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Live performance of I Know What I’m Here For on Channel 4’s TFI Friday
I can’t see a reason for living unless you want to ask, or answer, or try and ask very difficult questions, but otherwise you’re born, you live, you die. There’s more than that. This world is far too intelligent, and too interesting, fascinating a place for there to be nothing.
For a start these things are hard to talk about. They’re often not rational or logical so communication is very hard, so yes, I’ve been misunderstood because it’s damn near hard to understand in the first place.
It’s no-ones fault. Secondly, the rock world obviously has problems with anything that’s not sex, drugs and rock and roll. It’s every limited tabloid world, very cliched and I don’t fit. I’m happy with that. Then there’s been those papers aren’t the right place to talk about this and so yeah, I’ve been ridiculed and laughed at, but that goes with the job.
A song like Seven was one of the first times I openly referred to God, much to the annoyance of my fellow band members who don’t really like me talking openly about these things because they don’t share those beliefs and that’s totally fair enough and James got painted as a Buddhist band, really because of the stuff I did.
I got this lyric in: “God made love to me, soothed away my gravity. Gave me a pair of angel wings, clear vision and some magic things.” When I’m singing “Love can mean anything”, it could be “God can mean anything.”
They’re just highly abused words. Well the idea behind that, if you really pursue the idea that everybody can get in touch with God, that everybody has God within them, then the ultimate union would be having sex with God, so “God made love to me…” That was the first time I started getting interested in that idea. That’s what I think ecstasy is, not the drug, the state, is when you feel totally at one. You’re free from all of your smallness, your day-to-day identity.
I was brought up in a very Christian religious household. My parents were very proud of the fact that we were related to John Wesley. My father was strong in the Church and I used to go every week or every two weeks. I used to like the stained glass windows, and I used to like the Bible stories with the big pictures of floods, and arks and dramatic sweeps like that.
And then I was sent to public school at 13, which I hated, and I didn’t fit in, and had all these feelings running through me which I couldn’t explain, couldn’t fit. I think of one of the big nights was when I was about 15 and there was an older boy who wrote out four questions on a piece of paper and they were:
Who are you?
Where do you come from?
Where do you go when you die?
Three questions. And he handed these questions round and everybody else didn’t like them, and I felt a huge sense of relief as someone had asked the questions which must be the most important questions of one’s life, if you want to have any idea of what the hell we’re doing here. I can’t remember what I answered but I remember getting very excited by that.
My state of mind was very strange and I thought I was quite crazy. I didn’t eat much as a kid, so my mum made me drink a lot of milk, and milk is one of the worst things for the liver. So I would drink a pint of milk and go into an altered state through illness, but it was never diagnosed, so I was always dealing with very strange states of mind, which is part of why I didn’t fit in. When I was about 22, I ended up in hospital. I couldn’t walk up stairs. I stopped breathing at one point and I remember that very clearly as very peaceful. I actually breathed out and the breath just kept on going and I remember thinking “Wow, this is fantastic.” I was sick of life, and I gave myself a year to investigate alternative medicine and therapies and meditation, and I actually gave myself one year to find proof of the existence of spirit or of God, and if I didn’t find that proof, I decided that I was going to burn myself out.
I then looked at meditation, as it seemed safe, you were on your own. I was scared about falling into a religion and being caught in a dogma, being caught by a guru, being caught by a great leader. So I looked at different meditation groups, I went to a Buddhist group for a while and tried transcendental. I was shopping around. I was a tourist. And I eventually heard of a group in Manchester which all the other groups were slagging off, because they said they can get you to enlightenment in two years, they can show you your own spirit within a few months and I thought that’s the one for me.
In a sense, the meditation was the first peace, I’d had in my life where you really sink into yourself. I had a huge resistance to meditation as I’m quite an active person. I used to do 18 hours, 1 meal day. At first I had huge resistance, the first 4/5 hours would be hell, where you’d be screaming to get up and run and then you’d hit certain things where you’d just feel like this light was passing through you and you’d just sit there nailed and you’d be letting energy just pour through you. It blew my mind. All kinds of things started happening to me. I’d see light around people. And I got my proof basically and unfortunately I succumbed to the usual trap of cults which is to think, “My God, this man did this to me. He must be powerful,” and I started falling for the dogma and the whole trip. I was celibate, no alcohol, no drugs, two hours meditation a day, 16 every weekend. It was a very aggressive path as I did it for 3 and a half years, and then we found out that the guru had been sleeping around and he wasn’t who he said he was. As a personality, he was a bit of a dick, and we disbanded the group an we went on our way, wiser hopefully.
