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About Graham Coxon

Graham Leslie Coxon was born in 1969 in Rinteln Military Hospital near Hanover, Germany. He started playing guitar when he was twelve years old.

In 1977, Graham and his family moved to Colchester in England and after he left school, he attended the prestigious Goldsmiths College in London. It was here that he met fellow student and bassist Alex James, and along with drummer Dave Rowntree and vocalist Damon Albarn (who met Coxon at School in 1980) they formed a bizarre Brechtian art-punk band called Seymour. After playing a dozen or so shows in and around London, they renamed the band Blur in 1989

Later that year, the band was signed to the EMI label Food. From the off, they sparked controversy when they displayed a scantily-clad woman on the cover of their debut single She’s So High . This was followed up with the U.K top ten single There’s No Other Way , which catapulted the band (and particularly Coxon’s penchant for a killer riff) into the limelight. For this, the band enlisted the services of legendary producer Stephen Street, whose previous credits included The Smiths, Morrissey, The Cranberries.

The band’s debut album Leisure announced the arrival of a fresh and inventive new band with art-punk leanings and a knack for a catchy tune. For this first offering, Coxon drew on his early influences, which included Pink Floyd and My Bloody Valentine.

However, before the band’s rise, there was a period of instability that came close to wrecking their careers. In 1992, Coxon and the rest of the band experienced management problems which left them on the brink of bankruptcy. To make matters worse, their U.S tour descended into disaster, leaving the band drunk, irritable and at each others’ throats.

The band underwent a transition period with the follow-up album Modern Life Is Rubbish , released in May 1993. This album showed influences from quintessentially English artists like The Beatles, Madness, Julian Cope and XTC. Along with the use of string and brass sections, this witty and very English-sounding album sowed the seeds for the following year’s Britpop explosion.

This modern view of urban England was developed on the third Blur album, Parklife (a No.1 U.K. chart entry in April 1994), which took an analytical, often comical look at England’s foibles and misfortunes. The band won four Brit Awards for Parklife in early 1995 and went head-to-head with fellow U.K band Oasis in a media war which none of the band really wanted.

After several months of toil in the studio, their next album, The Great Escape was Blur’s international coming of age. Its style and sound far-outreached the boundaries of pop, propelling them to a wide audience, from young teens to older, more ‘serious’ music fans.

The Great Escape shot straight into the British album charts at No. 1 and sold over one million copies in the U.K. alone, becoming Blur’s biggest-selling album worldwide to date. A tour of British seaside resorts followed, during which Blur played to small audiences for one last time.

Coxon’s sheer and jointed guitar riffs made him a distinctive piece in leading the four-piece into alternative creative outlets, noticeably, Blur went from cockney rebels to experimental intellects throughout their growing roster of material during the mid- to late ’90s.

Coxon’s infatuation with cult US indie bands such as Pavement and Sonic Youth had come to the fore on the bands 1997 release ‘Blur’. Expectations and personal wishes led him to throw his energy into a solo career.

In 1998 Coxon founded his own record label called ‘ Transcopic’ as an outlet for his own recordings and other left field artists (one of the label’s later signings was UK maverick Billy Childish). It was a side project of sorts, a loophole for Coxon to streamline his own ideas his own way. It was shortly thereafter that Coxon released his first solo album ‘The Sky Is Too High’ which was well received by critics and contained some beautiful moments. The songs for the record were written during his teetotal period, and surprised quite a few people who were expecting a more ‘heavier’ record from him.

Soon after, he was back in the studio with Blur, recording their sixth album, 13 . The cover of the record showed details of a beautiful Graham painting that reflects well the more intimate feel of the music inside it.

Released in 1999, 13 , was produced by William Orbit, whose mixing credits include work with Madonna, Prince, Kraftwerk, and The Cure. This album was named by Rolling Stone magazine as Blur’s “most playful set yet” and was more experimental and loose then its predecessors. The band showed once again they were always moving forward into new directions. After the release they went on tour promoting the album.

In 2000, Graham’s partner gave birth to their daughter, who they named Pepper. The same year, Coxon released his second solo album, The Golden D (the album title refers to Coxon’s favourite chord), upped the tempo somewhat in its exploration of post-punk guitar rock, even including two Mission Of Burma covers (”Fame And Fortune” and “That’s When I Reach For My Revolver”)tThis release was very different from its predecessor. The Golden D was heavier and faster and not only pleased his fan base, but gained him a new audience along the way.

Taking advantage of a hiatus in Blur’s studio and touring schedule, Coxon returned to the studio in 2001 to record his third solo album, Crow Sit On Blood Tree, he turned the volume down once more in a return to the lo-fi stylings of his debut. Once again he wrote all songs and performed all instruments by himself. The album was released in August 2001. At the end of the year, Coxon met with the other three members of Blur to discuss plans for a new album.

In 2002, at the start of the project, Coxon shocked Blur’s worldwide fan base by announcing that he was leaving the band. The other three carried on without him, recording in Marrakesh, Morocco with producer Norman Cook (a.k.a Fat Boy Slim). The album, Think Tank was released in 2003 and although there is a minimal involvement from Coxon, the guitar playing has been scaled down, with six-string duties being done by the band’s vocalist, Damon Albarn.

During the recording of the album, Coxon was busy at work on his fourth solo album, The Kiss Of Morning , which was released in October 2002, and was his most focused album to date.

He then released his most critically acclaimed album to date, Happiness In Magazines, and relased the hit single ‘Freakin’ Out’

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