James emerged from their native Manchester in the mid-'80s playing a brand … Read Full Bio ↴James emerged from their native Manchester in the mid-'80s playing a brand of urgent, ringing guitar pop distinguished by Tim Booth's keening, insistent vocals. Booth's dramatic stylings and James' dedication to textured guitars earned the group the designation of "the next Smiths," a connection strengthened by Morrissey's endorsement of the band. By the dawn of the '90s, James shook off these comparisons by embracing acid house, the first of many adventurous left turns the band took over the decades. "Sit Down," an old open-hearted tune re-recorded for the age of "baggy," proved to be their breakthrough, reaching number two in the U.K. in 1991 and becoming an alternative rock hit in the U.S. With its singles "Sound" and "Born of Frustration," Seven consolidated that success in 1992, but it was 1993's Laid that established the group's mature sound. Working with Brian Eno, the group took aural risks that paid off artistically and commercially: the title track became their biggest American hit. From there, James had a flurry of activity in the late 1990s before entering a hiatus in 2001. The band regrouped in 2007, releasing Hey Ma the following year and then settling into a groove where they alternated tours with ambitious album projects such as 2010's two-part The Night Before and The Morning After, as well as 2021's pandemic journal All the Colours of You.
James formed in Manchester in 1982, when Paul Gilbertson (guitar), Jim Glennie (bass), and Gavan Whelan (drums) met Tim Booth (vocals) at Manchester University and asked him to join their fledgling band. During the next year, James became regulars on the local club circuit, and by 1983 they had signed to Factory, releasing their debut EP, Jimone, later that year. Two years later, their second EP, James 2, was released, and Morrissey, the lead singer of the Smiths, publicly endorsed the group, asking them to open for his band. By the summer of 1985, Larry Gott had replaced Gilbertson, and the group signed to Sire Records. Working with producer Lenny Kaye, the group recorded its debut, Stutter, that year, releasing it in early 1986 to generally positive reviews.
Over the next two years, James toured constantly, building up a solid fan base. They released their second album, the folky Strip-Mine, in 1988. The record failed to capitalize on their live following, and the band departed Sire the following year, signing with the independent Rough Trade. On their new label, James released the moderately successful "Sit Down" and the live album One Man Clapping, which climbed to number one on the indie charts. In 1990, Whelan was replaced by David Baynton-Power, and James expanded to a septet with the addition of keyboardist Mark Hunter, violinist Saul Davies, and trumpeter Andy Diagram. The new lineup signed to Fontana Records and released Gold Mother in the fall. Following a handful of minor hit singles, Gold Mother finally became a breakthrough success in the spring of 1991, when a re-recorded version of "Sit Down" -- now boasting a contemporary baggy beat -- climbed to number two on the U.K. charts and became a staple on U.S. modern rock radio. Although the success of "Sit Down" was a blessing, it also was a curse, as the single became all James were known for. The band began to rebel in concert, playing almost nothing but new material, and its next album, 1992's Seven, was perceived as a misguided stab at big arena rock.
For the follow-up to Seven, James stripped away Diagram and worked with producer Brian Eno. The resulting record, Laid, was a quieter, more ambitious album, and it received some of the band's best reviews. While the album was ignored in the U.K., it was an alternative rock hit in the U.S. on the strength of the title track, which became a crossover hit. During the Laid sessions, James recorded another album's worth of experimental music with Eno that was released in the fall of 1994 as Wah Wah. The album received mixed reviews and the group took an extended break throughout 1995, partly due to guitarist Gott's departure. In 1996, Tim Booth recorded a collaboration with composer Angelo Badalamenti (Twin Peaks, Blue Velvet) entitled Booth and the Bad Angel, which received generally positive reviews.
With guitarist Adrian Oxaal in tow, James returned in early 1997 with Whiplash, a more straightforward record that was greeted with mixed reviews. Released in 1999, Millionaires, recorded with new guitarist Michael Kulas, was initially released only in the U.K. Their spectacular follow-up, 2001's Pleased to Meet You, was also available only in the U.K. A few months later, frontman Tim Booth announced his departure from the band he founded nearly 20 years before, and James called it quits following a winter tour of the U.K. in December 2001. The break was short-lived, however, as the band re-formed in 2007 and embarked on a tour in support of the double-disc compilation Fresh as a Daisy: The Singles. The following year saw the release of Hey Ma, James' tenth studio album.
