Gorillaz debuted in late 2000 with the Tomorrow Comes Today EP, which they followed early the next year with the popular Clint Eastwood single. A self-titled, full-length debut album arrived in spring 2001. Gorillaz was a massive worldwide success and achieved platinum-level sales in the U.S.; worldwide, it sold over seven million copies. The group’s Svengalis were quick to capitalize, and released the B-sides collection G-Sides, the Phase One: Celebrity TakedownDVD, and the dub-inspired remix album Laika Come Home in 2002. The project soon went on hiatus, however, as Albarn resumed work with Blur for their seventh album, 2003’s Think Tank.

When he was ready to begin the next Gorillaz album, Albarn turned to Danger Mouse (the DJ behind The Grey Album, the infamous mash-up of the Beatles‘ White Album and Jay-Z‘s Black Album) and a host of other collaborators, including De La Soul, Shaun Ryder,Debbie Harry, Dennis Hopper, and Martina Topley-Bird. Although Del tha Funkee Homosapien and Nakamura did not return, 2-D, Russel, Murdoc, and Noodle were all present and accounted for on Demon Days, another Top Ten hit, which arrived in spring 2005. The album went double platinum in America and enjoyed even more success in the U.K.; it also received a host of Grammy nominations, a sign that the band had secured critical as well as commercial approval. Gorillaz broke ground for a new album in 2007, but the project wasn’t released until 2010, when Plastic Beach marked the band’s third studio effort.

http://gorillaz.com/

Initially, Blur were one of the multitude of British bands that appeared in the wake of the Stone Roses, mining the same swirling, pseudo-psychedelic guitar pop, only with louder guitars. Following an image makeover in the mid-’90s, the group emerged as the most popular band in the U.K., establishing itself as heir to the English guitar pop tradition of the Kinks, the Small Faces, the Who, the Jam, Madness, and the Smiths. In the process, the group broke down the doors for a new generation of guitar bands that became labeled as Brit-pop. With Damon Albarn‘s wry lyrics and the group’s mastery of British pop tradition, Blur were the leader of Brit-pop, but they quickly became confined by the movement; since they were its biggest band, they nearly died when the movement itself died. Through some reinvention, Blur reclaimed their position as an art pop band in the late ’90s by incorporating indie rock and lo-fi influences, which finally gave them their elusive American success in 1997. But the band’s legacy remained in Britain, where they helped revitalize guitar pop by skillfully updating the country’s pop traditions.