a b "One Man Clapping" (Press release). United Kingdom: One Man Clapping/ Rough Trade Records. February 1989. Fresh as a Daisy – The Singles (booklet). James. Mercury Records. 2007. 1731846. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link) James released their second studio album Strip-mine in September 1988, through Sire and Blanco y Negro Records. [1] While making it, two of Sire's popular acts ( the Housemartins and the Smiths) had broken up, and were anticipating James to be their next breakthrough artist. [2] The album had been delayed from release by Sire on eight different occasions, and was remixed at the insistence of the band's managers Eliot Rashman and Andy Dodd. [2] [3] Sometime later, Rashman and Dodd resigned, and McDonagh, who had managed the band previously, was reinstated. [4] Two months after the album's release, the band left Sire. [5]

Following the release of Lose Control, a number 38 single, and the triumphant winter tour that included the infamous G-Mex shows, James hit the big-time with the re-release of Sit Down in March 1991, sitting at number 2 in the national charts for four weeks, being held off only by Chesney Hawkes’ The One And Only. Baynton-Power knew Dodd through a bandmate, and was sceptical about joining James as he had been previously conned out of money. [12] [13] After Baynton-Power joined, guitarist Larry Gott went to the Band on the Wall venue in Manchester to visit a friend. It was during an open mic night there that Gott witnessed, and was subsequently impressed, by violinist/guitarist Saul Davies. [14] Davies had previously seen the band live in 1982; the day after meeting Gott, Davies auditioned for the rest of James. [15] James released the live album One Man Clapping in March 1989 as a joint venture between their own label One Man Clapping and Rough Trade Records. [16] a b c "Music: Studio Albums". James. Archived from the original on 13 May 2020 . Retrieved 27 December 2020. Sit Down itself sums up the group’s dichotomies. It always was a tad irritating, that chorus. But it did its job, endearing a square-peg outfit to a round-hole media, smuggling astute, pop-smart lyrics under the guise of sing-along jollity. Come Home was equally well-gauged. The timing – and the Madchester explosion – meant they were ripe for fashionable remixes which further spread the word. Tim Booth might loathe the thought, but they became perceived as a less aloof, more welcoming Smiths, who wouldn’t say no to a boogie. Later they leaned towards Eno, and art with a capital A, perhaps reacting to this. The Collection (booklet). James. Spectrum Music. 2004. 9824088. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link)The Gathering Sound (booklet). James. Universal/Mercury Records. 2012. 2753129. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link) a b Fresh as a Daisy – The Videos (booklet). James. Fontana Records. 2007. JIMDVD1/984 836-2 (6). {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link)

How Was It For You? preceded the album in April 1990 and achieved the band’s first Top 40 hit, reaching number 32. The album followed in June and was met with almost universal approval by the music press who were suddenly beginning to champion James again and was accompanied by a month-long tour of larger venues culminating in a triumphant performance at Glastonbury. Come Home, remixed by Flood, was re-released at the end of June and also hit number 32 in the charts.

Laid was the band’s 5th album, originally released in 1993. This Brian Eno produced album is released on limited edition trans red two LP vinyl. At the time of its release Laid was heralded as one of the best albums from the decade, and 30 years later it is hard to disagree with this statement. The album sounds as relevant and fresh today as it ever did. National Album Day returned for it’s sixth year on 14th October 2023. This year’s theme was the 1990s, celebrating the art of the album in all its forms – classic, life-changing, first, influential and the ones we just can’t live without. It saw over 40 classic albums from that decade being reissued or even appearing for the first time on vinyl in limited editions. This decade was a remarkable time for music and this event enabled fans to reconnect with some of their favourite albums of the era or even make new discoveries. The emotionally complex Five-O, is one of my personal favourites, with Booth’s driving, chant-like lyrics swelling to a chorus of “if it lasts forever, hope I’m the first to die”– the ultimate declaration of love – whilst in stark contrast to this in One Of The Three, Booth sings of suicide and sacrifice.P.S. tells a tale of lies and deception in a failing relationship, “you’re sour, so sour, all hope and trust is misplaced”, whilst the racing, repetitive guitar hook of Sometimes leads to a gospel-like chorus where Booth paints a vivid picture of love and deep connection: “when I look in your eyes I can see your soul”.