Additional personnel: Cathy Gillat (vocals); The Right On Ken Livingstone (spoken vocals); Stephen Street (handclaps); Angela Murrell, Teresa Jane Davis (background vocals).

The Duke Strings Quartet: Louisa Fuller, Rick Koster (violin); John Metcalfe (viola); Ivan McCermoy (cello).

The Kick Horns: Simon Clarke, Tim Sanders (saxophone); Roddy Lorimer (trumpet); Neil Sidwell (trombone).

Recorded at Maison Rouge and Townhouse Studios, London, England between January and May 1995.

Personnel: Damon Albarn (vocals, piano, organ, synthesizer, hand claps); Cathy Gillat (vocals); Graham Coxon (acoustic guitar, electric guitar, banjo, saxophone, hand claps, background vocals); Louise Fuller, Richard Koster (violin); John Metcalfe (viola); Ivan McCermoy (cello); Simon Clarke, Tim Sanders (saxophone); Roddy Lorimer (trumpet); J. Neil Sidwell (trombone); Alex James (bass guitar, hand claps); Dave Rowntree (drums, hand claps); Stephen Street (hand claps); Angela Murrell, Theresa Davis (background vocals).

Recording information: Fulham Studios, London, England (01/1995-05/1995); London Studios, London, England (01/1995-05/1995); Maison Rouge Studios, London, England (01/1995-05/1995); Townhouse Studios, London, England (01/1995-05/1995).

Photographers: Tom King ; Nels Israelson.

In the simplest terms, The Great Escape is the flip side of Parklife. Where Blur's breakthrough album was a celebration of the working class, drawing on British pop from the '60s and reaching through the '80s, The Great Escape concentrates on the suburbs, featuring a cast of characters all trying to cope with the numbing pressures of modern life. Consequently, it's darker than Parklife, even if the melancholia is hidden underneath the crisp production and catchy melodies. Even the bright, infectious numbers on The Great Escape have gloomy subtexts, whether it's the disillusioned millionaire of "Country House" and the sycophant of "Charmless Man" or the bleak loneliness of "Globe Alone" and "Entertain Me." Naturally, the slower numbers are even more despairing, with the acoustic "Best Days," the lush, sweeping strings of "The Universal," and the stark, moving electronic ballad "Yuko & Hiro" ranking as the most affecting work Blur has ever recorded. However, none of this makes The Great Escape a burden or a difficult album. The music bristles with invention throughout, as Blur delves deeper into experimentation with synthesizers, horns, and strings; guitarist Graham Coxon twists out unusual chords and lead lines, and Damon Albarn spits out unexpected lyrical couplets filled with wit and venomous intelligence in each song. But Blur's most remarkable accomplishment is that it can reference the past -- the Scott Walker homage of "The Universal," the Terry Hall/Fun Boy Three cop on "Top Man," the skittish, XTC-flavored pop of "It Could Be You," and Albarn's devotion to Ray Davies -- while still moving forward, creating a vibrant, invigorating record. ~ Stephen Thomas Erlewine

Beyond British and sensationally sociological, Blur and singer/songwriter Damon Albarn weave tales of stifling middle class ennui into clever pop vignettes. THE GREAT ESCAPE is another demonstration of Blur's unique intelligence, more of Albarn's witty commentary, and substantial proof that the group may be bordering on genius.

As usual, Albarn's senses are keen on THE GREAT ESCAPE. His ear for melody and sound textures shines throughout the album's fifteen brilliant tracks. The ska horns and spy soundtrack guitar riffing on "Fade Away" exemplify Blur's knack for pop music, yet elevate the song beyond simple genre-fication, with a dignity reserved for the orchestra pit. The snide humor behind "Mr. Robinson And His Quango" rubs shoulders with the desperation of "He Thought Of Cars," all the while dwelling on what they hope to escape. It's this nagging dread that carries the album--the sense that the people Albarn describes are as desperate to find meaning as Albarn is to capture it within the song's narrative.

THE GREAT ESCAPE may not turn into Blur's great American breakthrough album, but if you're not thrown by Albarn's overwhelmingly British aesthetic, it just might be enough to take you away from the confines of your day to day doldrums.