really clear. It almost sounds like an official live album. The set
starts off with "Tender" which is kind of weak without the choir.
"Bugman" comes next, followed by "Coffee & TV" with a
cute electronic ending. Damon's backing vocal sounds a little off key in the
song though. During "Battle" is when this CD really sounds
professional. The intro sounds have a nice floating feel to them, much like in
a studio. This song also has a cool eerie middle section. After a good
"B.L.U.R.E.M.I." comes "No Distance Left To Run", which is
labelled "Caramel" (Oh, if people who made bootleg CD's would
actually *listen* to the songs they released....). "Beetlebum" comes
next with an extended ending. Damon's vocals are kind of nasal in
"Popscene", almost sounds like a different singer. From that, he
almost sounds like Rob Zombie in the chorus to the next song "Song
2".
The last four tracks on this CD are from
Overdrive German TV. The first track is "Swamp Song" which towards
the end starts to sound like Nirvana. The last three tracks: "Mellow
Song", "Trimm Trabb", and "No Distance Left To Run"
are played at a much slower speed for some reason. Sounds like a fault of the
person making the CD. The result is the music is much darker (which sounds kind
of good actually), and Damon sounds like a 50 year old crooner (which is kind
of a laugh). "Mellow Song" sounds like it could be a Beck ballad.
This CD is one of the better Blur bootlegs
around. Good sound, good professional packaging. Highlights:
"Battle", "B.L.U.R.E.M.I.", "There's No Other
Way" and "Mellow Song". Running Time - 66:35. Rating: 6/10.
Electric Ballroom (No label):
Camden Electric Ballroom, London, England 9/6/99. So, here it is. The one show
that's going to be possibly one of the most legendary Blur gigs ever to have
existed - the one-off b-sides concert. Attending the concert myself, and being
totally amazed by the whole experience, you could imagine the excitement that
built up inside when I found the cover of the CD in a modest rack of bootleg
CDR's in Camden that was only just a few hundred metres away from where the
show took place.
The cover is hardly amazing: a typewriter
written set-list is located on the reverse, next to a picture of Damon's back.
The front contains a live shot of Damon from earlier this year with a nice Blur
logo on the bottom, and the cover ends with the inside shot of Damon in
mid-performance. The CDR has an improved look, because of its golden sticker
pressed on top of it, and as I placed the CD into the tray, a smile appeared on
my face.
The opening track, "Explain"
starts with a fade-in of Damon saying good evening to the crowd, and as Graham
opens the song, you can see that the show was recorded on a DAT machine to
provide quality sound. A sexy version of "Mace" leads into
"Threadneedle Street" which is a highlight of the set. Then the now
legendary comment of someone in the crowd shouting for "Parklife" is
only greeted by Damon saying, "If you think we're gonna play that, then
you can f*** off!". A cheer emerges frrom the crowd and the wonderful
"Peach" is introduced.
As the majestic "Bone Bag" is half
way through, the first problem of the CD starts up. The sound from the left
speaker goes quieter than the right, and this repeats in about 3 more songs,
though it's hardly a distraction from the performance. After a few rowdy
tracks, it then becomes apparent that the editor, trying to cut down the length
of the CD in fear of it not getting on the 80-minute disc, cuts out some of
Damon's comments. It's a real shame, but at this point it's not too choppy.
"Tame" is soon on, and probably provides the best sound quality of
the bunch.
"I Love Her" (only a b-side in
Japan) and "No Monsters In Me" are both fast, fuzzy faves in the set
completing the penultimate dose of punk we would get that evening. Before
anyone knows, a dreary "Down", a rowdy "Fried", and mellow
"Luminous" have all been passed and then some more minute problems
are introduced in the form of a scratching noise in the left speaker as
"Polished Stone" starts up. Dave is the star on the flashy "Supa
Shoppa" complete with Damon on melodica for full effect, then the
wonderful "Young And Lovely" is soon here to greet us. It sounds
wonderful live, lasting over 5 minutes in duration. By its end, Damon starts to
say, "This is our last song", but is interrupted by the editor's poor
job of cutting out. However, we get to hear him introduce the manic "Day
Upon Day" which ends in blinding feedback that lasts for over a minute and
a half, finishing off this special CD in heavy metal fever.
There are a few noted flaws, but this gig
could have been a hell of a lot worse, and overall the sound quality is very
good indeed for an audience recording. A guaranteed fave for Blur fans, this
won't leave your CD player for months to come - believe me! Highlights:
"Threadneedle Street", "Bone Bag", "Tame",
"Young And Lovely" , and "Day Upon Day". Running time -
75:57. Rating: 10/10.
Review by Toby Langley.
