Think Tank
2003 Studio Album by Blur
[Studio album by Blur]
Released: 5 May 2003 (details) Recorded: November 2001 – November 2002 in London, Morocco, and Devon Genre:
- Art rock
- Electronic [1]
- World
Length: 56:04 Label: Parlophone Producer:
Blur chronology Blur: The Best Of (2000) Think Tank (2003) Midlife: A Beginner's Guide to Blur (2009)
Damon Albarn chronology Laika Come Home (2002) Think Tank (2003) Democrazy (2003)
Singles from Think Tank:
- "Out of Time" Released: 14 April 2003 [2]
- "Crazy Beat" Released: 7 July 2003 [3]
- "Good Song" Released: 6 October 2003 [4]
Think Tank stands as the seventh studio album from the venerable English rock ensemble, Blur, unveiled to a world perpetually in motion on 5 May 2003. This particular sonic excursion saw the band further entrenching themselves in the jam-based studio constructions and experimental ethos that had defined their preceding work, 13 (1999). Yet, Think Tank wasn't merely a rehash; it pushed the boundaries, embracing an even more pronounced utilization of sampled rhythm loops and a soundscape characterized by its brooding intensity and pervasive electronic textures. The album's sonic tapestry was conspicuously woven with pronounced influences drawn from the pulsating energy of dance music, the rhythmic complexities of hip hop, the cavernous depths of dub, the intricate improvisations of jazz, and the rich, diverse traditions of African music. Such an eclectic fusion served as a potent indicator of chief songwriter Damon Albarn's ever-expanding and increasingly global musical fascinations.
The genesis of Think Tank commenced in November 2001, with recording sessions meticulously spread across various locales: the familiar urban sprawl of London, the exotic and inspiring landscapes of Morocco, and the pastoral tranquility of Devon in England. This peripatetic creative process ultimately concluded a year later, in November 2002. The album's primary sonic architect was Ben Hillier, with notable additional production contributions from Norman Cook, widely recognized as Fatboy Slim, and the ethereal touch of William Orbit. Crucially, the band itself was also credited with production, a testament to their deep involvement in shaping the album's final form. However, these sessions were marked by a significant absence: at their outset, guitarist Graham Coxon was undergoing rehabilitation for alcoholism, rendering him unable to participate. Unsure of the duration of Coxon's recovery, Albarn, Alex James, and Dave Rowntree made the pragmatic, if somewhat somber, decision to initiate the album's creation without him.
Upon Coxon's eventual return, the dynamic within the group had, perhaps inevitably, shifted, leading to discernible strain in the relationships between him and the remaining members. Following a brief period of initial recording contributions, Coxon departed the sessions, resulting in his minimal presence on the completed album. This makes Think Tank the singular Blur album not to feature Coxon as a full-time, integral member – a stark departure from the band's established lineup. The narrative of Blur's fragmentation would not, however, be its final chapter; Coxon eventually reunited with Damon Albarn in 2008, a reconciliation that paved the way for Blur's triumphant return to live performances in 2009 and, ultimately, his full reintegration for their subsequent studio effort, The Magic Whip (2015).
Think Tank can be loosely categorized as a concept album, a structural framework that Albarn succinctly characterized as being preoccupied with the weighty themes of "love and politics" [5]. Albarn, a vocal pacifist, had previously lent his voice to the growing dissent against the invasion of Afghanistan. As Western nations subsequently escalated their threats to invade Iraq, he became a prominent participant in the widespread protests against the impending war. Consequently, anti-war sentiments permeate the album, manifesting not only in its lyrical content but also in its accompanying artwork and promotional visual materials – a defiant artistic statement against a backdrop of global unrest.
Following an early leak onto the internet in March, Think Tank was officially released on 5 May 2003. It immediately ascended to the coveted number one position on the UK Albums Chart, marking Blur's impressive fifth consecutive studio album to achieve this pinnacle of commercial success. The album was subsequently certified Gold by the BPI, solidifying its commercial impact. Beyond its domestic triumph, Think Tank also secured a place within the top 20 in numerous other territories, including Austria, Switzerland, Germany, Norway, and Japan. In the United States, it represented Blur's highest-charting album at the time, reaching number 56 on the Billboard 200 – a modest but significant achievement in a market notoriously challenging for British acts. The album spawned three singles, which, in turn, charted at number 5, number 18, and number 22 respectively on the UK Singles Chart, demonstrating a consistent, if not blockbuster, presence. In the wake of the album's release, Blur embarked on a world tour, with Simon Tong stepping in to fill the considerable void left by Coxon's absence.