I wrote a few songs looking at the nature of Christianity, which I’d had force fed for 20 odd years and included observations on the cult I got into. God Only Knows is probably the most successful and the song is really “What is the nature of God? And the chorus is “God only knows.” I mean, anyone who sells himself up as a holier-than-thou religious leader is going to come crashing down. The thing I see about religious leaders, or spiritual leaders, is that they’ve often focused on just their spirituality and as a result, they haven’t dealt with their sexuality, their greed, their ego, their flattery. If they haven’t learnt to deal with the more mundane parts of their character, they’ve gone straight to their spirit, they become op-heavy, like some kind of body-builder who thinks only about their muscles. To me it’s about a balance, you have to get the mind, the body, the spirit, everything. You have to keep them in balance too. If one gets over-developed it’s always going to be to the detriment to the others.
Traditionally, dance has been used by shamens, tribes, to get people into ecstatic states. These are receptive to information of from the spirit world and I’ve always been fascinated by this, especially in this culture which the main way people get into altered states in the West is through altered states. I thick drugs can be very instructive at first, because they show you that this isn’t all that exists, that there are other ways of seeing the world and I think that’s very useful to people but then the trouble is that what happens is it turns into a problem and it turns into a negative and destroys the body and mind.
So I’ve been very interested in the way drumming, dancing, music, fasting, sleep deprivation and meditation can get you away from the monkey mind and the human machine and allow more spirit. It’s not New Age, it’s ancient healing that’s been used for thousands of years, and predates religions.
And it’s quite fierce. New Age suggests something quite wimpy about embracing the light and for me you have to embrace the darkness before you get any way near the light and if you deny your dark side it will come back big time.
When we did Gold Mother, I had just split up with the mother of my son, and I had just left her and my son. That was probably my darkest time and a lot of the lyrics in Gold Mother are about that. In Come Home, “After 30 years, I’d become my fears, I’d become the kind of man, I’ve always hated.”
Which is about as dark as it gets. Like a lot of that record, I kind of hated myself. I dunno how close to suicide I got, but I got fairly dark.
I don’t think I’ll get to suicide, I just don’t believe in it as basically, I know that you’ll come back, and secondly, I don’t think that it’s a way out.
The first gigs that we played were in Blackpool, and I remember when we got to the lines, “After 30 years…” the audience sang it back to me, punching the air with joy, and I remember being completely done in by it, completely devastated by it. They’d taken something that I’d written as self-abuse and dark, and turned it into a celebration, and I thought, that’s healing. And they did that on all those songs that night. And I suddenly realised that was what being in a band was all partly doing for me. It was helping me heal my on pain. And that’s been my promise to myself each time, to go in deep each time, to keep writing about the things that are uncomfortable because it gets to the real stuff and it also touches people on a deep level.
(part 2 of interview, some time later)
In the first part of this interview, we fell into the trap of setting a beautiful white environment with candles, the clichés of religion, and really religion has been ghettoised. It’s thought of in pious, probably very dull terms, probably because the dominant religion in this country is Christianity and it’s been force-fed to children at school, and so most of us are like, “Jeez, don’t talk about that crap anymore,” where it should be something passionate, something discussed in cafes. I should have a fag in one hand and a beer in my other hand, and I would have faked it for the camera, but, you know, it’s not me. It should be a day-to-day thing. I think more and more people are getting into it. To be honest, I’m trying to make it more concrete for this programme, cos a lot of my life, I couldn’t talk about here, because a lot of the realms, the altered state realms you go to are by definition, outside language and outside the rational, therefore how the hell do I explain it to anybody.
And I believe in following dreams and I mean that in following your own dream in your life, what you really want to do in life, your real passion. I think dreams are an amazing way into your instinctive self. Everything in this culture wants us to believe in the concrete, the rational, the logical. We can’t possibly do that. We get so trapped in our day-to day crap, that we forget who we are, and its like, people are capable of magic.
The danger with message, it’s like you asking what is the message? That’s the usual danger of any spiritual organisation, is that it becomes a package to sell. And it’s also, “I’ve found a way that’s right, and right for you.” And I can’t say that because I’ve found a way that’s right for me and I mean, so I don’t have a message, only that all that I’d say in that case, is that everyone has to find their own way.
Chelmsford, however, made up for it in spades. Faced with a torrential downpour, James took the momentum provided by the rather excellent Stereophonics and bombarded the crowd with an opening medley of Sit Down, Destiny, She’s A Star, Sometimes and Come Home creating a moshpit going back beyond the sound desk. Tim’s dancing seemed even more frenetic than usual and Saul took every opportunity to encourage the now drenched audience. Out To Get You was played to slow things down and seemed oddly inappropriate in the setting and was followed by another excellent version of Surprise.