Reading 1999 (No label):
Reading Festival, England. This is not the complete show, it's only the radio
broadcast version. The CD starts off with a fast and angry "Bugman",
then goes into "Jubilee" (labelled "Jubilee Song"). This is
good despite Damon blowing the lines in the first chorus. It sounds like it was
their first time playing it in a while. Next comes a storming
"B.L.U.R.E.M.I." with Graham singing the high-pitched vocals and a
speed metal ending. After a racing "Popscene", they slow down with a
nice and long "For Tomorrow" with a good ending supplied by Graham.
Next comes "Beetlebum" which drifts a little out of tune in parts,
but is ok. "The Universal" follows, complete with a gospel choir.
Damon slips up in the first verse, and Alex's bass kind of ruins the song
because it has a punk tone to it. And the choir can barely be heard. This song
would be really good if it was better quality and deeper bass. Damon next
announces their Camden and Wembley gigs in the long intro to a wild version of
"Parklife". The show closes with a loud "Song 2" with the
crowd singing most of the first chorus.
This CD is not entirely Blur, after
"Song 2" it has tracks from another band Faithless from Ibiza. The
sleeve does not indicate this. The quality of the Blur show is ok, but not
mixed well. Highlights: "Bugman", "B.L.U.R.E.M.I.", and
"For Tomorrow". Running times: Blur - 48:27, whole CD - 73:39.
Rating: 6/10 (would be higher without the Faithless tracks).
Estadio Luna Park 27-11-99:
Buenos Aires (?), Argentina, 11/27/99. One of the few bootlegs from 1999, the
CD starts off with a faint intro of "Tender", but turns out to be
pretty decent with its extended solo. Then the problems of the CD start when
the end of "Stereotypes" has a piece of the ending cut out. Then
"Bugman" screams in starting from the end of the 2nd chorus. A decent
"Coffee & TV" comes next, followed by a great "End Of A
Century" that would be even better with the horn section. "On Your
Own" is followed by a racing "Popscene" and a spacey
"Battle" with handclaps provided by the crowd. After a racing
"B.L.U.R.E.M.I." comes "Trimm Trabb" which Damon describes
as being "about the greatest piece of footwear in the world".
"No Distance Left To Run" follows with a huge cut in the middle of
the 2nd verse. A decent "Beetlebum" comes next, followed by a
sing-a-long version of "The Universal" with a piano nicely filling in
for the horn parts. The crowd noise fades out, then you're quickly brought into
the 2nd chorus of "Girls & Boys". Then the boys bring back
"Country House" because, as Damon says, "...it's got something
about it...". (Well we're glad you finally think so, Damon!) The lack of
playing it shows as Damon fumbles the words in the second verse. The crowd
sings the middle part, to which Damon replies "beautiful!". Graham
sings the background vocals at the end which completes the song nicely.
"There's No Other Way" and "Parklife" come next with both
having bad skips. The last two tracks consist of the band half-performing a
song called "Sus Buchon" (I have no idea what that is) and the crowd
chanting "Whoo-hoo!" to a slow beat of "Song 2".
With all the skips and cuts in this CD, it
sounds like the person making the CD tried to cram two CD's into one. Sad
really, but that's how bootlegs can be. It's worth buying if you can get it
cheap...unfortunately I didn't. Highlights: "End Of A Century",
"Country House", and "B.L.U.R.E.M.I". There would be more
if there were no skips. Running time - 77:42. Rating: 2/10.
Singles Night (No label):
Wembley Stadium, London, England 12/11/99. This is it! The big show where they
play all of their A-sides in order. However, this CD set is nothing to get
excited about. The sound quality is terrible and disappointing. It is an
audience recording, so the crowd is louder than the band. And it was
transferred to digital at too high a volume, so anything loud gets distorted
and turns to noise, which unfortunately to the listener is usually a girl
screaming. The set list is pretty obvious, so here is a list of the highlights:
The show begins with "I Know"
which was a double-A side with "She's So High" at the time of release.
Damon introduces "Bang" with,
"we introduce this next song as our worst song, cause it really is."
Graham teases the audience with a little bit of Creedence Clearwater Revival's
"Green River" before the song starts. They play the song gently, not
loud and wild like "There's No Other Way". After the song, Graham
throws in a tease of "Are You Gonna Go My Way" by Lenny Kravitz.
"For Tomorrow" is an extended
version and very good.
Before "To The End" the band has
some technical problems, so Damon says, "we do try very hard to come
across as...a really professional outfit." He then quiets the crowd down
and they play the song, complete with backing horns and a nice saxaphone solo.
Phil Daniels comes out and joins the band
for "Parklife", but the sound is so distorted it can't be enjoyed.
