Your basket is empty

Categories :

Vergelijkbare artiesten

Albums

From
CD€ 14,99

Pop - Verschenen op 1 januari 2001 | EMI

Onderscheidingen The Qobuz Ideal Discography
From
HI-RES€ 21,49
CD€ 14,99

Alternative en Indie - Verschenen op 4 juni 2021 | Virgin Music UK LAS (S&D)

Hi-Res
Tim Booth inaugurates All the Colours of You by singing "we're all gonna die," a sentiment that is a bit cheerier than it initially sounds. He makes an argument that we should live for the moment, an attitude that fuels the other ten songs on All the Colours of You, James' 16th album. His fervent belief in carpe diem may stem from the global unrest of 2020, a year when the world went into lockdown as they battled the COVID-19 pandemic. Booth mentions the events of the year throughout All the Colours of You -- not just quarantine, but the Black Lives Matter protests, California wildfires, and other cataclysmic events from the year -- turning the album into something of a telegram from a time of tumult. If Booth's presence is a bit overbearing here, there's a reason for it. He instigated the recording sessions during lockdown, hooking up with his Topanga Canyon neighbor Jacknife Lee, with the pair working with the rest of the band remotely. The singer may dominate the album, but that's also because he tends to swallow up a room; he's a full-force gale of heart and ambition. James and Jacknife give him plenty of room to roam by relying on semi-danceable electronic rhythms and arena-scaled atmospherics, a blend that lands the record precisely in the group's comfort zone: ambitious, arty music delivered with soft edges and strong hooks. Booth manages to ground this music while attempting to push it into the stratosphere, a duality that intrigues and chafes in equal measure, so it's good that he's buoyed by a band who give him a sympathetic bed, which is a comfort not only for the singer but for the listener as well. © Stephen Thomas Erlewine /TiVo
From
CD€ 14,99

Rock - Verschenen op 1 januari 1998 | EMI

From
CD€ 14,99

Pop - Verschenen op 17 juli 2001 | UMC (Universal Music Catalogue)

It's not so much that James weren't expected to make yet another good record; when 2001's Pleased to Meet You was released, they hadn't made a truly subpar record since the late '80s. But it isn't just another good James record -- it's their best. It's their tightest, freshest, most contemporary batch of songs, weatherproofed to stand the test of time. From the dizzily uplifting "Space," a Brian Eno-influenced and produced song (sure sounds like his voice is in the chorus, too), to the glacially sparse ballad "Alaskan Pipeline," the perfectly titled record is fresh-faced enough to sound like a band high on being in a studio together for the first time, but the material and the execution is too focused, too mature to sound like a rookie effort. As with the title track on 1993's Laid, an album highlight is buried near the end. This time it's "Getting Away With It," a song that represents the remainder of the album with a solid tune -- with some of Tim Booth's finest, most meaningful lyrics that aren't necessarily preachy -- and well-placed layers of synths and strings that accent an otherwise merely good James song. To wit, there's a power and a heft throughout that the band only hinted at previously. A band with a dusty best-of and nine previous studio albums isn't supposed to do this, unless they're the Rolling Stones. James' tenth makes you wonder what all the fuss over U2 and R.E.M.'s rebirths are about. And with this clutch of alternate reality Top Ten singles strung together in the disguise of a flowing record, they're making the modern pop charts (in the U.K. and especially the U.S.) look hopelessly feeble. Songs of adulthood, parenthood, and addiction have rarely sounded this exciting. © Andy Kellman /TiVo
From
CD€ 21,99

Rock - Verschenen op 23 maart 2015 | UMC (Universal Music Catalogue)

From
CD€ 14,99

Pop - Verschenen op 1 januari 2001 | EMI

From
HI-RES€ 14,49
CD€ 9,99

Rock - Verschenen op 18 december 2020 | NOTHING BUT LOVE MUSIC

Hi-Res
From
CD€ 14,99

Rock - Verschenen op 1 januari 2007 | EMI

From
CD€ 14,99

Pop - Verschenen op 1 januari 2001 | EMI

From
CD€ 9,99

Rock - Verschenen op 2 juni 2014 | BMG Rights Management (UK) - Cooking Vinyl

With a veteran group like James, it can be easy to praise them for merely outlasting many of their contemporaries as they diligently issue another solid late-career album. Such is the fate of many rock stalwarts in the eyes of the press and public. But 30 years on from their humble beginnings in early-'80s Manchester, James have aged gracefully, staring down their own mortality (both as a band and as individuals) with aplomb on their powerful 13th album, La Petite Mort (The Little Death). "Welcome to our coming of age, to embrace all that we've become" sings Tim Booth during the breakdown of epic album-opener "Walk Like You." This seven-minute opus full of horns and fiddles sets the tone for the rest of La Petite Mort's ten tracks, which were largely written following the death of both Booth's mother and his best friend. Such loss and grieving could have made for a decidedly more maudlin set, but part of James' lasting power has been their ability to keep their eyes on the horizon, and Booth's poetry here is beautiful for both its practicality and wit as he deals with the reaper head on. Even in reflection, he's more concerned with processing the moment and how to deal with what comes next, as on the band's uplifting single "Moving On." The album's title itself is a French euphemism for the feeling of post-orgasmic unconsciousness and the painted skull adorning the cover is a reference to Mexico's Día de los Muertos celebration, which honors the dead through vibrant, colorful artwork and gift offerings. The amusing title and the Latin-themed visual motif are a perfect match for one of James' more moving and personal records as they offer a set of colorful new songs that sound more inspired than sad. La Petite Mort is a quality release and a welcome return for a band that refuses to sit down. © Timothy Monger /TiVo
From
CD€ 14,99