This audience (myself included) really just wanted to hear the hits in the rain and so Laid and Tomorrow were dispatched as conditions got worse before the opening bars of Sound signalled the show was nearing its end. Tim took the opportunity to tell the crowd that “when you read in the papers how shit we were, remember what you witnessed with your own eyes”. Tim’s megaphone failed and he smashed it in annoyance, so we were treated to Tim hollering without it which made for an interesting take on the song, the sheer awesomeness of the improvised ending not being lost despite the rain and the size of crowd. This was James at their very best and a complete contrast to the day before and the tedious Space and Texas who were to follow later. They were the band of the weekend – but we knew that already.
Tim Booth appears in a souwester and announces that since – in a world a million miles away with flushing toilets, running water and warm weather – England have won a football match, James will play a greatest hits set. Result, strange tantric hippy bloke! Result, English footballers! Goodnight, sadomasochistic noodles and ruminations on “fame”! This decision does however represent a significant advance. Finally it appears that after decades of blowing it at every conceivable opportunity, James have risen to the occasion.
She’s A Star / Laid / Sound / Tomorrow
And sticking folky fiddle on the tail of “Johnny Yen” won’t convince anyone that James are Irish. Or indeed, that they are any good. But (deep breath, confession time) I’m actually quite fond of them. Tim Booth still can’t dance. They still use horrible contrived puns (“She knows where to hide / There’s nowhere to hide”). They can be clumsy, pompous, embittered and often are. But “Come Home” and the sheer glee of “Laid” warm up the whole rain-tinged, wind-chilled crowd. For all their faults, they’ve still got the spark; they can still burn and glow.
Snap, Cackle And Pop popped round to James frontman Tim Booth’s house for a bit of chat with him and guitarist Saul Davies.
After coming to prominence as part of the Madchester scene in the late eighties, James outlived their baggy contemporaries and have now put 16 years behind them.
Tim : I don’t know how we’ve kept together this long. The first seven years we made no money and it didn’t matter to us. We were doing things that we loved passionately so we’d carry on doing them and then we had success and it’s almost much harder from then to deal with success and balance all those things out.
And with Sit Down the anthem of 1990, their gigs packed out with a sea of those famous flowery t-shirts, the band decided it was time to try and crack America.
Saul : We just think we had a lot of critical success and it was married to sales, big sales in the early nineties and going off to America, which was a wonderful experience for us, you know we went on tour with Neil Young and did all sorts of amazing things, went to places I never thought I would go to, never mind playing.
Abandoning big stadium gigs in Britain for the smaller crowds of the States gave bands like U2 and Oasis the chance to take the megastardom tag that seemed destined for James.
Tim : You see, I don’t see James as having made any mistakes, I see James as having been James which is having their own path and I don’t see any problem in not being as huge and famous as Oasis. I wouldn’t trade places with Noel or Liam for any amount of money. Because that’s not what it’s about for me.
But with Noel reportedly inspired to form a band after seeing a James soundcheck and Morrissey calling them the “greatest band in the world”, the boys are aware of the influence they’ve had on the music of the last decade.
Tim : It’s great when your peers, when Neil Young takes you on tour or when Noel Gallagher says what he says and Morrissey. You know lots of bands have the signed t-shirts from the Dominion concert and you know really sweet things we get and that’s really gratifying as a musician.
And with their recent Best Of album already platinum, there are more fave James tunes than you might expect.
Saul : I think that’s probably a process that people have bought the album, have listened to it and were vaguely familiar with Sit Down or whatever and suddenly kind of thought “Oh my God, I remember what I was doing when this came out” and it would send some shockwaves through people’s lives as well that process, which is a really good one.
And their new single Runaground looks set to follow the fate of the other 17 singles on the album.
Tim : We didn’t get to ride any of the horses. But we got to sit in the beautiful Irish pubs and see the Irish culture.
Jayne Middlemiss : From the baggy brilliance of Sit Down to the subtle sophistication of Destiny Calling, James are celebrating 17 years in the business with a Best Of album that resolutely refuses to leave the Top Ten.
(to Tim) You’ve got the Best Of album out and a lot of times when a Best Of album comes out it’s often when bands are just about to split up.
Tim : You want us to split up do you?
