James’ Mirrorball Tour kicked off in Edinburgh last week and The Blue Walrus sent off one of our new roaming reporters off to meet the band and talk about their new mini album, The Night Before, and have a small glimpse in to their incredible career. Here’s what Ben had to say…

I have loved James since I first rummaged through my older sister’s scratched CD collection ten years ago and realised that there was a lot more to the band than ‘Sit Down’.  When Tim (aka The Blue Warus) asked if I wanted to interview the band it is fair to say that I pretty much wet my pants.

But it was important that I remained cool when entering the swanky Edinburgh hotel to interview the band so I took an old friend with me for moral support, I also gave him simple tasks to warrant his presence; he was to record the interview on his iPhone and take photos with a disposable camera because the SLR had stopped working – he failed miserably at both;

Not only did I keep on having to ask the interviewees to huddle up closer to the iphone but it stopped working 35minutes in, so the juicy story about setting fireworks off from a Beverley Hills hotel window and setting a hillside alight is now lost forever, oh, and my esteemed colleague didn’t take one single photo until the after the show when I heard the tinny sound of a disposable camera click and a bright light flash on Tim Booth’s face… smooth.

So, as you can imagine, James may not thought we were the most professional outfit, just as well it turned out they were some of the most down to earth & friendly people I’ve met…

It was clear their was genuine excitement from the band about the new mini album, Jim (the Jim behind the name James) beamed “it has been an opportunity for us to move the music on from the Hey Ma album and develop our sound” The Night Before has retained what we love about James albums – powerful, emotive and well written lyrics, great production, the classic seven piece James sound but more synths and electronics than Hey Ma and less brass.

The Night Before is James’ 11th studio album.  The band has so far spanned three decades, seeing a record deal with Factory in the 80s, commercial success with ‘Sit Down’, ‘Laid’ & ‘She’s a Star’ in the 90s and disbandment and reformation in the 00s.

James began in a Manchester bar, where Jim (bass) would hang out with his pals in order to pinch pints from unsuspecting middle class students… enter Tim Booth, an intelligent middle class student with a talent for wild dancing who was about to get his pint stolen and an invite to dance for a embryo of a band that would soon become James.

28 years and 11 studio albums later, the band have grown together, the sharp differing edges of seven band members have blunted and the young angry lads have become experienced musicians, grateful of their careers and respectful of each others different approaches to life.

I asked Jim Glennie if they would have preferred to have had more widespread commercial success in the past three decades, his reaction was “I think we think we deserve it but I’ve gone past worrying or bothering about that – what always used to drive us is the feeling that we were bigger than we were.  It was years of virtually no success in which we had to stand up and say come on we’re better than this.”  James had commercial success in the 90s but it was never at the level of some the bands that originally supported James, such as Nirvana, Radiohead and Coldplay.  Despite this Jim considers himself “one of the luckiest bastards on earth…so to sit here and complain would be ridiculous”.

James currently have a deal with Mercury, which is they say is far from the relaxed type of deals they were used to in the past – “now we have to pay for recording ourselves.  In the past we would be able to be as gratuitous, stupid and silly as we liked and know that somebody else was paying.  But when it’s your own money, you have to get the job done in the minimum amount of time and work really hard.”

With a repertoire of crowd pleasing hits, James are conscious of not acting as a “jukebox” at live gigs and playing the songs that the crowd are desperate to sing along to. “If we keep writing and playing new songs it means that we can’t cruise through a gig in third gear, which is the wonderful thing because the focus and concentration has to kick in.”

The Edinburgh gig was an opportunity for James to test some of the new songs from the album as well as “challenging people a bit and throwing the odd curve ball in there.”  That is exactly what James did, putting a host of new songs and some old ones that only the dedicated fans knew.  The Edinburgh crowd was as suspected, hungry for hits but Booth used his effortless and distinctive soaring voice to get the crowd behind him and soon everyone was singing along to the chorus of new song, Ten Below – “When’s the holidays? Holidays? Holidays?”