The band returned in 2010 with a pair of "mini-albums" called The Night Before and The Morning After, respectively, before late 2011 brought a short, but novel, U.K. tour (the Orchestra of the Swan and the Manchester Consort Choir were their backup bands). In 2012, the lavish and long-awaited box set The Gathering Sound was issued, and included previously unreleased audio material alongside long-unavailable video concert footage. Details of the Max Dingel-produced La Petite Mort emerged in February 2014, and this first post-Mercury studio album was released four months later in June. Dingel then returned to produce their 2016 record, Girl at the End of the World. Written in Scotland and recorded in London, the album was described by the band as "big but personal, abrasive but warming" and "ultimately uplifting." Two years later, James teamed with producers Charlie Andrew and Beni Giles for Living in Extraordinary Times.
During the 2020 pandemic, Tim Booth teamed up with his Topanga Canyon neighbor Jacknife Lee to construct the basic tracks the rest of James completed while in quarantine. The resulting All the Colours of You was released in June 2021.
Biography by Stephen Thomas Erlewine
There are other artists using the same name:
2) James is the vocalist of popular Bangladeshi band Nagar Baul. He was a member of the band Feelings and later formed the band Nagar Baul. James was raised in Chittagong and later moved to Dhaka for his singing career. Stylishly longhaired James--overwhelmingly known as the Nagar Baul (the City Bard), was the pioneer of psychedelic rock in Bangladesh. Originally a lead singer and guitarist, he has always been respected for his solo projects. He became affectionately called Guru by his fans. His tunes were bright and his singing a divergence from the archetypal tunes preferred by the commercial-type directors. His songs expressed love, rage, discontent, frustration, and happiness.
3) A Dutch rapper connected to the Fakkelteitgroep.
4) James Lee - known as James - was a former member of Royal Pirates, a South Korean band. On 2015, he got into an accident that caused him unable to play bass any longer. Hence, he decided to left the band.
James moved back to Los Angeles and decided to release music written post accident in a project called ’the Light EP’ consisted of 5 tracks. (http://jamesleeofficial.com/)
James formed in Manchester in 1982, when Paul Gilbertson (guitar), Jim Glennie (bass), and Gavan Whelan (drums) met Tim Booth (vocals) at Manchester University and asked him to join their fledgling band. During the next year, James became regulars on the local club circuit, and by 1983 they had signed to Factory, releasing their debut EP, Jimone, later that year. Two years later, their second EP, James 2, was released, and Morrissey, the lead singer of the Smiths, publicly endorsed the group, asking them to open for his band. By the summer of 1985, Larry Gott had replaced Gilbertson, and the group signed to Sire Records. Working with producer Lenny Kaye, the group recorded its debut, Stutter, that year, releasing it in early 1986 to generally positive reviews.
Over the next two years, James toured constantly, building up a solid fan base. They released their second album, the folky Strip-Mine, in 1988. The record failed to capitalize on their live following, and the band departed Sire the following year, signing with the independent Rough Trade. On their new label, James released the moderately successful "Sit Down" and the live album One Man Clapping, which climbed to number one on the indie charts. In 1990, Whelan was replaced by David Baynton-Power, and James expanded to a septet with the addition of keyboardist Mark Hunter, violinist Saul Davies, and trumpeter Andy Diagram. The new lineup signed to Fontana Records and released Gold Mother in the fall. Following a handful of minor hit singles, Gold Mother finally became a breakthrough success in the spring of 1991, when a re-recorded version of "Sit Down" -- now boasting a contemporary baggy beat -- climbed to number two on the U.K. charts and became a staple on U.S. modern rock radio. Although the success of "Sit Down" was a blessing, it also was a curse, as the single became all James were known for. The band began to rebel in concert, playing almost nothing but new material, and its next album, 1992's Seven, was perceived as a misguided stab at big arena rock.
For the follow-up to Seven, James stripped away Diagram and worked with producer Brian Eno. The resulting record, Laid, was a quieter, more ambitious album, and it received some of the band's best reviews. While the album was ignored in the U.K., it was an alternative rock hit in the U.S. on the strength of the title track, which became a crossover hit. During the Laid sessions, James recorded another album's worth of experimental music with Eno that was released in the fall of 1994 as Wah Wah. The album received mixed reviews and the group took an extended break throughout 1995, partly due to guitarist Gott's departure. In 1996, Tim Booth recorded a collaboration with composer Angelo Badalamenti (Twin Peaks, Blue Velvet) entitled Booth and the Bad Angel, which received generally positive reviews.
