I then tried to freestyle something, a right load of gibberish bollocks it was, and it ended in, ‘I never did no harm’. As in like text speak language – “I will c u der”. I started saying to them to turn it up and the track was very slowly turning up so I started going ‘it’s coming up, it’s coming up, it’s coming up’ and when it got as loud as I wanted it, I said ‘it’s dare’. So I put the headphones on and there was no track. Freestyle off the top of your head, make it up ‘cos he wanted me to basically write a song or write something. I had the cans on and he said, ‘Go in the studio and try and do something’. My version of events was that Damon put a track on, it had no lyrics, it didn’t have anything. I was only there on that track and it was all quite fast. It’s a fucking great album though he’s a talented fella. It was the second and I hadn’t heard the first one – I knew about them, but I hadn’t heard the album. I wouldn’t say he was my best friend, but I’d bump into him and then I got a call to ask whether I’d come and do a track for his Gorillaz album. Shaun Ryder: “I used to bump into Damon over the years. To mark the occasion, we spoke to Shaun Ryder about his contribution to the record – ‘DARE’ – and how its lyrics really came about. Before it fall down, falling down, falling down. To let you do that yet you dont want me back. All the glasses are too big bring it back, got to hold it back. I then tried to freestyle something, a right load of gibberish, and it ended up in.” Dazzlingly eclectic and subversiveĮlsewhere, Demon Days mixed foreboding grooves with a playful musical approach: Dirty Harry brings together an irresistible groove, children’s choir and string breaks Fire Coming Out Of The Monkey’s Head sees actor Dennis Hopper narrating a parable about the destructive nature of humankind over a Specials-like slice of foreboding reggae All Alone sees Albarn trying on the droll punk-funk of Ian Dury And The Blockheads for size.Gorillaz are back in the studio and prepping for a new album release. Its so bad, lasting far, but love yourself. I started saying to them to turn it up and the track was very slowly turning up, so I started going, ‘It’s coming up, it’s coming up, it’s coming up,’ and when it got as loud as I wanted it, I said, ‘It’s dare.’ As in like text-speak language – ‘I will c u der’. Freestyle off the top of your head, make it up…’ So I put the headphones on and there was no track.
I had the cans on, and he said, ‘Go in the studio and try and do something. Similarly, while Gorillaz’s debut had featured a smattering of star turns ( Talking Heads’ Tina Weymouth and Chris Frantz, Ibrahim Ferrer of Buena Vista Social Club, Del The Funky Homosapien), for Demon Days Albarn aimed big, recruiting a fantastically disparate array of talent to bring his vision to life, including De La Soul, Neneh Cherry, MF Doom, Shaun Ryder, Marina Topley-Bird, Dennis Hopper and Roots Manuva.Īgain, Albarn’s newfound creative freedom provided happy accidents that led to magical moments, as Ryder told NME in 2015: “Damon put a track on, it had no lyrics. The decision demonstrated Albarn’s eye for spotting up-and-coming talent: Danger Mouse had only recently come to prominence with The Grey Album (an innovative mash-up of The Beatles’ “The White Album” and Jay-Z’s The Black Album), but that was enough to convince Albarn that he was the man for the job.
Rather than repeat the tried-and-tested formula that had worked so well on Gorillaz’s debut, Albarn mixed things up from the off, with Danger Mouse replacing Dan The Automator on production duties. Demon Days features a myriad of genres, instruments and artistic styles that flow together without skipping a beat. Hidden behind his animated band, Albarn could try things that he would never have dared as the frontman of one of the biggest indie bands of the 90s. Released in 2005, Demon Days is arguably the jewel in the crown that is Gorillaz’s discography showcasing the crème de la crème of what it is that makes Gorillaz unique. Released four years later, the hip-hop inspired cartoon side-project’s follow-up, Demon Days, took things to another level, becoming the biggest-selling album of Albarn’s career, eclipsing landmark Blur records and giving its mastermind a huge amount of artistic freedom. Released in 2001, it gave Albarn unprecedented global success – particularly in the US, where his fortunes with Blur, the band he’d first found fame with, had often been mixed. It’s unlikely that even Damon Albarn could have foreseen the success of Gorillaz’s self-titled debut album.
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