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Pleased To Meet You [International Version]

Album: Pleased To Meet You [International Version]
# Song Title   Time
1)    Space More Info... 4:51
2)    Falling Down More Info... 3:37
3)    English Beefcake More Info... 5:47
4)    Junkie More Info... 4:52
5)    Pleased To Meet You More Info... 5:42
6)    The Shining More Info... 4:27
7)    Senorita More Info... 3:12
8)    Give It Away More Info... 3:04
9)    Fine More Info... 3:43
10)    Getting Away With It (All Messed Up) Album Version More Info... 4:25
11)    Alaskan Pipeline More Info... 4:33
Product Details
Performer Notes
  • Personnel: Tim Booth (vocals); Saul Davies (guitar, violin, background vocals); Michael Kulas (guitar, background vocals); Adrian Oxaal (guitar); Mark Hunter (keyboards); David Baynton-Power (drums); Jim Glennie (background vocals).
  • Audio Mixers: Dave Bascombe; David Bascombe.
  • Recording information: Ridge Farm Studios; Whitfield St. Studios; Wickfield St. Studios.
  • Photographer: Phil Poynter.
  • 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
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