‘Crazy’ is a dark tale of ongoing paranoia and suffering from hallucinations that Tim Booth recently lived through when he was hospitalised with liver disease.  As with the best James songs, there is a dichotomy of sad and painful lyrics juxtaposed with the sound of 6 other band members driving an energetic musical feel that keeps the song upbeat.

I brought up this dichotomy to the band and Larry told a story of driving to a gig with two girls in the back seat who were listening to Government Walls from the Goldmother album, as they sung their hearts out jumping with joy Tim was sat in the front seat with a blank expression on his face as the lyrics played “In Ireland they may shoot to kill without warning”

‘Porcupine’ begins with a great polyphony between Larry on lead guitar and Jim on bass, it is typical of the band’s 80s roots but also has a contemporary awareness that is relevant and fashionable now.  The lyric ‘porcupine’ is derived from James’ approach to the development of songs – which is basically Tim, Larry & Jim meeting up and jamming. “we work on melodies and tunes with Tim singing phonetics only, sometimes one random word that works phonetically will bolt down the lyrics for a whole song – there was no getting rid of porcupine so we developed a lyric around love affairs and attrition developed that somehow involved porcupine…I’m a skunk you’re a porcupine”

They may well be some of the luckiest bastards on earth, they have tasted commercial success but more importantly James have stayed dedicated to their music and able to provide incredible live music to their fans for over 28 years, always being slightly eccentric, exciting and different.  Loving James is knowing that most people won’t agree with you and that means that live gigs remain intimate and every unrehearsed cock up on stage makes the band seem more human.

After the gig, we saw Tim Booth and he asked what our favourite song was, I replied “Dr Hellier”, he seemed pensive, it is after all probably a very dark take on his recovery from illness.  Out of nowhere a flash of light from a disposable camera lit Booth’s face, my esteemed assistant struck again and before we knew it the band were already on the tour bus.

I’d love to show you the photo, but the assistant hasn’t had it developed yet… (we might add that later -ed)

James have got two dates left of this tour so get yourselves down to:
Friday 16 April – London Royal Albert Hall
Saturday 17 April – Liverpool University

Pre-Order The Night Before from Amazon | Play

As well as the streams below you can pick up a free MP3 of Not So String from We Are James right now.

A chaotic interview with… James was originally published on The Blue Walrus

Chris Wood is remarkable. There comes a character in every genre catalogue of music who truly is the whole package; musically talented, down to earth, interesting to speak to, socially aware, and ultimately, a pioneer to their section of their craft. In folk music, Chris Wood is your man. I had the pleasure of catching up with Chris last month before his show at Norwich Arts Centre…

His latest project – ‘Handmade Life’ – is an exceptional exploration of the issues associated with modern life, and the inspiration behind it shows a socially passionate man with educated and knowledgeable opinions to offer about all aspects of contemporary society. “I found out what ‘quantative easing’ actually is – they look at a spreadsheet for the country, then if they don’t like the figure at the bottom, they just change it,” he explains. “To change the figure in the nation’s spreadsheet is one thing, but then to carry on from that point as if that’s the real figure – that’s just too much.”

It’s these realisations that inspired and then led directly to the creation of ‘Handmade Life’. “Once you realise how virtual everything has become…I just needed my own kind of personal reality check. The songs [on ‘Handmade Life’] are about real things.”

A troubadour in every sense of the term, Chris credits much of his own work and the work of music as a whole to the idea of tradition, and values the traditions associated with folk as an important element of life and society.  “What you’ve got in tradition is this incredible repository of our ancestors’ attempts to unriddle their universe. Now it seems arrogant to the point of stupid to just ignore that, and I think any time you do spend looking at that material, you will gather an incredible perspective of what it is to be a human being in the world,” he explains passionately.

