When an artist leaves an irremovable stain on the history of music, retrospective reviews are rarely impartial. When Sex Pistols, for instance, helped open the door to the punk mentality, they gained a legacy that their very small back catalogue doesn't seem to justify. Thirty years on, Never Mind The Bollocks sounds average - like much of the three-chord punk that followed. Therefore, it is hard not to write a Sex Pistols review without a hint of disappointment, a touch of sadness, after discarding the hope you'd had when you'd seen that classic on the shop shelves. Blur have not weathered so badly. A decade or two on, Parklife still resonates with its original Britpop brilliance. The social commentary could have been written yesterday. 'To The End' is still a wonderful tribute to love, 'Girls & Boys' still sums up the metro-sexuality and frivolity of British holidaymakers brilliantly, 'End Of A Century' still describes the boredom of a stagnant relationship perfectly. 'This Is A Low' is still capable of moving me deeply with its shipping forecast tour around Britain; it still sounds relevant, poignant and frankly beautiful. Does this mean that the world has not changed in fifteen years? I don't think so. It's just that Blur captured Englishness so successfully on Parklife; they told of a melancholy but somehow idyllic England where people look to the stars to find peace, get very drunk on bank holidays, lose themselves in mindless television programmes and get rudely awakened by the dustman. Blur turned out as one of the bands that gave the nineties British music scene some bite, and documented the lives of twentieth century Brits in a lucid but poetic style. Parklife is Blur's best album built on social commentary: the two before were paler versions of this, and the albums after became more introverted, or just not as good. Even if you aren't planning on listening to the original guitar style of Graham Coxon, or the lyrics, there are some pretty excellent sing-along moments on Parklife, and that will never change. The tracks 'Tracy Jacks', 'Parklife' (which still receives radio play), Girls & Boys (though a tongue-twister), and 'Badhead' are all examples of sing-along classics. As for things which don't sound so good in retrospect, Parklife has a nineties polish on it, dusted with electronics it didn't need and some sampled sound effects that don't work so well. However, a little unnecessary production cannot stifle excellent song-writing, pretty melodies and great lyrics. In the future, if nobody ever gets bored in love anymore, never wants to escape their nowhere town, never feeds the pigeons to give themselves a sense of wellbeing - maybe in this imaginary future, Blur will seem irrelevant and dated. I should think we have a good few years before then to enjoy Parklife.