Think I read that Blur’s ‘Movin’ On’ was meant to be the final track on the band’s self-titled album from 1997. But then that changed when one day they made ‘Essex Dogs’ and decided that that track would take its place. ‘Movin’ On’ does have that “see you later, we’re out of here” sort of feel about it though. I just get that sense from its musicality, it’s hard to explain. What I do know is that it’s one of my favourites on this album, though I’m sure many wouldn’t bat an eyelid at it because there’s also ‘Beetlebum’, ‘Death of a Party’ and, you know, ‘Song 2’, among many other tracks that people may arguably find more substantial.

What got me hooked immediately to this one was its opening guitar riff, played by Graham Coxon, that goes back and forth with that fuzzy keyboard, presumably played by Damon Albarn. Those two are basically the melodic core of almost the entire track, then when the rhythm section of Alex James and Dave Rowntree join in, well, then it’s just plain sailing from there. The track is meant to be the band’s sort of declaration that they were done with the whole Britpop movement that they seemed to be a major force behind, and were going to continue to make simple indie rock, real band music. Of course, you wouldn’t assume this from the lyrics in the verses where Albarn is really just singing nonsense. Not like stupid things, but I feel they are words that are generally meant to fir the music rather than have a deep meaning behind them. Again, quite similar to what he would be doing with Gorillaz a few years later. Though there’s not much meaning, they’re delivered with a lot of feeling, and that’s all I ask for when it comes to this music stuff.

Some musical highlights in this to look out for… I mean I already mentioned the back and forth between the guitar and keyboard that happens throughout. I’d like to shout-out Dave Rowntree’s drum pattern during the choruses. I’m not a drummer, but there’s something emphatic about the way he switches between the hi-hats, tom-toms and crash cymbals alongside those rising ‘aah-aah’ backing vocals from Graham Coxon. Those sections are very uplifting. And then there are those moments where the band let loose. The keyboards freak out for the entire instrumental bridge, and the song’s end is just the four guys making as much noise as possible. I think it all just reflects the freedom the band must have had, particularly Coxon, now that they were changing their style up a bit. I give this track two thumbs up.