Background
While Blur had, for a time, been inextricably linked with the effervescent Britpop movement – a period some still cling to with the desperation of a drowning man – their trajectory had, in fact, veered into increasingly experimental musical territories well before Think Tank. This shift began notably with their eponymous 1997 album, Blur, which, under the influence and suggestion of guitarist Graham Coxon, embraced the raw energy and diverse textures of indie rock bands. By the mid to late 1990s, the individual members of Blur had also begun cultivating separate artistic endeavors, a natural if sometimes divisive consequence of prolonged creative collaboration. Damon Albarn, ever the restless innovator, famously co-created Gorillaz, a groundbreaking virtual band, in 1998 alongside comic artist Jamie Hewlett, whom Albarn had initially encountered through Coxon. Gorillaz' 2001 debut album proved to be a resounding financial success, garnering widespread critical acclaim and establishing Albarn as a formidable force beyond the confines of Blur. Simultaneously, Graham Coxon had embarked on a solo career, having already released three solo albums by 2001, a clear indication of his distinct artistic voice. This burgeoning divergence in musical interests, while perhaps enriching for the artists themselves, undeniably created friction and a sense of alienation among the band members. Coxon himself articulated this complex dynamic, explaining, "we're all very concerned for each other and we do genuinely like each other an awful lot. Because we're into so much different stuff, it becomes daunting." [6] Despite these internal tensions and differing paths, Coxon, alongside Alex James and Dave Rowntree, expressed a clear eagerness for a new Blur album, while Albarn, perhaps burdened by his recent successes with Gorillaz, appeared more hesitant [7].
Blur's preceding album, 13, had already ventured deeply into the realms of experimental and electronic music, guided by the visionary production of William Orbit. Despite the critical and commercial success of the album and its accompanying singles, the overarching sonic aesthetic of 13 was widely perceived as "deliberately uncommercial" when juxtaposed against their earlier, more pop-centric offerings [8]. Yet, even amidst this broader, more adventurous musical landscape Blur was navigating, Albarn expressed a surprising desire in a January 2001 interview to craft a more accessible album once again. He stated, with a characteristic blend of ambition and self-awareness, "I'm trying to go back to the kind of songwriting aesthetic I had on (hit album) Parklife. They won't be arranged in the same way at all – they'll just be songs that are accessible to the public." He further elaborated on this strategic pivot, suggesting that "it's too complicated being anything other than mainstream with Blur. That's where it belongs. We still feel that the mainstream in Britain is not represented well enough by intelligent musicians." [8] One might infer this was less a capitulation to commercialism and more a challenge to it—an attempt to inject intelligence into a space he felt was lacking.
The global political climate also played a significant, if somber, role in shaping the album's thematic undercurrents. In the aftermath of the September 11 attacks, a series of contentious military campaigns, collectively dubbed the "war on terror," were initiated. In November 2001, shortly after the Invasion of Afghanistan (2001–present), the MTV Europe Music Awards were held in Frankfurt. It was there that Gorillaz received an award for Best Dance Act [9]. As Albarn and Hewlett ascended the stage to accept their accolade and deliver a speech, Albarn conspicuously wore a T-shirt emblazoned with the iconic Campaign for Nuclear Disarmament logo. In a moment that transcended mere celebrity platitudes, Albarn used his platform to deliver a pointed message: "So, fuck the music. Listen. See this symbol here, [pointing to the t-shirt] this the symbol for the Campaign for Nuclear Disarmament. Bombing one of the poorest countries in the world is wrong. You've got a voice and you have got to do what you can about it, alright?" [10][11][12] This was not merely an artist making a statement; it was a public figure using a global stage to challenge perceived injustices, a theme that would resonate deeply within Think Tank.
By 2002, Iraq found itself under the imminent threat of invasion from a coalition of Western nations. This prospect ignited widespread public opposition, leading to numerous protests organized by a diverse array of activist groups. Albarn, who has consistently identified as anti-war [13][14], vehemently spoke out against the proposed invasion, specifically citing the disturbing lack of democratic process underpinning the decision [15][16]. His deeply held anti-war convictions were not merely a fleeting celebrity stance; they were deeply rooted, having been inherited from his parents and grandparents. His grandfather, Edward Albarn, had tragically died after undertaking a hunger strike just the previous year [17][18]. Albarn has since characterized his grandfather, father, and himself as principled conscientious objectors, underscoring a familial legacy of dissent.
In his commitment to raising awareness about the potential perils of the UK's involvement in the war, Albarn collaborated with Robert "3D" Del Naja of Massive Attack and various other campaigns [15][19]. He was slated to deliver a speech in Hyde Park at a colossal rally in March 2003, an event that saw a million people flood the streets of London in a powerful demonstration against the impending conflict [20]. However, when the moment arrived, the sheer emotional weight of the occasion rendered him unable to speak, a testament to the profound personal impact of the crisis [16][18][21][22].
Recording
Norman Cook (often known as Fatboy Slim) produced the tracks "Crazy Beat" and "Gene By Gene"
The initial stirrings of Think Tank began in November 2001, within the confines of Albarn's own 13 Studio in London. Albarn, Alex James, and Dave Rowntree convened there with Ben Hillier, the album's primary producer. Hillier candidly recalled, "there was tension to begin with. Alex had made some belittling comment about Gorillaz in the press, but there was a 'fuck you' and a 'fuck you' and it was all mates again but for the fact that Graham was missing." [23] Indeed, 2001 had seen Graham Coxon grappling with the formidable challenges of alcoholism and depression, rendering him unable to participate in these crucial initial recording sessions as he underwent rehabilitation. Despite the palpable void left by Coxon's absence, the remaining members of Blur made the difficult decision to forge ahead without him, perhaps recognizing that creative momentum, once lost, is difficult to reclaim [23].
