Blur, Music And Me: by Alex James

As Alex James makes his way to the bottom of a garden at the rear of a TV studio in South London, in between saying hello to everyone who makes eye contact with him, he’s concentrating on rolling a cigarette to which the most difficult part of the task will be finding a lighter to ignite it with. “Have you got a light?” he asks, politely. “Err....” Suddenly the floor manager who has flanked him all the way to his seat next to an ornate pond scuppers off in search of something that will enable him to answer ‘yes’ to James’ question. Thirty seconds later and the floor manager returns. James lights up.

Although the fondness for a cigarette might still be present, much has changed in the life of Alex James, Blur’s flamboyant bassist. Today, for example, the 38-year old is in London to continue his role as a judge for a new television talent contest. The Channel Four production, which will air in the coming weeks, is similar to Pop Idol – only the talented wannabes hungry for success in MobileACT aren’t looking for a centre page spread in Heat magazine as well. Instead, they’re preformed bands, with preformed ideas, who are just in need of a helping hand. And that’s where James steps in.

“I don’t think there’s that much of a focus on music on television at the moment, and in general,” explains James, as he crosses his legs to make himself comfortable, “so any kind of competition does create interest doesn’t it? It’s just a cool version of something that hasn’t been very cool up to now I suppose.”

One could question James’ motivation for getting involved in such an idea as MobileACT. Firstly, because the idea that a member of one of the Britpop era’s defining bands should want to go on a reality television show is perhaps a little puzzling. And secondly, since Blur released their last album, 2003’s ‘Think Tank,’ music hasn’t really been at the forefront of his mind – he’s is currently pickling a new batch of cheese at his farm in the Cotswolds, for example. But then Alex James – who in his recent autobiography described himself as the ‘second drunkest member of Britain’s drunkest band’ - has never really played by the book. MobileACT is just another string to his post-Blur bow, one which also includes his new career as a newspaper columnist and country farmer.

So what makes MobileACT worthy of his interest? “Well it isn’t a talent show,” he explains, “not in the kind of performing monkey’s way. I think these people are being more encouraged to break rules – it’s more like an open A&R meeting really.” Tucking his cascading side parting behind his left ear, he continues: “The band’s are of their own creation, some of these band’s I’d kind of want to be in. What makes it different? I suppose it’s the sort of Pop Idol thing that’s the kind of Opportunity Knocks cabaret show, kind of light entertainment but this is more...it’s music, it’s not performing seals or dancing poodles, it’s people expressing themselves. That’s when music becomes interesting, when it’s not about people trying to please everybody, that’s not what art is, pleasing everybody, that’s what record companies want. But what bands do is express themselves and that’s what art is, expressing yourself and that’s what you get points for here I suppose.”

James says he’s on the panel of judges, which also includes Radio One DJ Jo Whiley and Simon Gavin, Head of A&M Records UK (a trio that he describes collectively as “the nuts and bolts of how the music industry works”) because he’s “been around the block and seen it all and heard it all” before. And few could argue with that.

As the bass player in Blur, James’ CV is emphatic. Since their formation in 1989, Blur – completed by Damon Albarn, Graham Coxon and Dave Rowntree - have forged a back catalogue which to date includes four number one multi-million selling albums and been the recipients of countless accolades and awards, including four BRIT awards in 1995. But more importantly than the sales figures, they spearheaded a movement alongside Oasis which bled directly from the open wounds of mid-90s British culture – from the ‘successful fellers’ in the city to the millions who didn’t think there was a ‘job worth working for.’ The lyrics were poignant, the music was euphoric. Yet, in James’ eyes, just twelve years on from the height of Britpop, it’s no longer music that’s defining British culture.

“I don’t know what the definitive music of the 21st century is so far, I wonder whether there’s anything left to do with rock n’ roll other than blow it up,” he states sombrely, looking genuinely dismayed. “Music just isn’t the focal point of youth culture anymore, celebrity is. It used to be Smash Hits that sold a million copies an issue, now it’s Heat and that’s why I think things like this (MobileACT) are good – I think this is a good thing because it’s shining a light on....” James suddenly pauses. While you can guess what he wanted to say, he seems to have something else on his mind. “You know the sort of talent show format is actually a brilliant idea, it’s possibly the great British music success story of the last ten years. Everybody moans about it but it is actually something that we’ve exported around the world like we did in the sixties. You know it’s (American Idol) the biggest thing on American television this year and it’s shit – this is good...hopefully.”

“You know people don’t watch that because it’s good,” he says, referring to American Idol, “they watch it because it's shit I think – would you agree?” 

I nod and suggest that people seem more interested in watching the stage one public humiliation of contestants on reality television. “Yeah that’s what it’s about really; it’s not really about the music.”

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