The Morning After [Enhanced]

James fans have been pretty lucky this year, plenty of dates across the UK, Europe, Festivals and an upcoming tour of North America and Mexico and of course two mini-albums the 2nd of which is what is being reviewed.

The first album "The Night Before" took over from where Hey Ma - the first reunion album left off. It was a very enjoyable mainly uptempo record with some of James' best work, particularly the likes of Porcupine and Dr Hellier. It was well documented at the time of the release of that record in May that the follow-up "The Morning After" would be a more low-key affair. As it turns out this is true in the main. Tim Booth has spoke in some detail about how when they record there are a number of slower songs that always get left out as many of their albums aside from Laid are mainly uptempo affairs. The rough plan was to have an album of these slower, more thoughtful songs.

Opener 'Got The Shakes' gets us off to an interesting start with quite a rough vocal from Tim imagining he's an alcoholic who has just beaten his wife and begging forgiveness. The song sounds almost like a headache you may have after a heavy night on "too much gravy" as Tim sings. It ends in quite an experimental manner with Tim shouting "Don't mess with the thunder" and a backing mantra that is hard really to put into words.

'Dust Motes' is familiar to those who saw some recent live shows as they have been playing this regularly in sets, even during festivals. The first half is mainly Tim, a sombre piano and a Laid-era slide guitar. The song seems to be about the bitterness that sets in when one has been left by a partner "I'll forgive you...if you die". The second half of the song picks up the pace and the drums kick in as the bitterness turns to anger. Like many James songs the lyrics feel very personal and quite introspective in this instance. This will probably go down as one of their better slower numbers and is quite a current fan favourite.

'Tell Her I Said So' is different to the first few songs and builds to a mantra "here's to a long life" that is also chanted by a children's choir which is an interesting and unexpected touch. Musically, it feels a little like St Etienne or a 1980s revivalist and actually feels like trance music without it actually being trance! Lyrically it is a highly personal lament from Tim about watching his mother die in some god forsaken old persons home "the staff are cold, the rules are rules - how can children be so cruel". Touching stuff.

'Kaleidoscope' details a paranoid guy who wonders why his wife is always on the phone thinking it's to a lover when really something much more sinister is at play, which we only find out in the twist at the end of the song which is quite clever. It has almost a country-blues feel with tremelo guitars and fluid slide playing from Larry Gott. "I can't afford to divorce" is a line that made me chuckle a little but the song is very affecting as the guy is clearly still in love with his wife which is exacerbating the paranoia. It turns out at the end his wife actually has the cancer and was on the phone to the doctor. Unsettling to say the least but clever.

'Rabbit Hole' is typical James fare really with a really catchy guitar line played throughout and is one of my favourites on the record despite the lyrical content maybe not as being as powerful as what has gone on before. however the song is maybe stronger musically to what has gone on before so I guess it balances itself out "always come prepared whatever the weather" as Tim states. The last song that mentioned the weatehr was that Crowded House classic. Though this is different I can imagine this working well live.

'Make For This City' lyrically about wishing for a better place/world to live as our current world is dull with people not making eye contact. There are mentions of "District Line" so presumably it's about London and a world that lacks compassion and empathy - a theme Tim last explored in "Bring A Gun" some years back. Musically I find it a little dull and unrewarding although there are some lovely keyboard touches. It dares to be boring and ultimately is unfortunately.It reminds me a lot musically of U2's last album actually - please don't shoot me for that! It sounds like something that Eno would approve of.

I absolutely love "Look Away" and in my opinion should be up there with the James classics we all know and love and if it was released in there heyday wouldve been a big single. It has that Jamesian soaring quality but never gets bombastic and has a great use of orchestral sounds curtosy no doubt to Mark's keyboard. It makes you wait until the end of a song for something that semblances a chorus but when it arrives you can't stop chanting "All mirrors. shatter, all plastic clowns, all that really matters is that you weren't in the building when the walls came crashing down". A total classic.

I have mentioned Eno once already and the closer "Fear" is musically much like Eno's best work in the 1980s a la "Apollo" with a fragile, falsetto vocal from Tim in most of the song. It is definitely a cousin to the wonderful "Alaskan Pipeline" from the Pleased To Meet You album. It feels somewhat haunted with icy keyboards and guitars chiming and really has the hallmarks of Eno all over it. Not the most powerful lyrically but an enjoyable ending to a decent mini-album.

I'll be honest and say that I do prefer James in a more "pop" sense which is why I prefer the likes of Rabbit Hole and Lookaway than the more slower numbers, though I greatly appreciate their value too. Ironically I think this album may go down as a classic with fans who have been longing for a Laid follow up. This may be just what you have been looking for. Nevertheless this is still a lot better than any other record I've heard this year and has a nice experimentation to it taking a leaf out of both Laid and Wah Wah but being a good album in it's own right.

Very enjoyable but I hope James go pop next time.

This special Manchester band that can prove impossible to find on Google given their unhelpful name have completed more albums than many acclaimed bands have had singles. Far from churning out mediocre tracks to pay for a new swimming pool as other bands that have been around as long as James appear to do, James have in 2010 produced 2 excellent additions to their stunning and varied back catalogue.

If The Night Before was the band's nod to the 3 minute catchy singles that made them famous, the Morning After displays a stunning level of musicianship, creativity and at times staggering vocals. On Dust Motes, Tim's voice is so honest and powerful it feels like the world is standing still to listen to him "There's a vulture at the end of my bed.."

Dust Motes remains the stand-out track on this album, the gentle transition into the perfect harmonies of "Tell Her I Said So" would be the envy of any band. I can't wait to hear the band create songs such as Rabbit Hole, Got The Shakes, Kaleidoscope and Lookaway on their live tour this winter.

James continue to reduce grown men to tears at their engaging concerts and this album is a very welcome addition to their catalogue. Its warm delivery on, at times, tragic subject matters is a rare gem in British music at this time. Long may James continue to shock people who care to listen to more than just 'Sit Down' and discover a different world through their breathtaking albums.

I dont know what James have been on since they re-banded but I wouldnt mind some of it.They reformed for Hey Ma which was good, then released The Night Before which was excellent and now this which is pretty damned good as well.
If you ever liked James or are new to them check this out, you might just love it. Puts a lot of new bands to shame if you ask me.
I really love Rabbit Hole on here, the last third is full of poignancy, really quite moving as most of the songs indeed are.
As with the last album there is no flab present just great songs.Highly recommended..