By January 2002, the core trio was predominantly engaged in developing demos that Albarn had initially sketched out on a four-track recorder. These nascent ideas were then meticulously transferred into Logic with the skilled assistance of 13's in-house engineers, Tom Girling and Jason Cox, along with assistant James Dring [24]. Coxon eventually rejoined his bandmates for recording sessions spanning February and May 2002, though he did so with the clear, and perhaps prescient, understanding that the atmosphere in the studio would be "tense" [7]. During these "awkward afternoons," as he later described them, Coxon contributed guitar parts to the track "Battery in Your Leg" and several non-album B-sides, including "The Outsider," "Morricone," and "Some Glad Morning" [25].
It became increasingly clear that, in the period of Coxon's absence, the evolving sound and musical direction of Think Tank had diverged significantly from his own artistic sensibilities. He found himself, both creatively and personally, in a position where he no longer felt he had a justifiable or comfortable place within the band. Furthermore, health professionals had advised Coxon to avoid touring, a crucial component of album promotion, which would inevitably leave him in a more vulnerable mental state. This medical advice was met with considerable friction, both from the band and their record label, who viewed touring as an indispensable element of a record's commercial viability.
What followed was a period described euphemistically as "miscommunication." Blur's manager was instructed to inform Coxon that he should not return to the studio for an indefinite period. This directive effectively precipitated Coxon's departure from the band after only a handful of recording sessions. Undeterred, or perhaps simply resigned, the remaining members of Blur resolved to continue recording as a trio. Albarn, ever the pragmatist, declared that "the spirit of Blur was more important than the individuals" [26], a statement that speaks volumes about the band's enduring, if strained, identity.
In June, the band reconvened in the studio, immersing themselves in "tracking, overdubs and reworking what we'd already done, and all the time new songs would be popping up – I think we had 28 of them at one point." [24] Albarn, with an eye for diverse creative input, expressed a desire to involve multiple producers in the album's creation, specifically seeking out a "name producer" [23]. He had previously engaged in discussions with Norman Cook, better known as Fatboy Slim, about his potential involvement, though Cook initially envisioned his role as providing "just feedback and nothing else" [6][27]. Albarn eventually extended a more direct invitation for Cook to work hands-on with the band [23]. Hillier and the band also dedicated time to collaborating with other notable producers, including the Dust Brothers, while the Neptunes were, at one point, also rumored to be involved, hinting at the breadth of sonic exploration the band was considering [28].
August saw the remaining members of Blur, accompanied by Hillier, embarking on a journey to Morocco. Alex James issued a statement on the band's website, articulating the underlying motivation for this geographic shift: "I suppose the idea at the bottom of this is to escape from whatever ghetto we're in and free ourselves by going somewhere new and exciting." [29] The band established their creative base in Marrakesh, transforming an old barn into a fully functional studio [30]. Albarn later claimed that the majority of the album's lyrics were penned "under a cypress tree in Morocco," an evocative image befitting the album's newfound world music leanings [31]. These Moroccan sessions proved particularly fruitful, yielding tracks such as "Crazy Beat," "Gene by Gene," and "Moroccan Peoples Revolutionary Bowls Club" [30]. It was during this period that the primary vocal recordings for the album took place [32]. While immersed in the Moroccan landscape, Albarn also penned a song inspired by the relationship struggles of Cook and his partner, Zoë Ball [33]. This track, which originated as a spontaneous jam session, ultimately evolved into "Put It Back Together," a song that would later appear on Fatboy Slim's fourth studio album, Palookaville, released in October 2004 [23]. Upon the band's return from Morocco, the final recording sessions were conducted in a rustic barn nestled on National Trust land in Devon [34].
William Orbit, who had served as the main producer for 13, also made contributions to Think Tank's production. Hillier described this collaboration: "we sent a couple of tunes to William to work on in his studio, working round the clock in a computer environment the way he does. He's a nutter and works all night. That was quite an interesting juxtaposition, us doing office hours then going to see William after work, just as he was getting up!" [24] Of Orbit's distinct contributions, the track "Sweet Song" ultimately found its place on the album. Coxon's absence also inadvertently amplified the roles of Alex James and Dave Rowntree, both of whom provided prominent backing vocals throughout the album. Rowntree further diversified his contributions by playing electric guitar on "On the Way to the Club" and even delivering a rap on a demo version of "Sweet Song" [35]. Adding another layer of sonic richness, a Moroccan orchestra was prominently featured on the album's lead single, "Out of Time" [5].
Musical style
Despite Albarn's earlier pronouncements regarding a desire to revert to a more commercially appealing sound, Think Tank resolutely continued the trajectory of jam-based studio constructions established by its predecessor, 13. The album significantly expanded upon the use of sampled rhythm loops and cultivated a sonic atmosphere defined by its brooding intensity and pervasive electronic textures. Almost entirely the creative output of Albarn, Think Tank conspicuously shifted its emphasis, foregrounding lush backing vocals, deceptively simple acoustic guitar lines, solid drums, foundational bass guitar, and a diverse array of other instrumental embellishments.
"Blur have reinvented themselves as boldly postcolonial popsters. Think Tank's songs aren't merely multicultural, they're multilateral, recorded partly in Morocco and sung in a musical polyglot Hoovered up from stray corners of the empire: aspects of Afrobeat, bits of bhangra, images of Islam. With guitarist Graham Coxon missing in action, the rhythm section of Alex James and Dave Rowntree steps up, and the album shuffles and grooves like Fela Kuti sloshed on gin and tonics."
