M.O.R.
"M.O.R." is a song by the English rock band Blur, appearing as the eighth track on their fifth studio album, Blur (1997). Released as the album's fourth and final single on 15 September 1997, it peaked at number 15 on the UK Singles Chart.[1] The song's title stands for "middle of the road," referencing a style of easy-listening music, though its sound draws from glam rock influences. It was inspired by the Oblique Strategies cards used by David Bowie and Brian Eno during the "Heroes" sessions, with Blur employing a similar method of chance-based prompts to generate lyrics.[2]Background
Writing process
During Blur's transition from the polished Britpop sound of their earlier albums to a more experimental and lo-fi aesthetic in 1996–1997, the conception of "M.O.R." emerged amid the sessions for their self-titled fifth album, reflecting the band's desire to break free from commercial expectations following the success of Parklife (1994) and The Great Escape (1996).[3] Damon Albarn took a leading role in sketching the initial melody for the track, channeling personal frustrations and band tensions that had intensified after the height of their Britpop fame, marking a shift toward more introspective, first-person songwriting.[3] Graham Coxon contributed key guitar riffs during informal jamming sessions in London studios, where the band experimented with raw, dissonant sounds for the first time, fostering a collaborative dynamic that addressed prior creative rifts.[3] The song was written in early 1997 as part of these album sessions, incorporating chord progressions reminiscent of David Bowie's work, which aligned with the band's evolving influences.[3]Inspirations
The title "M.O.R." is an acronym for "Middle of the Road," a term referencing the easy-listening music genre, employed here as an ironic commentary on the pressures of commercialism and mainstream appeal in the music industry.[4] The song draws direct inspiration from David Bowie's 1979 tracks "Boys Keep Swinging" and "Fantastic Voyage," both from the album Lodger, with Blur borrowing the chord progression and elements of the chorus melody.[5][6] These influences reflect Bowie's experimental approach on Lodger, where he and collaborator Brian Eno used the same chord sequence for multiple songs as a creative exercise.[7] Following the release of Blur's self-titled album in 1997, a legal dispute arose over the similarities, leading to Bowie and Eno being added as co-writers on "M.O.R." and receiving a share of the royalties.[6][8] This track exemplifies Blur's broader engagement with 1970s glam rock and art-pop during their 1997 self-titled album era, as the band explored retro influences amid a shift toward American indie and lo-fi sounds.[5][4]Recording and production
Studio sessions
The recording sessions for "M.O.R." occurred at Mayfair Studios in London, beginning in June 1996, as part of the broader sessions for Blur's self-titled album.[5] Producer Stephen Street oversaw the process.[5] During these sessions, experimental guitar effects were tested extensively to fuse rock-driven riffs with electronic influences, addressing the challenge of balancing the song's Bowie-inspired chord progression—drawn from "Boys Keep Swinging" and "Fantastic Voyage"—with Blur's evolving sound.[9] The sessions later shifted to Reykjavik, Iceland, where additional work continued under Street's guidance.[5] The final mix for "M.O.R." was completed by late 1996, in preparation for the album's release the following February.[5]Personnel
The personnel for "M.O.R." primarily consisted of the four members of Blur, who handled all core instrumentation and performance duties on the track. Damon Albarn provided lead vocals and played guitar, Graham Coxon contributed guitar and backing vocals, Alex James performed on bass, and Dave Rowntree handled drums.[10] Production was led by Stephen Street, who served as the primary producer, with Alan Moulder handling the mixing for the song's road version featured on the single release.[11] Engineering duties were managed by John Smith, with additional vocal engineering support from Hideo Ueda, Jason Cox, Kentaro Oizumi, Matt Butcher, and U.K. Junior.[11] The track includes writing credits for the Blur members—Damon Albarn, Graham Coxon, Alex James, and Dave Rowntree—along with David Bowie and Brian Eno, due to the song's interpolation of elements from Bowie and Eno's "Boys Keep Swinging."[2] For the single's accompanying tracks, William Orbit provided additional production and remixing on the William Orbit Remix of "Movin' On."[11]Composition
