JAMES PROVIDE POLITICAL POIGNANCE WITH THEIR MOST EXPERIMENTAL RECORD TO DATE – ‘YUMMY’
THE BANDS 18th RECORD MARKS THEIR FIRST OFFICIAL UK NO.1 ALBUM
38 years after the release of their first album “Stutter” in 1986, and over 40 years since they first formed, Manchester group James return with their 18th studio record, “Yummy”. Most of us know the band for their biggest hits including ‘Sit Down’ and ‘Laid’. This latest release provides that quintessential James feel that many of us love and have grown up listening to.
Summarising the intention of the album, vocalist Tim Booth said, “let’s buck the psychology of getting old”. In particular, this statement applies to the track ‘Rogue’, a tune reminiscent of fan-favourite ‘Laid’. Lyrics “I won’t come to Jesus,” and “I’m about to go rogue” challenge ageism, the main theme of the song. They rebel against a mindset forcing older generations into barriers of what they can and cannot do. Booth has also previously spoken about how, at 63, he stage dives, dances around without a care and does all the same things he did when he was younger. Growing old is a privilege not everyone gets to experience. Along with other tracks on the album, James discuss mortality and how we should just live the way we want to, everything is temporary anyway.
We all know the saying, ‘with age comes wisdom’. James conceptualise this phrase, and their observations, in tunes like ‘Our World’, ‘Mobile God’ and ‘Stay’. Starting off slower, the latter song ‘Stay’ transcends into a synth-pop style. After 18 albums, and over 40 years in the music industry, James are an ideal band to provide useful notions about major conversations and dilemmas. This song, specifically, focuses on what the World Health Organisation has described as a mental health pandemic. ‘Stay’ acts as a mantra of comfort as lyrics emphasise that “life’s a struggle,” also stating that we should “be grateful of what we’ve got”.
“Yummy” as a record allows the band to draw from their all-too-familiar style of writing, having sung about their environment in different scenarios since the 80s. ‘Our World’ does just that, it’s a goldmine for wonderful wording and political poignance. It is similar to ‘Stay’ in the lyrical approach but focuses on events that repeat throughout history. James discuss how “fake democracies come cheap” with there being a particular emphasis on how those in power should “share, not spoil” and that “our world isn’t your world”. The starting line, “people with no history are destined to spin and repeat” is also very cleverly constructed, signalling that those with no originality are bound to follow in the footsteps of others, whether good or bad.
Much like ‘Our World’ and ‘Stay’, the track ‘Mobile God’ has foundations in the band’s observations of the world around them. Utilising their tongue-in-cheek take on songwriting, the lyric summarising the song is also creatively formed. “I’m the last thing that you stroke in the evening before bed, I’m the lover you touch in the morning”, talks about how our entire lives have become controlled by smartphone and mobile devices. We’re rarely without one and everything from banks, babysitters and family are included on this one device. Personifying a mobile device, Booth vocalises the lyric, “don’t turn me off”, talking from the perspective of the inanimate object.
Life is hectic, as we all know, and sometimes it can all get too much. The easy listening track ‘Way Over Your Head’ opens up the conversation of removing ourselves from negativity and going off-grid. However, in the process of removing this negativity from our lives, James point out that we shouldn’t try to hide from it, as it is impossible to do so.
Following on from this, ‘Shadow of a Giant’ is all about stepping out from the background, becoming our own person and identity. It also follows ‘Way Over Your Head’ in wishing for “oceanic spaces” away from things like “check-ins and goodbyes, diaries” and “dates”. Even though it is much longer than the average track at over 6 minutes in duration, it doesn’t drag. The slower, orchestral and gospel style melody at times allows for the boasting of Booth’s distinctive and enticing vocals. This style of playing is partially credited to John Hopkins who featured on this track through piano playing.
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he record’s second track, and one of the singles, ‘Life’s a Fucking Miracle’ acts as a continuation on the theme of not wanting to hide. The anthemic tune’s focal point is on acknowledging, accepting and celebrating every life, regardless of our differences. With a sound reflective of Orchestral Manoeuvres in the Dark (OMD), the tune has been described as “one of the most joyful songs we’ve written in years”. Its eclectic environment is one of support, shouting the emphasis of allowing people to love and identify however they wish to, “this body’s mine, and love’s no crime”. It also hints at the idea that when we give out a bright, supportive climate for others, that this energy will be returned in other aspects, “life loves reciprocal”. Being in the shadows “day in, day out” is left open to interpretation, making it malleable to each listener’s circumstances.
‘Better With You’ is described by the band as a “celestial disco tune” and I have to agree. The heavy synth-pop is incorporated with impressive vocals, making for very easy listening, something I’ve noticed quite frequently in “Yummy”. It surrounds longing to share the temporary joys of life with a particular person.
One of the temporary joys that could be experienced as described in ‘Better With You’ is love. However, in tracks like ‘Life’s a Fucking Miracle’, the band have emphasised that this love and our attraction to people is different. ‘Is This Love’, the record’s initial track, also discussed this perfectly. Lyrics ask questions like “is this love, we just weaponized?” The band go on to discuss different types of love including one “shaped by a screen, films that you’ve seen”. Additionally, it links in with penultimate track ‘Butterfly’ with the title being included as a lyric.
‘Is This Love’ and ‘Butterfly’ both almost act as title tracks, encompassing the overall vibe that “Yummy” aims to promote. With a simple yet impactful melody encapsulating the storytelling element of “Yummy”, including the album’s title in its lyrics. Guitarist Saul Davies has stated that this was one of his proudest song-writing contributions, and it definitely shows.
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Described as “hallucinogenic gospel pop”, ‘Hey’ is built up from a bright, summery foundation. The airy, light and mesmerising melody is fused with repeated lyrics like “we can fly” to create a picturesque scenario. This refers back to the previously mentioned track with the image of things like butterflies.
Like the joys, life itself is temporary. James speak about accepting our mortality, something that is discussed more in modern times than ever before. Final song ‘Folks’ is, in my opinion, the most thought-inspiring and consciously constructed tune on the album. It’s a “tongue-in-cheek slow-dance with the reaper” and Tim Booth spoke of ‘Folks’ as the answer to the poignant ‘Thanks For The Dance’ by Leonard Cohen.
The way the band talks about this track will instantly make you intrigued to listen. With digital noises frequenting in the background, Jim Glennie described the construction of it as “tuning into other songs…but all wrapped up in the warmth and familiarity of a 1950s crooner ballad”. Mortality is an uncomfortable topic for many but this final song is conceptualised in a way that will provide a level of comfort. Jim also added that the tuning into other melodies and frequencies is like a message is “finding its way uninterrupted from the heavens to whoever was listening to it”.
“Yummy” is an album that is perfect for all James fans, whether they’ve been around since the beginning or are only just finding their music now. The group provide opportunities to reflect with raw, observational anecdotes that can settle any uneasiness in a wide spectrum of scenarios and subjects. Merging many musical influences and styles gives the album a unique feel, yet still the same storytelling and picture painting principles that make James who they are.
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