James
Gold Mother

THE REVIEW

The James were formed in 1982 and with their first album "Stutter," they became Morrissey's protégés after supporting The Smiths. In the album "Laid," they benefited from the collaboration with a great producer like Brian Eno, which led them to a deeper and more collaborative maturity. They started as a folk genre group, which was partially abandoned in "Gold Mother" to establish themselves in the world of (rock) pop that would ineluctably be confirmed in the subsequent "Seven."

An evocative album that assimilates joy and lightheartedness, intelligent and, I would say, challenging, primarily spontaneous and partially improvised, the emotions are very attentive and considerate. The musical melodies and well-selected and well-timed performances are impressive, and various versions will be published.

All tracks have prominent brass and soulful trumpets, epic violins, probing keyboards, a resurging drum, bass and guitars that seem like butterflies fluttering from flower to flower, and Tim Booth's voice is tribal, brilliant, and prismatic.

"Come Home" features catapulting percussion, aggressive synthesizers, and wonderfully defatigating guitars – "Lose Control" with warm vocals and a sensual belly dance, sweet guitars, picturesque trumpets, and percussion spinning all around those carnal moves where weak human nature opposes the spirit – "Government Walls" with violins alongside guitars and trumpets in a permanent potentiality – "God Only Knows" where I would say the instruments assert themselves pompously – "You Can't Tell How Much Suffering (On A Face That's Always Smiling)" – viscerally crazy – "How Was It For You," an upbeat track with damnably tireless percussion like Tim's voice – "Sit Down" – choirs and instruments gaze at a marvelous untouched sun encased in a transparent niche ready to explode – "Walking The Ghost," a calm and reflective track, lost in a cello bowed in its thoughts – "Gold Mother," a man strolling whistling, with choirs chasing him and trumpets suddenly losing their minds while the accordion restores the apparent collective madness – "Top Of The World" and after so much noise, comes the concluding track, sensitive, fragile, subtle, and delicate in spirit.

This album is galvanotherapy