— Andy Greenwald – Spin [36]
Alex James, with a characteristic flourish of self-assurance, declared, "We knew we had to come back with the best thing we'd ever done. I think it is. It's next level shit!" [34] Such pronouncements, while perhaps designed for promotional impact, underscore the band's conviction in their evolving sound.
Like many of Blur's previous albums, Think Tank operates as a loose concept album. Albarn has consistently articulated its central thematic concerns as "love and politics" [5][37]. He expanded on this, stating that "[Unease] forces people to value what they've got. And that, hopefully, will pay dividends and help change the world to a better place. Hopefully. Touch wood." [37] This perspective imbues the album with a sense of hopeful, if slightly weary, idealism. Albarn further emphasized the artist's inherent responsibility, stating that the album is about "what are you supposed to do as an artist other than express what is going on around you." [38] Certain tracks on the album also delve into a palpable sense of paranoia and alienation, particularly within the context of British club culture. Albarn also cited the raw energy of punk rock music, specifically the Clash, as a significant source of inspiration for the album's ethos [28].
- "Ambulance" Sample of "Ambulance" from Think Tank. Devon Powers of PopMatters described the song as "a fitting introduction to a record that's such an extreme departure from their past work". [39] Problems playing this file? See media help.
The album's inaugural track, "Ambulance," immediately establishes its distinctive character with a complex, almost disorienting drum beat. Sam Bloch of Stylus Magazine lauded the song's introduction, describing the rhythm as "an offbeat rhythmic synapse that nearly collapses into itself [...] Heavy electronic drums. A flash. A kick. At first, it's really hard to believe that this is a song, functioning on its own. The beat needs crutches to stand upright." [40] Devon Powers of PopMatters further elaborated, writing that "the first bars [...] are stricken with throbbing beats that sound simultaneously futuristic and primitive," a paradox that encapsulates the album's forward-thinking yet primal appeal [39]. Bloch continued his analysis, observing: "as a low, thunderous bass enters [the listener's] speakers, the whole thing slowly grows. Distinctive African percussion is leisurely incorporated into the bass overtone—it's the darkness in a thunderstorm, the pure, simple fury that comes before a glorious lightning streak." [40]
At precisely 0:52, Albarn's lead vocals emerge, repeating the somewhat resigned yet defiant lyrics, "I ain't got nothin' to be scared of," delivered in a "gauzy" falsetto that floats above the unfolding soundscape. This vocal motif is underpinned by a "languid" bass groove and backing vocals that Bloch characterized as "gospel-twinged," adding a spiritual, almost mournful dimension. A baritone sax line, described by Powers as "[cutting] underneath the back-up singers, at an angle—so quirky it feels like Morphine could have played it," further complicates the sonic texture. As Albarn delivers the subsequent line, "'cause I love you," a synthesizer abruptly kicks in, a sound Bloch deems "illustrious," "otherworldly," and "flooding the song's deathly stomp. But within this death there is love. Albarn makes this clear in the structure of this song." In Albarn's subsequent vocal passages, he transitions from his ethereal falsetto into "his low swinging monotone," grounding the track with a more direct delivery. Powers observed that he "croons, carelessly, almost as if he's freestyling. Things change again. They keep changing." Powers posited that while the song might ostensibly be about love, "it's also a fitting introduction to a record that's such an extreme departure from their past work, and so drastically left field from the garage and post-punk and easily accessible poprock currently drenching the airwaves" [39], a testament to its defiant originality.
In an XFM radio interview, Albarn offered insight into the track's spontaneous composition, stating, "I try to do a lot of stuff once I've got the melody and the chord structure. I try to just sing it in one go without thinking about it too much. It comes out a sort of partially formed song and sometimes you're lucky and it comes out almost kind of sort of perfect and sometimes it's just a mess." He confidently asserted that "Ambulance" fell into the former category – a moment of serendipitous perfection. Alex James echoed this sentiment, revealing that "Ambulance" was "the first song that I thought, right this is Blur again. Like I'm in the right place again. I suppose the lyrics have something to do with that, you know, having nothing to be scared of anymore" [41], suggesting a profound emotional resonance for the bassist.
Andy Greenwald unequivocally proclaimed "Out of Time" as "the album's highlight," a bold claim in an album brimming with innovation. He characterized the song as "failure-soaked" and "heart-stoppingly lovely," further elaborating that it "perfectly captures the jumble of beauty and dread that defines life under orange alert. 'Are we out of time?' Albarn asks, desperate for one last peace march or one last snog." Such a description highlights the track's emotional depth and its poignant reflection of contemporary anxieties. Powers, in her analysis, described the song as "a much more straightforward, apace ballad [compared to the preceding track]. Dominant in the track are Albarn's unadulterated vocals and steady, simplistic drums, but beyond that are ethereal, hard-to-identify noises. In the middle of the track, an Andalucian string group rears its head, as does a tambourine" [36], pointing to the subtle yet rich tapestry of instrumentation.