With guitarist Adrian Oxaal in tow, James returned in early 1997 with Whiplash, a more straightforward record that was greeted with mixed reviews. Released in 1999, Millionaires, recorded with new guitarist Michael Kulas, was initially released only in the U.K. Their spectacular follow-up, 2001's Pleased to Meet You, was also available only in the U.K. A few months later, frontman Tim Booth announced his departure from the band he founded nearly 20 years before, and James called it quits following a winter tour of the U.K. in December 2001. The break was short-lived, however, as the band re-formed in 2007 and embarked on a tour in support of the double-disc compilation Fresh as a Daisy: The Singles. The following year saw the release of Hey Ma, James' tenth studio album.
The band returned in 2010 with a pair of "mini-albums" called The Night Before and The Morning After, respectively, before late 2011 brought a short, but novel, U.K. tour (the Orchestra of the Swan and the Manchester Consort Choir were their backup bands). In 2012, the lavish and long-awaited box set The Gathering Sound was issued, and included previously unreleased audio material alongside long-unavailable video concert footage. Details of the Max Dingel-produced La Petite Mort emerged in February 2014, and this first post-Mercury studio album was released four months later in June. Dingel then returned to produce their 2016 record, Girl at the End of the World. Written in Scotland and recorded in London, the album was described by the band as "big but personal, abrasive but warming" and "ultimately uplifting." Two years later, James teamed with producers Charlie Andrew and Beni Giles for Living in Extraordinary Times.
During the 2020 pandemic, Tim Booth teamed up with his Topanga Canyon neighbor Jacknife Lee to construct the basic tracks the rest of James completed while in quarantine. The resulting All the Colours of You was released in June 2021.
Biography by Stephen Thomas Erlewine
There are other artists using the same name:
2) James is the vocalist of popular Bangladeshi band Nagar Baul. He was a member of the band Feelings and later formed the band Nagar Baul. James was raised in Chittagong and later moved to Dhaka for his singing career. Stylishly longhaired James--overwhelmingly known as the Nagar Baul (the City Bard), was the pioneer of psychedelic rock in Bangladesh. Originally a lead singer and guitarist, he has always been respected for his solo projects. He became affectionately called Guru by his fans. His tunes were bright and his singing a divergence from the archetypal tunes preferred by the commercial-type directors. His songs expressed love, rage, discontent, frustration, and happiness.
3) A Dutch rapper connected to the Fakkelteitgroep.
4) James Lee - known as James - was a former member of Royal Pirates, a South Korean band. On 2015, he got into an accident that caused him unable to play bass any longer. Hence, he decided to left the band.
James moved back to Los Angeles and decided to release music written post accident in a project called ’the Light EP’ consisted of 5 tracks. (http://jamesleeofficial.com/)
Interlude
James Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Called in a Bad Romance
Called in a Bad Romance
Un petit enfant rêvait d'abduction, d'albédo
Imagine des aphorismes pour régir sa vie d'artiste et fume sa vie
V'là le bedo
Album expérimental, pour faire de la merde et que tu l'excuses
Mais bon répète la merde mille fois et tu tapes juste une fois
Et ça tombe bien je dois en être à six mille textes
Je compte les merdes qui me passent par la tête
Je compte les miettes qui stagnent dans l'assiette
Je compte les « je t'aime » qui passent pour insulte
Et je pose ça là, mais je compte l'aimer jusqu'à ce qu'explose mes artères
Loveur de merde
Change de thèmes
Tu fais tiep
Parle de baise et de bang
De Benz et de bank
De biz et de gang
De billet de banque
De Pete sans Pan
De chic et de pompe
De clic et de Bond
De pique et de bombe
Depuis qu'elle se pointe
Tu pètes les plombs
I love
You
Tu pètes les plombs
I love you
I love you
Tu pètes les plombs
I love you
I love you
Oh
Tu pètes les plombs
I love you
I love you
I love you
I love you
Tu pètes les plombs
I love ya
I LOVE ya
I love
You
Hey
Les fautes que je me suis pas permis
L'effort de gosse relou pour essayer d'toucher ton corps depuis mon tatami
Mon Kata-Gatame
« Mon gars t'a qu'à te faire mettre »
C'est ce que j'entends quand tu me dis : « Je t'aime, je pars quand même »
Fille d'Ève, tu m'parlerais mieux.
