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Back to: Archive · 2006 Running free From the NME, cover date: 11 March 2006. 'Love Travels At Illegal Speeds' reviewed by: Hamish MacBain. Photograph: Jason Hetherington. One of the most abiding memories of Britpop, more so than Noel quaffing champers with a fresh-faced Tony Blair and more so than Jarvis' Jacko-baiting at the Brits, is Blur's performance of 'Country House' on Top Of The Pops. They were the victors of this greatest-ever chart battle: Damon Albarn avoiding the grasps of teenage girls, his competitive urges satiated, albeit temporarily; Alex James grinning at the thought of all the, "Oh, what a card you are!" comments his Oasis T-shirt would command that evening; drummer Dave Rowntree, er, drumming, anonymous as ever. And cowering in the corner of the stage was Graham Coxon, miming along to a contrary, disjointed solo more suited to a Sonic Youth experimental album than this most vulgar of Blur moments, knowing, just knowing, as the other three would years later sheepishly confirm, that all of this was wrong. No surprise therefore that subsequent Coxo outings, whether with or without his now most-definitely former band, were to veer as far in the direction of the leftfield as the politics of that now most-definitely former drinking buddy of Gallagher Sr would to the right. The 'Song 2'-heralding 'Blur' album was the sound of this shellshocked guitarist forcing his bandmates to flick through his Pavement and Dinosaur Jr records; '13' became Blur's 'experimental' record (and Graham's last with the band), while his initial solo releases were lo-fi and proof of this recovering alcoholic's reclusive tendencies. But then, seemingly in a flash, everything changed. 'Parklife' producer Stephen Street was called, wilful obtuseness was ditched in favour of tunes (2004's 'Happiness In Magazines' and specifically 'Freakin' Out') and before you knew it Coxon was onstage with Carl at his Dirty Pretty Things night, inviting Pete to play 'Time For Heroes' with him at his own gigs, getting asked to tour with Kaiser Chiefs and being held as a godfather figure for a new generation of DIY kids unimpressed by the cocaine-addled rockstar-isms of the '90s. These were his people, and if adulation, with which Graham had seemed so uncomfortable in the mid-'90s, was a part of his life again, so also this time were sobriety and - crucially - a sense of affinity. Not that 'Love Travels At Illegal Speeds', Coxon's sixth solo album, is contented. Rather, it's a very honest record that is, by turns, shy, strident, effervescent, romantic, fun, funny, sad, charming, often upbeat on the surface yet sometimes confused at its heart, and as such is one that perfectly represents its creator. Opener 'Standing On My Own Again' is typical, marrying a backdrop of sharp, energetic Jam-esque riffs to couplets like, "The future's looking black and it's a sight to see/Just a thousand grey waves crashing over me". This is, as advertised, an album about love, but one by a now-single 36-year-old ex-pop pin-up that's full of the same frustration, worries and confusion that defined early Buzzcocks (the most obvious musical touchstone here). 'Don't Let Your Man Know' fantasises about being a bit on the side to some girl on the streets of Camden, 'What's He Got?' gets baffled by inferior men with way-out-of-their-league ladies and 'Gimme Some Love', the heaviest moment here, is about exactly what its title implies. If all this sounds a bit mid-life crisis then... well, it isn't. The Pete Townshend, in-front-of-the-mirror powerchording is offset by the genuine innocence of a man only just finding his feet in adulthood, more clearly visible in downbeat moments 'Just A State Of Mind' and 'Don't Believe Anything I Say': lovely, emotionally open acoustic guitar-as-comfort-blanket confessionals that paint as important a part of this self-portrait as the adolescent pop-punk thrills of the likes of 'I Can't Look At Your Skin'. Best of all is the closing, mini-epic 'See A Better Day' ("I feel like I can fly"), one of Coxon's finest ever songs, on which Stephen Street's subtle, Beatles-esque production touches perfectly complement the sense of optimism. It's a fine end to a fine album that, while not likely to win any prizes for Gorillaz-style innovation, will resonate, both musically and lyrically, with fans young rather than old. It may be Blur's lead singer's 'project' that's got the grown-up broadsheet critics gushing and the Grammys rolling in, but it's their ex-guitarist who still, in the eyes (and hearts) of the kids, is alright. And that, frankly, matters much, much more. Rating: 8 out of 10. Garden Central Blur's 'Popscene' may be recognised as the single that kick-started Britpop, but its B-side was a Graham-led trip down shoegazer lane. Oily Water Modern Life Is Rubbish (the sixth best British album ever, remember!) contained much Brit charm but this was a soundscape every bit as sonically rich as those of Coxon's then-favourites My Bloody Valentine. You're So Great Highlight of 'Blur', the album on which Coxon took hold of the reins and led his band out of Britpop hell. I Wish The best song on Coxo's still-in-Blur debut solo album 'The Sky Is Too High'. Squalling feedback punctuates verses in which Graham wishes he "could bring Nick Drake back to life". Coffee & TV An anthem for the simple life. The first (and last) Blur single to feature Coxon's lead vocal. Lake Seven-and-a-half minute instrumental and centrepiece of 'The Golden D' - moody, mid-paced guitars building into a collage of noise. That's When I Reach For My Revolver Second of 'The Golden D''s two incendiary Mission Of Burma covers. Graham succeeds in righting the wrongs of Moby's version. You Never Will Be Forgotten Fall-meets-Led Zeppelin mini-classic from Coxo's third solo effort 'Crow Sit On Blood Tree'. Bitter Tears Very personal, psychedlia-tinged opener to album number four, 2002's 'The Kiss Of Morning'. Beautifully understated. Freakin' Out The very moment that tunes fantastically re-entered the building. Right To Pop! Live favourite and B-side of 'Freakin' Out' that almost equals its flip for visceral punk-pop thrills.  The shoegazer Fresh of face and bowl of haircut, Coxo stares wistfully off to some distant effects pedal like a youthful version of his hero, My Bloody Valentine's Kevin Shields.  The fop As a reaction to the plaid shirted grunge revolution, Blur unveiled their 'British Image' photoshoots and a cravatted Coxon coquettishly cradled a china cup of char.  The sk8er boi What is wrong with a mid-thirtysomething man travelling around London on a skateboard? Bendy buses are crap and the tube is really quite expensive these days, you know. |