"Crazy Beat" drew immediate comparisons to the band's raucous, iconic track "Song 2" from their self-titled album. XFM succinctly described the song as "Fatboy Slim meets Middle Eastern Punk rock... energetic, punked-out rocker." However, the review quickly countered this seemingly raw aesthetic: "But as much as this song might appeal to the neo-DIY set—complete with its jumpy chorus and lively melody—Blur are anything but. If there's one thing Blur are known for, it's lots and lots and lots of production. Norman Cook (aka Fatboy Slim), builds this number with tons of sound, so there's always another active level to uncover." Albarn provided a fascinating origin story for the track, stating, "It started off in such a different way. The nearest thing I could compare it to is a really bad version of Daft Punk. So, we got sick of it and then put in that descending guitar line over it to rough it up a bit." [42] He further elaborated on the track's evolution: "It had this sort of mad vocoder-ish vocal and the melody was over a real sort of skanky groove and just this almost descending semi tonal guitar. The melody worked over it and it was amazing coz it shouldn't have worked, another little magic moment for us" [41], underscoring the accidental genius that often characterizes creative breakthroughs.
Powers asserted that "the best moments of this album are those when vintage Blur styles are evoked with new expertise." She cited the meandering "Good Song" as "a beautiful case in point." In her description, "Acoustic guitar picking is matched with temperate drums and a sweet, steady bass countermelody. Albarn's singing is mostly in his mid-range, falling out as easily as breath. Signature background vocal harmonies are there to brighten up the track, but their muted nature doesn't descend into campiness. What's also new is the expert use of electronic noises and drumbeats to fatten the sound." Albarn, reflecting on the track, revealed its working title: "well, that was originally called 'De La Soul' on our huge list of songs, half finished ideas. It was called 'De La Soul you know, right until the end. And I just always thought it was a good song and just called it 'Good Song'. I love that, I love the sort of intimacy of it and I just think everyone really played gently on it, the melodies. It was a good melody" [41], a simple, unpretentious endorsement of its inherent charm.
"On the Way to the Club" was characterized by Albarn as "a hangover song which we sort of write from time to time." He further elaborated on its distinctive sonic identity: "it's definitely got a very individual sound. Someone said that it's a sort of revived Screamadelica. Yeah, it's kind of the good intentions of which you participate in revelry and then actually the reality of it" [41], capturing the bittersweet disillusionment that often follows nights of excess.
"Brothers and Sisters" was notably one of the last tracks to be incorporated into the album. Dave Rowntree observed, "It was a kind of track that took quite a different direction for most of its life... And then right at the end we switched about and took it in a different direction, it wasn't quite so dark." Albarn added, "It sounded more like The Velvet Underground when we started. It was too overtly about one thing. It was too druggy, in a way, which is a kind of weird thing, 'cause the song is all about drugs so I think we just pushed ourselves a bit more with it and gave it a lot more space – countered by the list and the list was kind of sort of inspired by the life of JFK and his need to have 28 drugs everyday of his Presidency just to keep him functioning" [41], offering a cynical, yet historically informed, perspective on the song's thematic evolution.
Albarn described "Caravan" as "a kind of song that you could play anywhere." He vividly recalled a moment of personal connection with the track: "And I mean I remember we just finished it and when everyone left to go back to London, I went down to Mali for a couple of days 'cause Honest Jon's [were] still working with musicians and stuff. I was sitting in a mango grove with a wild turkey and had a little CD player and I put it on there. It was just nice seeing everyone sitting around getting stoned to it. It was nice, 'cause the guitar is very, much inspired by Afel; a great Malian tradition of blues guitar" [41]. Alex James offered a more atmospheric recollection: "I think this one's about the sun going down, for me. That was like a perfect studio moment; sitting on top of a strange barn in the Moroccan desert listening to Damon do a vocal and it a was a perfectly still time of day and the sun was perfectly red and there was just an immense sense of calm and this music" [41], painting a picture of profound serenity.
Albarn explicitly stated that "Sweet Song" was inspired by Graham Coxon, a rare and poignant acknowledgment. Explaining the recurring habit of including "song" in track titles, Albarn offered a cultural rationale: "another African thing that I've picked up. They do call things like 'Tree Song'. You know what I mean; they give it something quite simple. It's not, it doesn't have an agenda so much, it's offered out as a nice bit of music to everyone and that's something that has changed massively in my life, I don't see the ownership of things quite so strongly anymore" [41], hinting at a personal and philosophical shift towards communal artistic experience.
A unique and often overlooked element of Think Tank is the hidden track, "Me, White Noise," which resides in the pregap before track 1 on some CD copies. This distinctive piece features the spoken word contributions of Phil Daniels, who had previously lent his vocal talents to the iconic "Parklife" – a nostalgic nod for long-time fans. Japanese editions of the album integrate this track at position 30, following a lengthy sequence of silent tracks from index points 15 to 29, a peculiar organizational choice. On the Blur 21 deluxe edition, "Me, White Noise" is placed after several minutes of silence at the conclusion of the final listed track, ensuring its continued enigmatic presence.
The album's packaging in some regions conspicuously displays a Parental Advisory logo. This cautionary label is primarily attributed to the numerous drug references found within the lyrics of "Brothers and Sisters." Additionally, the aforementioned hidden track, "Me, White Noise," is notable for containing one of the few expletives to appear in a Blur song.