Damon introduces "Country House"
with "this song caused us more grief than I could ever imagine it
would....this is called 'Roll With It'."
During the intro to "Song 2" Damon
says, "I wanna hear some noise for this one....I wanna hear you KILL this
place!".
The crowd starts singing "oh my
baby" during Graham's intro to "Tender", which becomes a big
sing-a-long (encouraged by Damon) complete with the London Gospel Choir and an
extended solo.
The show concludes with a nice "No
Distance Left To Run".
From what little of the music I heard, this
sounds like a great show, the songs were performed well. I realize how lucky we
are that most of Blur's bootleg CD's are of decent quality, because in reality
they could all be this bad. Highlights: "Tender" and "For
Tomorrow". There would be more highlights if the quality was better.
Running times: disc 1 - 70:05, disc 2 - 36:17. Rating: 3/10.
Monash University, Australia (No label):
Monash University, Australia, 11/1/97. The CD starts off with Damon asking the
crowd "Are you getting excited about your big horse race?". The crowd
responds, then the band goes into a nice version of "Beetlebum" with
an extended ending. After "M.O.R.", they play a nice version of
"There's No Other Way" complete with an organ in the background. Alex
does a great bassline in the next song "Colin Zeal". A racing
"Popscene" comes next, followed by a nice "Badhead". Damon
starts singing "Victoooooria!" as they go into "Country Sad
Ballad Man" with distorted vocals that are kind of annoying. After
"Chemical World" comes a sloppy "Chinese Bombs", a decent
"Advert", and a good "Bank Holiday". Alex does a nice bass
solo in the middle of the next song, "Girls & Boys". After
"Death Of A Party" comes a nice "This Is A Low", which
fades out nicely into "The Universal". A sloppy performace of
"On Your Own" follows, then "Parklife" with an organ and
horn section and some improvised lyrics. A wild "Coping" jumps right
into a good "I'm Just A Killer For Your Love", then the set closes
with "Song 2".
Not exactly their best performances, but
except for the little dropouts between tracks, the sound quality is great.
Highlights: "There's No Other Way", "Girls & Boys", and
"I'm Just A Killer For Your Love". Running time - 72:47. Rating:
5/10.
The following reviews are paraphrased from
"Blurb", Blur's fan club magazine:
Magic America (Chelsea Records CFC 024):
Compilation of live performances, including songs from the "Modern
Life" tour. Contains three VERY rare tracks: "Bad Day (promo)",
"High Cool (remix)" and "The Wassailing Song" taken from
the "Starshaped" video (the Stonehenge part). Has
"Jubilee", "Parklife", "End Of A Century", and
"Girls & Boys" all acoustic. The quality fades in and out, and
the live tracks aren't much of a thrill. But if you're dying for rare material,
go buy it. Rating: 5/10.
Jackpot! (Chelsea Records CFC 025):
Mix of live and acoustic tracks. Contains two b-sides to the "She's So
High" single: "I Know (Extended)" and "Down". Then
comes some acoustic tracks, one of particular interest is "Star
Shaped", which they rarely play. Then there are some tracks from a UK
radio show, which are good. Then the CD goes into the Leeds T&C show which
is also on the Sawdust Seizures bootleg, and so are no big deal. The
last three songs are from the UK show "Top of the Pops", and are
nothing special. Except for the "SSH" b-sides and "Star
Shaped" acoustic, "Jackpot!" sounds more like three big lemons.
Rating: 4/10.
Mr. Albarn's Combo (Relapse Records REL
03):
The first two tracks, "She's So High" and "Popscene", are
taken from the U.S. "Blur-ti-go" promo with "Popscene"
being the best. Then there is a bad recording of "Chemical World"
from U.S. TV. Next is an acoustic version of "Parklife" from the
Simon Mayo show and is very good. After that comes another bad recording, this
time of "To The End" from Glasto 94. Tracks 6 & 12 are from the
New Year's Eve Jools Holland Show which are "Bank Holiday" and
"Parklife". Although their both good, how many recordings of the same
song do we need? Track 7 is "Jubilee" from the Top Of The Pops show,
and is followed by a low quality live "Girls & Boys" taken from
French TV. The next three tracks come from the 1994 Blur/R.E.M. show and are
"Badhead", "Tracy Jacks" and "For Tomorrow
(Extended)". These tracks are not very good in quality but there is a nice
sense of atmosphere about it. The CD closes with live "TGE" tracks
before their release. Although good, they're not very interesting. Rating:
5/10.