Over the past eighteen months, music journalists – myself included – have exploded with terms, phrases and pigeonholes to tame the groups of new ‘folk’ artists emerging from London – from nu-folk to post-folk to alt-folk to anti-folk, it seems the idea of folk music is always pre-empted with another phrase these days. As it happens, of course, the musicians involved in making the music hate the titles, and Chris is no exception to this.

“It’s all bollocks,” he says unhappily. “As far as I’m concerned, you’ve got classical music, which I think is relatively easy to define – you tend to have a composer and then you tend to have a hierarchical structure which realises the works of the composer. Then you’ve got the ‘music industry’ – the Simon Cowell end of it, which really has nothing to do with music at all; for me, that’s not even on the radar. Everything else, as far as I’m concerned is folk.”

“I’ve been playing folk music for 35 years, and I’ve not yet found a name for what I’m doing,” he adds. “Go to America – look at their blues, their hiphop – it’s all folk. It’s all come from that.”

Interestingly, though, Chris has a theory about the renewed interest in folk and acoustic music. “There’s a cycle. Every now and again, the mainstream music industry completely runs out of ideas and basically it goes looking at folk music – ‘Could this be the next big thing?’” he explains. “They want to know if there’s any money in it, and there doesn’t seem to be, so they very quickly move onto something else.”

“However, the artists are getting much more savvy at connecting directly with the people. The question is whether the industry is leaning towards the folk music, or is it that the industry has slightly less control than it used to have, and now the people are deciding?” he muses with a cheeky grin. “As it turns out, what they’re interested in is this human level music where I sit down and sing you a song – no smoke and mirrors, no production team. If that’s what’s happening, then that really is a change, and it’s encouraging. It kinds of validates what I believe in.”

I  spent a lengthy time with Chris and he was incredibly easy to speak to; as somebody heavily involved in music, you meet a lot of different personalities, but Chris was exceptionally interesting and exceptionally down to earth; the kind of guy you’d have a drink and a chat with at every opportunity at your local pub. The Blue Walrus will certainly be catching up with Chris in the future, and look forward to all he has to offer in 2010.

An interview with folk legend Chris Wood was originally published on The Blue Walrus

But enough of the introductions, here is what he had to say for himself (he’s the one in italicized bold being the important one here as normal)…

You were previously studying art in Italy. Do you think you could have had the success you’ve had in the London folk scene over there?
‘London Folk Scene’? I like to see myself as more of a crooner than a folk singer!

Haha – especially with your folk makeovers (now I feel guilty calling them that) of Beyonce’s “Single Ladies” and Kanye West’s “Love Lockdown” I suppose. Why did you choose them anyway?
I chose them simply because they were on the radio at the time and I liked them.

The London folk scene (there I go again) is quite a mixture of solo artists and bands, how do you think being a solo artist compares with those touring as bands?
I don’t know what it’s like to be in a touring band, but I imagine solo artists and bands both have their own advantages and disadvantages. Being creative is something I’ve always preferred to do alone. I envy those who can share the experience with their friends, It must be very gratifying

With your status as a folk/pop/acoustic solo artist – some have described you as the British Jack Johnson. Compliment or no?
I’d prefer Michael Buble

Right, onto your actual releases…Your first two singles “Clara” (Young & Lost) and “Colourful Day” (PureGroove) have been released on small indie labels. How has that compared to working with Mercury for the album?
It’s been a pleasure doing stuff with Young & Lost and Pure Groove, they are both really great Labels with lovely people behind them. I can’t compare it to working with Mercury though, firstly because I am yet to release anything with Mercury and secondly, because they are two completely different machines with different goals.

Talking of the album, any dates set yet for when we can hear it?
I’m hoping May next year (2010). I’ve still got a bit to do before a final date is set for release.

There you go folks, album coming May next year – just in time to play it in the car on your way to the cheese rolling festival (OK, fine I was stuck for anything else happening in May – but that gives you all plenty of time to wander down to your local record shop to pick this up).