Artwork and packaging
The visually striking album cover for Think Tank was meticulously stenciled by the elusive and iconic graffiti artist Banksy [43]. Despite Banksy's well-documented stance of generally eschewing commercial commissions [44][45], he later provided a candid defense of his decision to contribute to Think Tank's artwork. He stated, with a characteristic blend of pragmatism and principle: "I've done a few things to pay the bills, and I did the Blur album. It was a good record and [the commission was] quite a lot of money. I think that's a really important distinction to make. If it's something you actually believe in, doing something commercial doesn't turn it to shit just because it's commercial. Otherwise you've got to be a socialist rejecting capitalism altogether, because the idea that you can marry a quality product with a quality visual and be a part of that even though it's capitalistic is sometimes a contradiction you can't live with. But sometimes it's pretty symbiotic, like the Blur situation." [45] This explanation, while acknowledging the commercial aspect, frames his involvement as a rare convergence of artistic integrity and financial necessity. The original cover art itself proved to be a valuable commodity, selling at auction in 2007 for a remarkable £75,000 [46], further solidifying Banksy's market value and the album's cultural cachet. The fold-out booklet accompanying the album features the intriguing, if somewhat cryptic, text "Celebrity Harvest," which was the working title for a proposed, but ultimately never realized, Gorillaz film project. The album's titular phrase, Think Tank, originated from bassist Alex James, who, in a 2003 interview, simply stated, "It seemed to sum everything up" [47], a testament to its evocative power.
Release
Prior to its official retail debut, Think Tank suffered the increasingly common fate of being leaked onto the internet [48]. In a somewhat surprising and pragmatic response to this digital premature release, Dave Rowntree quipped, "I'd rather it gushed" [49], a statement that underscored his progressive views on music dissemination. He further elaborated on his stance, declaring, "I'm rabidly pro the internet and as many people hearing our albums as possible. If it hadn't been leaked by someone we probably would've leaked it ourselves" [50], a remarkably forward-thinking perspective for the time. Damon Albarn even speculated that the leak inadvertently benefited the reception of their subsequent live performances, as the audience, already familiar with the songs' lyrics, was able to engage more deeply [50].
Commercial performance
In the United States, the album made its debut at number 56 on the Billboard 200, with first-week sales reaching approximately 20,000 units. This marked a significant milestone for Blur, as it represented their highest charting album in the US at that particular time [51]. As of April 2015, Think Tank had accumulated sales of 94,000 copies in the US [52], a respectable, if not blockbuster, performance in a notoriously challenging market for British alternative acts.
Domestically, in the United Kingdom, the album soared to the top spot upon its debut, securing Blur their fifth consecutive number one album – a testament to their enduring popularity and critical relevance. The album maintained a presence within the top 10 for a solid three weeks and remained in the top 75 for a total of eight weeks. However, compared to their previous, more commercially dominant releases, Think Tank exhibited somewhat less longevity and overall sales success [53], perhaps reflecting the changing landscape of music consumption or the divisive nature of its experimental sound.
Critical reception
Think Tank was met with a largely positive reception from professional critics, a chorus of approval that, in hindsight, sometimes feels a touch too eager. On Metacritic, an aggregator that compiles and normalizes scores from mainstream critics, the album achieved an average score of 83 out of 100, a designation that proudly signifies "universal acclaim," based on a total of 26 reviews [54]. Andrew Future, writing for Drowned in Sound, hailed the album as "a genuine pleasure to behold." He drew a clear distinction between Think Tank and its predecessors, Blur and 13, which he characterized as "full of jump-start arrangements and fractured experimentalism." In contrast, he described Think Tank as being "lush in melody, flowing in windswept electronica with a myriad of bombastic orchestral backing one minute, before retracting into cocoons of melancholic and clustered acoustics the next," capturing its dynamic and expansive nature. Playlouder went even further, proclaiming the album "an extraordinary record that pushes boundaries and sets new standards." Steve Lowe, in his review for Q, observed that "The beat-driven tracks [...] veer towards the arty, white-boy-with-beatbox line of Talking Heads and The Clash (actually, the low-slung hip-pop of 'Moroccan Peoples Revolutionary Bowls Club' even recalls Big Audio Dynamite). Only the trudging, tedious six-minute squib 'Jets' really needs taking back to the shops." [34]
However, not all critical assessments were entirely laudatory. Stephen Thomas Erlewine of AllMusic offered a dissenting voice, writing that the album "is the sound of Albarn run amuck, a (perhaps inevitable) development that even voracious Blur supporters secretly feared could ruin the band — and it has." He didn't mince words, further describing Think Tank as a "lousy album" on which the few strong tracks are "severely hurt by Coxon's absence" [55]. This stark contrast in opinion underscores the album's polarizing effect, particularly among those who valued the traditional Blur dynamic.
Perhaps the most telling critique, however, came years later from Damon Albarn himself. In 2015, with the benefit of hindsight and a certain artistic distance, he became notably critical of the record, admitting, "It's... got some real stinkers on it – there's some bollocks on there" [65]. This self-assessment, while perhaps harsh, offers a fascinating counterpoint to the initial "universal acclaim," suggesting that even the creators themselves can evolve in their perception of their own work.
