This is one of the worste albums Ive ever bought (and then returned). It was worth the argument with the store manager to unload this Mega-Death meets Metallica nonsense. I liked Sky is Too High, and love Blur. I cannot believe the other reviewers were able to stomache it.
June 7, 2004Graham is definately a real artist on his own... no doubt that he doesn't need Blur anymore... but blur might need him NOW !! too late... graham is doing his best and that's OUR pleasure !! Thank you so much Graham !!!!!
December 30, 2002I had been warned off of Graham Coxon's solo works, told that they were a little too emotionally off-kilter, a little too overly sincere... but I'm glad I actually tracked down this fantastic album and listened for myself. I'm a huge fan of Blur, and particularly Graham's way of addressing his instrument - he doesn't play guitar the way that most rock leads do; his solos are generally minimal, and he saves his most beautiful and extraordinary licks for tucking behind the verses. "The Golden D" is Graham both working out his inner demons and neuroses without being compromised by Damon Albarn's songwriting, and the result is a dense, intensely personal inner landscape. "Jamie Thomas" is a metal-punk explosion on the subject of Graham's skateboarding idol, "Fags and Failure", "Leave Me Alone" and "My Idea of Hell" are very much what they say they are. But just when you've given up Graham as a tortured soul with horrifically bad self-esteem, he brings out my favourite track on the album, "Oochy Woochy" - an absurdly funny and light-hearted romp with a drunken off-kilter saxophone riff that will get stuck in your head for hours. I think Graham Coxon is an amazing talent, with or without Blur - for someone who, even in the studio, has to hide when he sings because he's so shy about his voice, he has no such self-consciousness when working on his own material. This is an album I will treasure for years.
June 24, 2002I really enjoyed this record for its restlessness. It sure doesn't sound like Graham's settling down any. Some of the cuts just completely rock with no abandon. The more experimental stuff is interesting, as well. Lake is quite beautiful in its ragged rhythms and building sonic textures. I was quite impressed that he played all the instruments on the whole album. I see this, his solo career, as a continuing vent/experiment for Graham. This album didn't blow me away, but considering that the whole thing was supposedly made in 2 weeks, it's not bad at all. The next one will surely be even better.
I wouldn't really be able to recommend it casually to just anyone, but if you like Graham's work, then give it a whirl. December 24, 2000
 |  | You're So Great and I Love You, Graham. |  |
This album starts out fast and loud and cools down a bit in terms of tempo, so it's hard to categorize. I think of it in terms of Graham's initially getting out all of his pent-up Blur frustration at having to color between the lines too often (though don't get me wrong, Blur is fantastic), then realizing that yes...he CAN make intelligible and crafty and tuneful songs too. This is a short but sweet album, and it's definitely worth getting if only for the "Jamie Thomas" crashing guitar blaring that will make you jump out of your seat when the first track comes on, and also for the unforgettable "Ootchy Kootchie" song at the end. Cheers Graham, keep it up.
September 30, 2000More reviews at Amazon.com ...
(9 reviews)