Music
"M.O.R." blends alternative rock with glam and electronic influences, clocking in at a runtime of 3:27 on the album version. The track was inspired by David Bowie's "Boys Keep Swinging" and Brian Eno's "Fantastic Voyage," incorporating riff structures and vocal interplay from those songs.[2] It employs a verse-chorus form, commencing with an introductory riff that sets a propulsive tone, followed by alternating verses and choruses, a bridge for dynamic contrast, and a gradual fade-out conclusion.[2] Its tempo hovers around 139 beats per minute in the key of E major, contributing to the song's energetic drive.[12] Central to the song's sound is a driving bass line that anchors the rhythm, complemented by distorted guitars that deliver raw, angular riffs reminiscent of 1970s experimental rock.[13] Subtle synth undertones weave through the arrangement, adding an electronic layer that enhances the glam-infused texture.[14] The chorus features a memorable hook, elevated by layered vocal harmonies that provide a lifting, anthemic quality. The verse chord progression follows a straightforward sequence of E - A - B, building tension that resolves effectively in the chorus.[12] Within the context of Blur's self-titled album, "M.O.R." aligns with the record's lo-fi aesthetic through its unpolished guitar tones and minimalist production, yet it distinguishes itself with greater pop accessibility via its catchy structure and melodic hooks.[15] This balance allows the track to serve as a more radio-friendly entry amid the album's broader experimental leanings.[4]Lyrics
The lyrics of "M.O.R." serve as a satirical commentary on the pressures of fame and the commodification of music within the commercial industry, positioning the song as a critique of mainstream appeal and the temptation to conform for broader success.[16] Damon Albarn's verses explore the exhaustion of celebrity, with lines like "Touch me, I'm a real big star / Touch me, I'm a pop star" ironizing the superficial allure of stardom and the music business's demand for accessibility.[16] The chorus amplifies this irony through the repeated refrain "More and more / I wanna be middle of the road," a deliberate nod to "M.O.R." (middle-of-the-road) radio formats, portraying the desire to "sell out" as both a surrender under pressure and a wry acknowledgment of industry realities.[16] Albarn's writing style in the song blends abstract detachment with playful exaggeration, reflecting his post-fame introspection and a shift away from the cartoonish narratives of earlier Blur work toward more personal, jagged expressions of vulnerability.[17] This approach underscores a sense of emotional distance from the trappings of success. In broader cultural context, "M.O.R." ties into the waning of Britpop and Blur's deliberate identity shift toward American indie influences, mocking the genre's commercial clichés and signaling a rejection of its excesses in favor of rawer, less polished authenticity.[17] This positioned the song as a prescient farewell to the era's bombast, capturing the band's weariness with mainstream expectations amid the rise of more homogenized pop sentiments.[16]Release and formats
Track listings
The "M.O.R." single was released in multiple formats in the UK, including a CD single, 7-inch vinyl, and cassette, each featuring the road version of the title track alongside B-sides recorded during the Blur album sessions. Internationally, variations included additional live recordings and non-album tracks tailored to regional markets.[14]UK CD single (CDFOOD107)
| No. | Title | Duration |
|---|---|---|
| 1 | "M.O.R." (road version) | 3:14 |
| 2 | "Swallows in the Heatwave" | 2:33 |
| 3 | "Movin' On" (William Orbit remix) | 8:00 |
| 4 | "Beetlebum" (Moby's minimal house mix) | 6:16 |
UK 7-inch vinyl (FOOD 107)
- Side A: "M.O.R." (road version) – 3:13
- Side B: "Swallows in the Heatwave" – 2:33
UK cassette single (TCFOOD 107)
The cassette replicated the CD single tracklist, with "M.O.R." (road version) on side A and the three B-sides on side B.US CD single (V25G-38611)
| No. | Title | Duration |
|---|---|---|
| 1 | "M.O.R." (road version) | 3:12 |
| 2 | "Popscene" (live at Peel Acres) | 2:58 |
| 3 | "Song 2" (live at Peel Acres) | 1:53 |
| 4 | "Bustin' + Dronin'" | 6:30 |
Japanese CD single (TOCP-40081)
| No. | Title | Duration |
|---|---|---|
| 1 | "M.O.R." (road version) | 3:13 |
| 2 | "M.O.R." (karaoke version) | 3:13 |
| 3 | "I Love Her" (demo version) | 3:34 |
| 4 | "Death of a Party" (live version) | 4:16 |