Accolades
Blur received a notable collection of awards and nominations in recognition of Think Tank's artistic merit and commercial impact. At the prestigious 2003 Q Awards, Think Tank was honored with the coveted award for Best Album [66][67]. This particular victory marked the third time the band had received this specific accolade, having previously triumphed in 1994 and 1995 for their seminal albums Parklife and The Great Escape, respectively [67] – a testament to their consistent output of critically acclaimed work. Beyond the album itself, Blur also garnered a nomination for Best Act in the World Today, while Ben Hillier, the album's primary producer, was jointly nominated with the band in the Best Producer category [66].
The album's critical recognition extended into the following year, with Think Tank securing the Best Album award at the South Bank Show Awards in 2004 [66][68]. It was also nominated in a similarly titled category at the Danish Music Awards in the same year. Further cementing its status, Think Tank received a nomination for Best British Album at the 2004 Brit Awards [69]. The promotional videos for the singles "Out of Time" and "Good Song" also earned several accolades, highlighting the comprehensive artistic vision surrounding the album's release [66].
At the close of 2003, The Observer notably crowned Think Tank as the best album of the year. Miranda Sawyer, in her review, offered a particularly insightful perspective: "Think Tank is the band's first warm album. They have hopped genres in the past, from baggy to mod to pop to grunge to art-rock, but the sound has always stayed urban, Western, cool. Think Tank is none of these things. It's all over the place, and that place is foreign. Odd noises, strange instruments, keening vocals; its tunes wind themselves around your heart like drifting smoke. They waft in from faraway lands; trail and trickle their scent across your life. It is the most peculiar stuff that stays with you; "Ambulance"'s slurred symphony; "Caravan"'s star-speckled wonder." [70] This eloquent appraisal captured the album's unique departure from Blur's previous work and its profound, almost ethereal, impact.
Accolades for Think Tank
| Publication | Country | Accolade | Year | Rank |
|---|---|---|---|---|
| Bang | UK | Albums of the Year [71] | 2003 | 3 |
| BBC | UK | Albums of the Year [72] | 2003 | * |
| Drowned in Sound | UK | Albums of the Year [73] | 2003 | 43 |
| Eye Weekly | Canada | Albums of the Year (Critics Poll) | 2003 | 23 |
| Albums of the Year (Writers) | 11 | |||
| Fnac | France | The 1000 Best Albums of All Time [74] | 2008 | 799 |
| Les Inrockuptibles | France | The 100 Albums of the 2000s | 2010 | 7 |
| Mojo | UK | Albums of the Year [75] | 2003 | 3 |
| NME | UK | Albums of the Year [76] | 2003 | 21 |
| Top 100 Albums of the 2000s [77] | 2009 | 20 | ||
| The Observer | UK | Albums of the Year [70] | 2003 | 1 |
| Playlouder | UK | Albums of the Year | 2003 | 18 |
| PopMatters | US | Albums of the Year | 2003 | 7 |
| Q | UK | Albums of the Year [78] | 2003 | 2 |
| Top 100 Albums of the 2000s | 2009 | 59 | ||
| Rolling Stone | US | Albums of the Year | 2003 | * |
| Rolling Stone | France | The 20 Albums of the 2000s | 2010 | * |
| Rough Trade | UK | Albums of the Year | 2003 | 86 |
| Slant Magazine | US | Top 250 Albums of the 2000s [79] | 2010 | 145 |
| Spin | US | Albums of the Year [80] | 2003 | 16 |
| Uncut | UK | Albums of the Year [81] | 2003 | 62 |
| Top 150 Albums of the 2000s [82] | 2009 | 22 |
Tour
In the wake of Think Tank's release, Blur embarked on a global tour, a necessary, if somewhat hollow, endeavor to promote their latest work. For these live engagements, former The Verve's guitarist and keyboardist Simon Tong stepped into the formidable shoes of Graham Coxon, performing both the new material from Think Tank and the band's extensive back catalogue. However, Damon Albarn later expressed a candid dissatisfaction with these performances, dismissively labeling the live shows as "rubbish." Alex James, the band's bassist, echoed this sentiment of incompleteness, openly admitting that touring simply "was not the same without Coxon" [7][25]. This pervasive feeling of something essential missing underscored the profound impact of Coxon's absence on the band's chemistry and live energy.
Interestingly, since Blur's eventual and much-celebrated reunion with Graham Coxon in 2009, Think Tank has largely been relegated to the periphery of their live setlists. With the notable exception of "Out of Time" – which has been re-arranged to incorporate additional guitar parts by Coxon, a poignant acknowledgment of his return – and occasional, sporadic performances of "Battery in Your Leg" in 2009 and "Caravan" in 2015, the album's material has largely been overlooked. This relative absence from their post-reunion performances perhaps tacitly acknowledges the album's unique, and somewhat anomalous, place within the Blur canon, a testament to its singular creation under challenging circumstances.
Track listing
All lyrics are attributed to Damon Albarn. All music is credited to Damon Albarn/Alex James/Dave Rowntree, except where explicitly noted.
