Chart entered : 12 May 1990
Chart peak : 32
Number of hits : 20
It's a moot point how much these lads' chart breakthrough was due to Madchester. The timing would suggest quite a lot, their music and image would suggest that building a strong fanbase and improving their songwriting had more to do with it.
James were formed in 1982 by Mancunian Paul Gilbertson who persuaded his childhood pal Jim Glennie to buy a bass and form a band with him even though neither knew how to play properly. They started gigging immediately believing something worthwhile would emerge if they just improvised. The manager at their first gig - the Eccles Royal British Legion Club- pulled the plug on them before they'd finished their second song. Gavan Whelan , a competent drummer joined soon afterwards and they played under a variety of names including Venereal and the Diseases. They invited Yorkshire-born drama student Tim Booth to join them as a dancer after encountering him at the student union. He was soon allowed to become lead singer but the freaky dancing remained part of his on-stage persona and , if my own contemporary conversations are representative, acted as a barrier to some people who would otherwise have got into the band.
By August 1982 they had settled on the name James and attracted the attention of Tony Wilson after a gig at the Hacienda. Though somewhat wary of the associations that came with Factory and fearing they would lose the soul of their live act in the studio, they eventually agreed to release the three songs of which they felt least protective on an EP "Jimone" in September 1983.
The first track "What's The World " expresses all their fears and misgivings about becoming part of the pop machine with references to "Frankenstar" though they were worrying prematurely with such a ramshackle sound although Tim already sounds assured on vocals. "Folklore" frets equally about male chauvinism and insincere songwriting with finger-in-the-ear folk club vocals circling a simple melodic bass line. "Fire So Close" appears to be about right wing rednecks in the US and is a confusing mix of spiky funk, hi-life guitar and Rip Rig and Panic polyrhythms. The Factory name ensured it made a showing on the UK independent chart.
The band's progress was held up by Gilbertson's increasing use of drugs and subsequent unreliability. At the same time , Tim and Jim had gone the other way and got involved with a religious sect called Lifewave which prescribed various puritanical practices. Something had to give and in the summer of 1984 Gilbertson was ousted from the band he had founded. His replacement was Larry Gott, a serious musician who had been giving lessons to both Gilbertson and Jim.
The band's next release the "James II" EP ( though in fact it only comprised two short tracks ) was timed to coincide with their support slot on The Smiths' Meat Is Murder tour at the beginning of 1985. The Smiths actually played "What's The World" themselves a few times during the tour. The tour was something of a poisoned chalice , giving them increased exposure but leaving them open to the charge of being second rate wannabes like Raymonde, the outfit formed by Morrissey hanger-on James Maker.
The new single showcased a huge leap in musical cohesion under Larry's direction. The better-known song "Hymn From A Village" is another lament about the quality of contemporary songwriting which might have had more impact if there'd been a tune to accompany Larry's hi-life guitar stylings. As it is it just sounds like a rant. "If Things Weren't Perfect" has an interesting, more personal, lyric about commitment but musically it's all over the shop , changing tempo with each verse and ending up a difficult listen. In June the two EPs were consolidated as one and re-released as "Village Fire".
By that time though, the band had decided that Factory was not the right label for them and signed for Sire at the beginning of 1986. Their first single for Sire, "Chain Mail" came out in March 1986. It's hard to imagine the label being happy with a rambling, chorus-free, over-wordy song about pent-up emotion set to a clippety-clop rhythm and featuring falsetto sections. It was never going to be a hit.
Their next single "So Many Ways" came out in July 1986. There is the germ of a decent song about indecision with Jim's melodic bass line but once again they over-egg the pudding and take the song off in strange directions. The production by Lenny Kaye - not their first choice but Eno was unavailable - is also at fault with Tim's voice far too high in the mix. The facial hair sported by Larry and Whelan in the band's first video probably didn't help sell any copies either.
The album "Stutter" followed shortly afterwards and is an unintentionally apt title. It showcased a band with something to say but not the musical wherewithal to get it across effectively. You look for a killer riff from Larry or a strong chorus and they're just not there. It's a set of spiky folk-inflected art rock, a bit like China Crisis with self-indulgent vocals and over-enthusiastic drumming substituting for the tunes. The band's idea that the rambling "Johnny Yen" would have made a better single is mistaken.
