Graham Coxon – ‘Castle Park’ review: lost album proves itself a ’60s pop treasure

Originally recorded back in 2011 alongside 'A+E', this album of pure and simple pop from the Blur guitarist shines with his best

Can we get a “ WOO-HOO ”? For “lost” albums to see the light of day during an artist’s lifetime is something of a rarity. Fortunately, Graham Coxon is very much alive and kicking and has gifted us with his ninth solo LP ‘Castle Park’. Recorded in 2011 during the sessions for ‘A+E’ , it fell by the wayside as Coxon found himself occupied with another Blur reunion tour and album. It was then further buried by his soundtrack work on The End Of The Fucking World , his graphic novel and accompanying music for ‘ Superstate ’, his life as half of The WAEVE with partner Rose Elinor Dougall , and then another roll of the dice with his old Britpop chums for some mega Wembley and festival shows and the sublime ‘Ballad Of Darren’ .

Now, in a rare moment of calm, Coxon is finally sharing what would have been his ninth solo album proper over a decade ago. While ‘A+E’ was a scorched-earth reaction of scuzzy punk urgency to the finger-pickin’ good folk chill of predecessor ‘ The Spinning Top ’, the songs that would make up ‘Castle Park’ were kept separate for strutting, with the swing of Graham’s beloved classic ‘60s pop and mod influences.

Named after a spot on his teenage home of Colchester, the album sits comfortably on a bed of warmth and nostalgia. Fans may recognise opener ‘Billy Says’ from his live sets over the years, now a resplendent, sprightly Kinks -y bop as Coxon sets a Billy Liar -inspired scene of a lover selling fibs. That free and breezy mood blows through the whistle-along ‘Alright’, the choppy garage rock earworm ‘When You Find Out’ and and the groovy wandering basslines and surf guitar of ‘There’s A Little House’. Going back to the ’60s source of it all really lets Coxon’s pure pop sensibilities shine in direct ditties of love and romantic mishaps.

While more in line with his era-defining ‘Happiness In Magazines’ and 2006’s ‘Love Travels at Illegal Speeds ’ for its simple pop approach, the troubadour still stretches his legs around ‘Castle Park’. A precursor to Coxon’s soundtrack work, ‘Isn’t It Funny’ marks gorgeously cinematic, orchestral Scott Walker noir. ‘Mélodie Pour Christine’ is a gorgeous violin break, the acoustic-led latter-day Beatles lullaby of ‘Easy’ sings of love conquering all hardships, and ‘Dripping Soul’ dabbles in a little Morricone spaghetti Western. Still, the man knows how to get to the heart of the matter and hold you there.

“ A life so forgettable, but it really doesn’t matter ,” he pines nonchalantly on woozy closer ‘All The Rage’; clearly not the case for the man himself. This coming up for air and sharing of ‘Castle Park’ has pushed Coxon to celebrate his whole solo career by reissuing his back catalogue and hitting the road again for his first full-band shows in a decade. Take this moment to appreciate what an underrated force Graham can be away from all the Britpop arena bluster that found him fame, showcased wonderfully here on ‘Castle Park’.

For this album to have stayed lost and gathering fluff down the back of the sofa would have been a terrible shame. It belongs on the mantlepiece alongside the best stuff he’s put his own name to.