Pop - Verschenen op 13 oktober 1999 | UMC (Universal Music Catalogue)

Going from the folk skullduggery of Stutter to the lavish club steps of Goldmother to the introspective beauty of Laid, James have never been predictable. The band's progression has delivered a seemingly inconsistent but impressive body of work, and Millionaires is no exception. Crisp, shiny, accessible pop songs such as "Crash" (sounding, oddly, like 1990's manic "Come Home" and the bittersweet, Laid-era B-side "The Lake"), "I Know What I'm Here For," and "Afro Lover," seem designed to go for Top 40 gold. For a band like James, this is unusual -- they've always seemed like the freaks and geeks of the school of popular and "credible" music. While it's not necessarily a bad thing for these outcasts to try to fit in, for at least half of the album it's exactly that: The flat, overproduced "Surprise" and the aimless "Dumb Jam" ignore the hook-laden nature of the band's past heights. Fortunately, the album's first half positively shines while taking this same populist approach. "Hello" succeeds with its hushed, electronic cries; "We're Going to Miss You" sounds like one of Midnight Oil's lost classics, simultaneously bitter and triumphant. Best of all, "Just Like Fred Astaire" somehow encapsulates every delirious high one feels when first falling in love. Essentially, the album two disparate halves: the former, an ecstatic stab of triumph and love, the latter, a mired, confused slab of dulling mediocrity. Indeed, Millionaires is as odd and unexpected as James' overall discography. With a little personal song programming, one can make it sound like the freaks and geeks knew what they were doing the entire time -- they might be a bit lost at times, but they have the creative heart that the musical jocks, cheerleaders, and hooligans would never, ever, own themselves. © Dean Carlson /TiVo
From
CD€ 14,99

Rock - Verschenen op 3 augustus 2018 | Infectious Music

Two years after Girl at the End of the World, the mythical band from Manchester hasn’t aged at all with Living in Extraordinary Times. At just the sound of the simple name James, it evokes a whole era of music: fifteen albums to their name, a Brit Pop sound typical of England in the early 90’s and memorable hits such as Come Home, Sit Down, She's A Star or Laid... In 2001, the leader Tim Booth's departure marked the end of this adventure which first began in 1982. But for all the fans, the reformation in 2007 triggered two quite distinct reactions. On the one hand, euphoria. On the other, the anguish of finding themselves with grandpas on the stage. Well there’s nothing to fear there – James are just as good as when they first started out, as they prove on Living in Extraordinary Times. Never too shy, James open with Hank, a track resonating with tribal drums, and describe everything that is wrong with modern America. Anyone for some Trump-stoning? But Booth isn’t just here for lynching. Sensitive and honest, he opens up in a declaration of paternal love on Coming Home part 2, a spiritual sequel to the enormous success Come Home. Opening with an electronic beat, he explains the difficulty of living far from his relatives and of missing important events in a father's life. It’s a love letter, made all the more moving by Leif Tilden's simple and authentic music video... James have always been able to compose quality radio hits that get stuck in your head. Like with the track Many Faces where an acoustic beat, brass section and electro synth pattern lead to a trance-like state. Whether the track is painful, pessimistic or joyful, the Mancunian group always base their work on a single motto: “We can all do better”, as they explain on their final track, Better Than That. © Clara Bismuth/Qobuz
From
CD€ 14,99

Pop - Verschenen op 1 januari 2004 | Spectrum

From
HI-RES€ 15,99
CD€ 13,49

Rock - Verschenen op 18 maart 2016 | Vagrant Records

Hi-Res
From
CD€ 16,99

Rock - Verschenen op 1 januari 1988 | Rhino - Warner Records

The second full-length by Manchester quartet James found them still struggling for their own identity as the overall sound of Strip-Mine continued to be deeply influenced by the Smiths. Songs like the jangling "What For" and the upbeat stomp of "Are You Ready" have the same blend of breezy melody and lyrical discontent as Morrissey and company. There's more than enough worth listening to on Strip-Mine as, along with the aforementioned, tracks like the horn-driven "Charlie Dance"; the spry, folk-pop of "Fairground"; and the perky "Ya Ho" are catchy, if not exactly memorable. Everything has a crisp, clean feel, without being distant, thanks to the hand of noted producer Hugh Jones and, although not essential listening, Strip-Mine is of interest to fans of late '80s British alternative rock. © Tom Demalon /TiVo
From
CD€ 48,99

Rock - Verschenen op 1 januari 2014 | UMC (Universal Music Catalogue)

From
CD€ 16,99

Alternative en Indie - Verschenen op 13 november 2012 | Rhino - Warner Records

From
CD€ 14,99

Rock - Verschenen op 1 januari 2008 | EMI

From
CD€ 14,99

Pop - Verschenen op 1 januari 2001 | EMI

From
CD€ 10,99

Pop - Verschenen op 1 januari 1994 | EMI