Alan Pownall – Take Me

…and then a minimal electro remix by Seams of his next single:
Alan Pownall – Colourful Day (Seams Remix)

[BUY] Clara on 7″ @ Young & Lost
[BUY] Colourful Day on 7″ @ PureGroove

Alan Pownall LIVE in London
Tonight @ Queen of Hoxton (Young & Lost Club)
2 Dec @ St Moritz (Clash Christmas Party)
9 Dec @ St Barnabas (Christmas Party)

A Quick Q&A with Alan Pownall was originally published on The Blue Walrus

Wolf Gang

Mozart or Beethoven? Why?  (Yes I know this might be pretentious but it’s almost relevant)

Tough call, Beethoven is pretty heavy going but very  powerful, Mozart is a bit lighter and more flamboyant and optimistic. So it  depends what kind of mood I’m in.

Hmmm…Any particular  similarities you see yourself having with your naming inspiration of the 18th  century child prodigy? Do you think he would be writing great pop tunes if  alive today?
Actually he wasn’t really the inspiration  behind the name, it’s Wolf Gang two words, so more along the lines of a gang  of wolves  rather than the composer. (whoops -ed) Nevertheless, it’s a happy  coincidence that it sounds like his first name. I wouldn’t dare compare myself  to him, but I do think that if he were alive today he would be writing  some pretty outrageous pop albums. Perhaps a requiem for a name too  easy to mention.

So…these masked ball  house parties we’ve all read about – any plans for more in the future or are  you out the party organising game?
I wouldn’t say I’m out  completely, but I’m taking a break. There is talk of organising something on a  pretty huge scale next year. I’ll let you know nearer the time.

On a personal note, with  Angus from State Management being a friend of TBW and your manager – how did  he find you or you find him? (psst we won’t tell him what you say,  promise…some dirt could be useful)
I think he found me  first via a group I had set up on facebook and then checked out my myspace. Oh  these modern ways of discovering music eh…

You’ve done two releases on two  small DIY labels so far, “Pieces of You” on Neon Gold and “The King…” on  brand spanking new Hit Club – do you see a resurgence in small indie labels at  the moment?
I think small indie labels are finding more  and more relevence in a world where major labels have flooded the market with  what can generally be described as shit music. I guess people enjoy  being proactive and finding the gems on little labels here and  there, rather than waiting to see if the good music will eventually end  up on their, by then, sanitised day time radio plate.

What’s the story behind  your most recent single “The King and all his men”?
It  spun itself and ended up being about a battle between good and evil.

Finally, what’s the last  played song on your iPod? (Honesty please)
Literally in my  ears at the moment, and it’s Chet Baker’s ‘My Funny Valentine’. A song which I  can very strongly recommend.

Well there you have it folks. The wolf has spoken.

And just to keep you listening we’ve got a couple of remixes:
Wolf Gang – The King And All Of His Men (Gaggle Remix)
Wolf Gang – The King And All Of His Men (Totally Enormous Extinct Dinosaurs Remix)

…and then because it really is a wonderfully beautiful song:

Chet Baker – My Funny Valentine
BUY @ Amazon UK | Amazon US

A Quick Q&A with Wolf Gang was originally published on The Blue Walrus

Frank Turner is a ridiculously nice guy. When I walked into the green room of The Junction in Cambridge last week, this was the first thing that struck me about him. Taking some time out during an afternoon of his biggest UK headline tour to date, the conversation began with chatter about the tour so far. “It’s going really well,” he says, then adds jovially “My mum has stopped asking me when I’m gonna get a real job, which is nice.”

Renowned for being one of England’s, and indeed music’s, most intelligent and polite gentlemen, I was intrigued to find out what has influenced this beautifully honest musical genius, and how he stays so down to earth in spite of his now well-known brilliance. “I thank my Mum I suppose. I’m just utterly bemused by some of the people you meet in the music industry and the way they behave towards different people. I just think, would you do that in front of your Mum? How were you brought up? It’s utterly irrelevant what station the people hold in this conversation, you’re being rude, and that’s a bad thing. It constant boggles my mind. I just try and be nice to people.”