Blurred Visions (Oxygen Records OXY 018):
One of the best CD's currently around. Tracks are of good quality and are
interesting. The CD starts off with an introduction from the band and then goes
into a quick version of "Popscene", which then goes into an acoustic
"End Of A Century". After an acoustic "Jubilee" and
"For Tomorrow" comes an acoustic "She's So High", which is
quite good. Next is three acoustic tracks live from New York radio 9/95
featuring "Country House". The next few tracks are collected from MTV
performances and are not fantastic. After that comes their "secret gig
9/95" from the BBC (Also featured on other bootlegs, see below). The CD
ends on a high note with "She's So High" live in 1990 and "The
Universal" live from 1995. On the whole, an impressive CD. Rating: 7.5/10.
Death Of A Popscene (Label unknown BL002):
London Astoria 2/10/97. This is a perfect recording from radio, made obvious by
the DJ being cut-off in mid sentence. That's not the only gripe about this CD,
"To The End" has been taken off. This CD has bad editing all around
and a bad looking sleeve, but good sound. Running time: 74:35. Rating: 6/10.
Other bootlegs available:
The Mod Squad (Blue Moon Records BM30): Aston Villa 10/5/94.
Superior World (label unknown PLAN049): Alexandra Palace 10/94.
Red Visions: Acoustic songs. (May not exist, see Blurred
Visions.)
Mrs. Robinson's Quandry: Details unknown.
To The End: Hamburg, Germany 10/95. Good quality.
In The Country: London 9/7/95 ("TGE" preview show, same
show as on "The Universal II" single) & Leeds T&C 1994.
Secret Gig And Lots More (Blue Moon
Records): BBC Radio 9/7/95 (see In
The Country) & various studio material 1994/1995.
A Knees Up At Mile End: Mile End Stadium 6/17/95, same show as on
"Country House" CD2.
Aston Villa Park Life: Aston Villa 10/94.
Rare Trax 2 (label unknown): Same tracks to "Special Collectors
Edition" with "Parklife" and "Bank Holiday" live From
Jools Holland 1/1/95, "Waterloo Sunset/Parklife" and
"Popscene".
Impulse (Rupert Records RUPERT 9699): Dublin, Ireland 06/22/96.
Beetlesongs (Dancing Horse Records): Aston Villa 1997.
Magic Chest Hair (3D Quality Records
3D-014): Mile End 6/17/95.
Country Club (3D Reality Records 3D-041): Studio live 94(?) and live 1992.
Blur Show (Heist Records HE9004/5): 2 CD's, London Astoria 2/10/97 and live sessions
2/4/97.
Live 1994 (Label unknown): See Modrophenia.
The Point 97 (Label unknown): The Point Depot, Dublin, Ireland, 11/28/97.
Rare Trax Plus (Label unknown): See Magic America.
Brixton 97 (Label unknown): Brixton, England, 12/11/97.
Art School Rocks In Feedback Frenzy
(Label unknown BAL 111297) :
Brixton, England, 12/11/97.
They're Movin' On (Expire Records
EXP036/37): 2 CD's, Brixton,
England, 12/13/97.
Van Morrison, Blur, Wilco, Can - Later
with Jools Holland (Artisan Art Records 079): Details unknown.
Blowout (Label unknown): Camden Electric Ballroom, England 10/6/97.
Effervesence (Label unknown): Warehouse, Toronto, Canada 3/13/97.
Glastonbury 1998 (Artisan Art Records
189): Glastonbury 6/27/98.
Glastonbury '98 (Label unknown): Glastonbury 6/27/98.
Bring Your Wellies (Label unknown): Glastonbury 6/27/98.
Blur At Hippodrome (Label unknown): Hippodrome 3/15/99.
London Hippodrome (Artisan Art Records
228): Hippodrome 3/15/99.
Secret Gig CD (Switch On Records): London, 3/99.
Freestyle (Label unknown): Highlights from Glastonbury 6/27/98.
Get Out Of Cities (Label unknown): Highlights from Brixton 12/11/97.
Unlucky For Some (Wonder Boy Records
WB012): Hippodrome 3/15/99.
Further Side Of Blur (Forbidden Fruit
Records FFCD027): B-sides 1994-1999.
200% Ultra Hits (World Music Records): A-sides 1993-1999.
Los Angeles 1/29/96 (Artisan Art Records
1458): Los Angeles, California,
1/29/96.
Tender Battle (Triple XXX Records TRX002): Brixton, England, 12/11/97.
Pure Blur ‘99 (No Label): Chumcity Building, Toronto, Canada 4/5/99 and
"Late Show" 3/29/99.
Best (No Label): 2 CD's of album tracks and b-sides 1991-1999.
B-sides Themselves (Label unknown): London, England 9/6/99.
B-sides (Label unknown): London, England 9/6/99.
Bootleg reviews can be
submitted to: dparrot1@earthlink.net