In a way the ‘Parklife’ sleeve is all intellect, and no soul – but it’s also sensational, graphic and perfect. I prefer to fantasise a little more about the record in my hand, rather than having it all set out with the imagery. In 2010, Parklife was one of ten classic album covers from British artists commemorated on a UK postage stamp issued by the Royal Mail. “I’ve since got into having it a bit more vague rather than packaged. I think Blur has always tried to be a bit too clever,” he says. It won the BRIT Award for Best British Album in 1995 and was the first of four consecutive chart-topping. “I’ve always thought of Blur as a boys’ band, but one that also appealed to girls, so that fitted in very well – sex for ‘Girls and Boys’, Beer for the ‘Parklife’ single.”Ĭoxon doesn't regard the band's artwork too highly: “We were being clever, or possibly lazy, or both. Parklife is Blur ’s bestselling studio album, with just over a million copies sold. The band was smart to rush the digital release last week, while the world's. “The whole idea was what blokes do for entertainment,” O’Connor says. Parklive showcases Blur in top form, but live albums are about a little more than a band they document a moment too. The track itself provided the inspiration for the album’s color scheme, as well as the themes for the sleeves of the ‘Parklife’ singles. With the cover decided, the band and their crew enjoyed an evening at the now-closed Walthamstow Stadium, where the band had their portrait taken. “I’m sure if he’d thought about it he’d have asked for a bit more money.” “ Bob Thomas (photographer) couldn’t believe we wanted it for a record cover,” recalls O’Connor. An image of racing greyhounds from a sports picture library was eventually chosen as the iconic final design.
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