Oh Marie, si tu savais la moitié des choses qui m'passent par la tête quand je te regarde dans les yeux
Et tes accalmies que j'acclamais
J'suis pas l'dernier t'es la première
À bouleverser ma gravité, à m'foutre en l'air
Un air de West MBDTF
Un SSN, un logiciel qui s'code en R et qui se complaisait dans ton code QR
Et tes accalmies que je m'interdis
Je dois être le seul à faire l'intermission de l'interlude de l'interlude
Tu pètes les plombs
Tu pètes les plombs
TAN-TAN-TAN
Called in a Bad Romance
Un petit enfant rêvait d'abduction, d'albédo
Imagine des aphorismes pour régir sa vie d'artiste et fume sa vie
V'là le bedo
Album expérimental, pour faire de la merde et que tu l'excuses
Mais bon répète la merde mille fois et tu tapes juste une fois
Et ça tombe bien je dois en être à six mille textes
Je compte les miettes qui stagnent dans l'assiette
Je compte les « je t'aime » qui passent pour insulte
Et je pose ça là, mais je compte l'aimer jusqu'à ce qu'explose mes artères
Loveur de merde
Change de thèmes
Tu fais tiep
Parle de baise et de bang
De Benz et de bank
De biz et de gang
De billet de banque
De Pete sans Pan
De chic et de pompe
De clic et de Bond
De pique et de bombe
Depuis qu'elle se pointe
Tu pètes les plombs
I love
You
Tu pètes les plombs
I love you
I love you
Tu pètes les plombs
I love you
I love you
Oh
Tu pètes les plombs
I love you
I love you
I love you
I love you
Tu pètes les plombs
I love ya
I LOVE ya
I love
You
Hey
Les fautes que je me suis pas permis
L'effort de gosse relou pour essayer d'toucher ton corps depuis mon tatami
Mon Kata-Gatame
« Mon gars t'a qu'à te faire mettre »
C'est ce que j'entends quand tu me dis : « Je t'aime, je pars quand même »
Fille d'Ève, tu m'parlerais mieux.
Oh Marie, si tu savais la moitié des choses qui m'passent par la tête quand je te regarde dans les yeux
Et tes accalmies que j'acclamais
J'suis pas l'dernier t'es la première
À bouleverser ma gravité, à m'foutre en l'air
Un air de West MBDTF
Un SSN, un logiciel qui s'code en R et qui se complaisait dans ton code QR
Et tes accalmies que je m'interdis
Je dois être le seul à faire l'intermission de l'interlude de l'interlude
Tu pètes les plombs
Tu pètes les plombs
TAN-TAN-TAN
The lyrics of James' song "Interlude" depict a sweet and intimate moment between two people, where they decide to prolong their time together and opt to walk home instead of calling it a night. The first line, "Let's not wake up," implies a desire to stay in this moment forever, while the second line, "We can just stay," reinforces this sentiment. The third and fourth lines, "You wanna walk home? Yes, I wanna walk home," reveal that the two individuals are enjoying each other's company so much that they don't even want to part ways for transportation purposes. However, as the fifth line suggests, this isn't uncommon behavior for the second party, as they have done this before and it irritates the first party. The final three lines are a brief interruption by the second party, asking for permission to do something, but it's unclear what that something is, leaving the listener to imagine what further adorable moment could be happening between the two lovers.
Line by Line Meaning
Let's not wake up
Let's stay in this moment and not let reality take over.
We can just stay
Let's prolong this moment of happiness and avoid having to face the challenges of the outside world.
You wanna walk home?
Do you want to enjoy this moment a little longer by taking a leisurely walk home?
Yes, I wanna walk home
Yes, I want to extend this moment of joy and savor every bit of it while we walk home.
I hate when you do this
I dislike when you prolong our moments of happiness because I know we will eventually have to face reality.
Oh, hey
Casual greeting to break the tension created by the previous line of the song.
Hey, can I um
Can I take a moment to express my desire for us to stay in this moment a little longer?
Yeah
An affirmative response to the previous question.
Lyrics © O/B/O DistroKid
Written by: Giovanni I.
Lyrics Licensed & Provided by LyricFind
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