JAMES : PTMY REVIEW BY STUART RALSTON

Let's get this straight. Pleased To Meet You is one amazing record. 

Outstanding. It's big and bold without being arrogant or over the top. For me, this album has balls. It's new, but at the same time strangely familiar. And these were my impressions after only one playing. To borrow a line from Mr Booth circa 1989, there's a lot in there. It's a team affair this time more so than any other time, and as such no one can be singled out for special credit. Although Brian Eno was at the controls, I'm sure he only teased out what was already there. Mark Hunter contributes more to this LP than any predecessor with his synthesisers, sequencers, and keyboards, and Jim Glennie's bass lines have never sounded so good. The work of Saul Davies and Adrian Oxaal also merits your attention as there's some great guitar and strings on here. It's also worth mentioning the percussion provided by David Baynton Power as there's a groove and a vibe to this record like never before. On top of all that, there's some wide and varied vocal techniques and words provided by Tim Booth, backed superbly by Michael Kulas.

Space, the opener, in the tradition of James LP openers makes a strong impression and sets the mood for the rest of the record. This track builds nicely from the synth opening to incorporate choruses, strings, and some great guitar sounds. Tim's vocals are particularly strong. Falling Down is one of the many highlights on the album. Pure pop, but by no means lightweight.

English Beefcake is a song of two halves. Opening superbly with some play dead style drums and bass, this is a versatile tune. Lesser bands couldn't fit on an LP what James fit into this one song alone.

Junkie can't match the heights of the opening tracks, but is still powerful stuff. Pleased To Meet You, for me has improved since the tour last year, and sounds much better as a studio track than a live track. There's some great bass and organ on here, and the song ends in what sounds like a improvised workout from the band.

The Shining slows things down a little. Again there's a lot going on here, but for me, this, and Gaudi, a faster number, can't compete with the other tracks on this LP. That's not to say they're below par, it's just that the standards James set here are so high, and the Shining and Gaudi can't quite reach that standard. On their own, fine songs, but not in the context of this LP. However, they do demonstrate the versatility of James well.

I've never taken much notice of the lyrical content of James songs. It's always been about the music for me, but on Senorita the lyrics stand out.

What Is It Good For?, is a simple enough song, but  powerful nonetheless, like many James songs. This one is a little bit organic, but there's still a depth here that only James capture.

Fine opens with great drums, bass, and keyboards and was possibly born out of a studio jam. Lyrically, Tim orders a Chinese takeaway. Nice one.

Getting Away With It (All Messed Up) for me was a surprising choice for the first single, but another fine tune. Alaskan Pipeline continues the tradition of subtle, but beautiful end to a James album  (see, for example, Top of the World, Vervacious etc.).

What's surprising about this record is the timescale from song to LP.Stutter tunes were on the go for 3 years before release, and Whiplash was 2 years in the making, for example. As such, on Pleased To Meet You, a particular freshness has been captured.

For me, this is the greatest James record yet. Millionaires was a fantastic record, but it has been eclipsed by this little beauty.

If you haven't got one, go out and buy yourself a big F*** off stereo and await the release of this record. It's magic.