Frank certainly had an educated upbringing; a graduate of both Eton College and LSE – two famously prestigious academic establishments – he’s certainly not your average rock star. When I ask him about his academic background and whether he ever thinks about doing something more traditional for an Eton/LSE graduate, he says: “I fully think that when the wheels fall off this, I’d love to be a history teacher. History’s my absolute passion. I think that would be a wonderful way to spend my time.”

His passion for history is evident in the majority of his musical work. Lyrics from ‘Sons Of Liberty’ and ‘To Take You Home’ are the perfect example of the multifaceted nature of Frank’s songwriting. Every line is littered with nuance.  “I think that interests sort of blend into each other,” he adds thoughtfully.

A background like Frank’s could easily lead him being defined as stuck up, or posh, or at least nothing you’d expect from a musician with lyrics like “tell him to go fuck himself, tell his friends to do the same”. In the context of the song, this works brilliantly – parents and even grandparents would be won over by the charm that accompanies it – but it’s difficult to imagine former Eton students David Cameron and Boris Johnson penning the same thing (or perhaps not in the case of the latter, but I digress), or indeed the Royalty who’ve also attended. But alas, Frank detests labels; any kind of stereotypical definition jars with his mentality.

“Genres, descriptions, that kind of thing, I find it very hard to muster that much energy to give a shit about it. I’m much more interested in just listening to records,” he says. I’m utterly convinced that for Frank, it really is entirely about the music. This is reflected in the passionate way he talks about a possible next project: “I’m actually thinking about working on an album of traditional English songs. Not being from a traditionalist background, I think most of the people who come to my shows don’t know any English folk music at all,” he observes. “I’d like to spread the word to some people who wouldn’t otherwise listen to it.”

As all Blue Walrus readers will undoubtedly be aware from our constant coverage of it, everything remotely folky emerging from London Town these days is interconnected. Frank is no exception to this. Friends with Jay Jay Pistolet (we featured him here earlier this year), Laura Marling and Ben Lovett of Mumford & Sons (check out my gig review here), Frank Turner is positively part of the folk revival mounting in the British capital. “Genre descriptions only serve a purpose up until the point where you listen to the music. I think way too much time and energy and sweat and blood has been spilled over genre.”

As with many of our more individual artists Turner defies definition and laughs in the face of those who attempt to pack his creative spirit into a box, something the music industry is becoming increasingly fond of doing.   “Someone described me as anti-folk on a flyer a few years ago and a guy came to the show and got really shirty with because apparently anti-folk only applies to a very small group of musicians in New York. And I was like ‘I don’t care’,” he says. “I like that when people described Billy Bragg as ‘anti folk’ he came back and said no, actually I’m ‘pro-folk’”. Turner does reveal that he “toyed with the idea of calling myself anti-punk for a while”.

Nevertheless, his lack of genre conformity does not seem to be hindering Frank’s ascendance through the rank of the music industry at all. New album ‘Poetry Of The Deed’ has seen Frank signed to Epitaph in the US, and with this has come a boost in exposure that has caught both the hearts and attention of the world’s music press. Not that this has in any way altered his humble attitude to music. “I hope it wouldn’t have any impact on the music in terms of songwriting,” he frowns. “I don’t get analytical. It’s really important to me that I just sit down and try to write a good song.”

Despite the sudden peak in attention, Frank has been active in the music industry since 2001 including his Million Dead days. Musing on this Frank, speaks his thoughts on the impact making music’s had on his life and perspective: “I’ve been playing every day for such a long time, it’s almost difficult to think about what I’d be doing if I wasn’t.”

And with that, 26 minutes after it began, the interview was over. Not to worry though; when I asked Frank if he’d speak to The Blue Walrus next time round, he replied, “Yes, definitely”. I’ve found myself smiling ever since.

Interview | Frank Turner was originally published on The Blue Walrus