Think Tank track listing
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Ambulance" (includes pregap hidden track [note 1]) | 5:09 | |
| 2. | "Out of Time" | 3:52 | |
| 3. | "Crazy Beat" | 3:15 | |
| 4. | "Good Song" | 3:09 | |
| 5. | "On the Way to the Club" | Albarn, James Dring, James, Rowntree | 3:48 |
| 6. | "Brothers and Sisters" | 3:47 | |
| 7. | "Caravan" | 4:36 | |
| 8. | "We've Got a File on You" | 1:03 | |
| 9. | "Moroccan Peoples Revolutionary Bowls Club" | 3:03 | |
| 10. | "Sweet Song" | 4:01 | |
| 11. | "Jets" | Albarn, James, Rowntree, Mike Smith | 6:25 |
| 12. | "Gene by Gene" | 3:49 | |
| 13. | "Battery in Your Leg" ([note 2]) | Albarn, Graham Coxon, James, Rowntree | 3:20 |
| Total length: | 56:04 |
Notes
- ^ The song "Me, White Noise" is a spoken word hidden track featuring Phil Daniels. In its initial release, this track was uniquely placed in the compact disc pregap, often referred to as "track 0" [83].
- ^ The streaming and deluxe editions of the album integrate "Me, White Noise" as a hidden track that appears after "Battery in Your Leg" and a subsequent 90-second period of silence.
Disc 2: 2012 special edition
| No. | Title | Length |
|---|---|---|
| 1. | "Money Makes Me Crazy" (Marrakech mix) | 2:53 |
| 2. | "Tune 2" | 3:48 |
| 3. | "The Outsider" | 5:14 |
| 4. | "Don't Be" | 2:40 |
| 5. | "Morricone" | 4:50 |
| 6. | "Me, White Noise" (alternate version) | 6:44 |
| 7. | "Some Glad Morning" | 4:19 |
| 8. | "Don't Be" (acoustic mix) | 2:39 |
| 9. | "Sweet Song" (demo) | 3:50 |
| 10. | "Caravan" (XFM session) | 4:15 |
| 11. | "End of a Century" (XFM session) | 2:41 |
| 12. | "Good Song" (XFM session) | 3:31 |
| 13. | "Out of Time" (XFM session) | 3:36 |
| 14. | "Tender" (XFM session) | 6:21 |
Japanese bonus track
| No. | Title | Length |
|---|---|---|
| 15. | "Crazy Beat" (Jo Whiley BBC session) | 3:12 |
Personnel
Blur
- Damon Albarn – lead and backing vocals, guitars, keyboards, producer
- Alex James – bass guitar, backing vocals, production
- Dave Rowntree – drums, drum programming, backing vocals, guitar on "On the Way to the Club", production
Additional musicians and production
- Paul Wood – bongos
- Bezzari Ahmed – rabab
- Moullaoud My Ali – oud
- Mohamed Azeddine – oud
- Norman Cook – producer (Track 3 & 12)
- Jason Cox – production assistance, engineer
- Graham Coxon – guitars on "Battery in Your Leg"
- Phil Daniels – backing vocals on "Me, White Noise"
- James Dring – engineer, additional drum programming
- Ben Hillier – producer, engineer, percussion
- Gueddam Jamal – cello, violin
- Abdellah Kekhari – violin
- Ait Ramdan El Mostafa – kanoun
- Desyud Mustafa – orchestral arrangement
- El Farani Mustapha – tere
- Dalal Mohamed Najib – darbouka
- Hijaoui Rachid – violin
- M. Rabet Mohamid Rachid – violin
- Mike Smith – saxophone
- Kassimi Jamal Youssef – oud
- William Orbit – producer (Track 10)
Charts and certifications
Weekly charts
Weekly charts for Think Tank
| Chart (2003) | Peak position |
|---|---|
| Australian Albums (ARIA) [84] | 30 |
| Austrian Albums (Ö3 Austria) [85] | 19 |
| Belgian Albums (Ultratop Flanders) [86] | 19 |
| Belgian Albums (Ultratop Wallonia) [87] | 9 |
| Danish Albums (Hitlisten) [88] | 11 |
| Dutch Albums (Album Top 100) [89] | 52 |
| European Albums (Billboard) [90] | 3 |
| Finnish Albums (Suomen virallinen lista) [91] | 15 |
| French Albums (SNEP) [92] | 11 |
| German Albums (Offizielle Top 100) [93] | 8 |
| Irish Albums (IRMA) [94] | 3 |
| Italian Albums (FIMI) [95] | 4 |
| Japanese Albums (Oricon) [96] | 14 |
| New Zealand Albums (RMNZ) [97] | 27 |
| Norwegian Albums (VG-lista) [98] | 18 |
| Portuguese Albums (AFP) [99] | 28 |
| Spanish Albums (PROMUSICAE) [100] | 31 |
| Swedish Albums (Sverigetopplistan) [101] | 44 |
| Swiss Albums (Schweizer Hitparade) [102] | 9 |
| UK Albums (OCC) [103] | 1 |
| US Billboard 200 [104] | 56 |
Year-end charts
Year-end charts for Think Tank
| Chart (2003) | Position |
|---|---|
| UK Albums (OCC) [105] | 93 |
Certifications
Certifications for Think Tank
| Region | Certification | Certified units/sales |
|---|---|---|
| United Kingdom (BPI) [106] | Gold | 100,000 ^ |
Summaries
^ Shipments figures based on certification alone.