Constant touring had given the band enough of a fanbase to get the album into the lower reaches of the chart, peaking at number 68. The band went into Rockfield Studios to record their next album but having completed it by the middle of 1987 they had a protracted battle with Sire to get it released.
The band knew they had to make some compromises to survive. Larry and Whelan lost the face fungus and they strove for a more radio-friendly sound. They were getting there with the next single "Ya Ho ?" in September 1987. Larry extracts his head from his posterior and finally delivers a melodic riff and the soaring chorus is the first of its kind in their catalogue. The lyric is somewhat reminiscent of the Waterboys, approvingly addressed to someone who takes risks when most people are just scared spectators. It went largely unnoticed and it was another six months before the next single "What For " which is very similar but even poppier with a lyric of urban escape recalling Echo Beach .
Sire finally released the album "Strip-mine" in the summer . It's a big improvement on its predecessor without quite living up to the promise of the two singles. You can take it off after "Ya-Ho" ( track 7 ) and miss "Riders" , a dire diversion into outlaw C & W and the final three tracks where they lapse back into the formless rambling of their debut. The first side is pretty good with the Jethro Tull - evoking anti-war fable "Medieval" the highlight. Alas, Sire were not prepared to promote it properly and it stalled at number 90.
James were now in dire straits and ended up volunteering as medical guinea pigs to pay the bills. They found a loophole in their contract with Sire with which they were able to extract themselves although it's hard to imagine the label put up much resistance. They persuaded a bank manager to lend them the money for a live album "One Man Clapping" recorded in November 1988 and had it distributed by Rough Trade. It captured one of the last gigs featuring Whelan who was sacked after an on-stage brawl with Tim.
Their next single "Sit Down" in June 1989 was recorded as a trio though Whelan had a writer's credit which has no doubt served him well. Inspired by the work of Doris Lessing, the indie anthem presents community as the solution to spiritual confusion and melodically it was their strongest effort to date. I prefer the original version on Rough Trade which had more keyboards than the crisper , re-worded version that got to number 2 in 1991 and is by far their best known hit. First time round, it just missed out on the charts.
Rough Trade had given them a home although Geoff Travis seriously doubted they could make a serious commercial breakthrough. They tried again with "Come Home" in November 1989 a conflicted love song that does bear the trappings of Madchester. Its loose-limbed white funk actually sounds like Liverpudlian chancers The Farm and it's not a particular favourite of mine. It became their second hit on reissue in 1990.
It looked like Travis had made a good call but with Madchester at its height, Mercury were willing to take a punt on them and James signed for their fourth label. They then did the last thing you'd expect a band in their position to do; they more than doubled in size. Whelan was replaced by David Baynton-Power who had to be lured away from a cosy niche in the Welsh language prog rock scene. Larry invited in Saul Davies after seeing him play the violin but he turned out to be a multi-instrumentalist and eventually a significant contributor to the songwriting. Also joining were a keyboard player Mark Hunter and Andy Diagram , a trumpeter who'd played on a number of records by Northern bands as part of brass-for-hire duo The Diagram Brothers.
This potentially suicidal development was immediately vindicated when "How Was It For You " gave them that elusive hit single. It was their brashest most in-your-face rock single to date with the new drummer's thumping backbeat augmented by a cowbell. Only the chorus has much of a tune. The slightly risque title, being the question all New Men are supposed to ask after sex , belies a song about staying clean and clear-sighted which includes a short verse knocking their sixties-fixated contemporaries. It's unsubtle and far from their best record but did the trick.
I, apparently, met Whelan in a Chorlton pub ten or so years ago, whilst with a large group of friends-of-a-friend. Clocking my accent, he (looking a bit like Robert Wyatt) then regaled me with happy memories of a girl he had known in Penrith.
ReplyDeleteAfter leaving, someone said "saw you talking to Gav, he used to be in James". Whether it was actually him or not, I'm not sure, but said person did say he was sometimes still bitter over his sacking.
As for the band, I do think they're easily forgotten from the early 90s era, in favour of the Roses/Mondays and later on Suede. Shame, as they put out plenty of very strong material.
Yes indeed -"Waltzing Along" and "We're Gonna Miss You" being my particular favourites.
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