JM : Of course not
Tim : No, this came about almost by chance. Someone in the record company pointed out to us that we’d had something like 15 Top 30 hits and would we like to put them on a record. We said “Yeah, great, that’s fine. Do it”
It’s obviously done very well. We didn’t expect it to go to Number one. That was a great thrill. But the other thing was it allowed us to take stock of the whole kind of career. I think we’ve been taken for granted in this country for four years. And it suddenly made people go “God, wow, they’ve had a lot of records, haven’t they? A lot of good records.”
JM : Your last single Destiny Calling seemed to take a critical look at the way the music industry treats artists. Was this a personal thing that you lot have experienced?
Tim : Destiny Calling was playfully critical. It was also acknowledging that we’re part of it. You become a product to a certain group of people who are making money out of you. And you have to accept that. I mean, that used to be terrifying to me. And the fear of success kind of blanding you out as an artist or a musician. It was always a great fear of mine.
When we first did Sit Down I was quite freaked out by it. We were getting amazing letters from people, people playing it at funerals and weddings and all kinds of things. We were asked to play it at hospitals to children on life support machines. People in comas and things like that. It had a very strong impact and at one point we tried stopping playing it and I wanted to keep it, like if we played it, we would do it acoustic one week and heavy metal the next week. You know change it. I’ve come much more to terms with it now in the past few years that it’s its own thing and it’s not much more to do with me anymore. It’s like a gift, like something you have to let go of.
JM : I want to talk to you now about Laid. I saw one of the best pieces of music television. Unplugged, it was you and the guitarist. Just singing that song. There was so much emotion. What goes through your mind when you’re doing a song like that?
Tim : When I’m doing songs we’ve had for a while, a song like Laid, for me the really important thing to make it fresh and get vulnerable with it. Cos you can just act it or you forget why you wrote it, the initial impulse that sparked you. And so the way to keep present and fresh and not become a stale dinosaur. You have to keep getting vulnerable.
JM : It was so sexy that. I was in the gym and it was on the thing…
Tim : We figured everyone would think we were gay after that. We’d turned it into almost a gay love song.
JM : It was just so…. It really moved me. I was on the step machine and I had to stop.
Tim : Lovely
Reporter : This is the big bit of the show, the one we’ve been crossing our fingers for. We’ve got a satellite hovering over the building and a satellite hovering over Los Angeles. We’re off now live, that was James ‘Sit Down’ hence standing up sitting down. Now we’re going live to LA to talk to two members of James. Hello James. Hello James.
Saul : Wish they’d hurry up, Jesus.
Reporter : James, James
Saul : Come in Moscow, come in Moscow
Tim : Hello
Saul : Hello
Reporter : Hello, you little swines, hello
Tim : We’re in LA.
Saul : We’re in LA
Reporter : I didn’t ask you a question
Saul : We’ve got this satellite gap
Reporter : Listen lads, we just heard that brilliant song Sit Down. Your biggest hit, frankly you’ll never get better than that in my eyes. What was it like having a hit like that?
Saul : Sit Down went in the charts at number 7 and I think all of us went “Hang on a minute, something’s happening here. Now we’ve got to focus”. And we never did.
Reporter : What’s the price of fame lads? During this answer, the one of you on the right just laugh
Tim : We’ve had an easy ride with fame. We’ve haven’t been….
Saul : (laughing) sorry
Tim : What are you laughing at?
Saul : He said “Divorce”
Tim : Is that what he said? Yeah, the costliest thing about fame is divorce.
Saul : That’s why I couldn’t help laughing, because it’s genuinely funny.
Tim : Very good Andy
Reporter : What in hell was that all about? Tim, you’ve had a neck injury
Tim : Speak up Grandad
Reporter : Tim, you penis, you’ve had a neck injury. You penis.
Tim : We had to do Lollapolooza which was a 36 date tour of America with me in a neckbrace and a kind of travelling nurse with me. Which was a really bizarre experience cos it was the tour from hell anyway. It actually meant that I got my own quieter bus which was quite nice. I actually had one of the best rides but it was quite bizarre.
Reporter : You ponce. Rumour has it, Tim, that you’ve been performing in bandages
Tim : I can’t dance like I used to dance with my neck at the moment. I’ll have to wait another year or so before I can do that.
Reporter : Does that mean we won’t be able to see your hilarious dance style Tim? That manic thing you do. Come on
Tim : We had this amazing festival in Switzerland, Hultsfred, where we had to stand in for Status Quo when we had to play to 15,000 Status Quo fans and we won them round which was a very weird and nervy experience.
Saul : I think if anyone, if this programme goes out anywhere in Sweden, we should say that Hultsfred is in Sweden.
Tim : Perhaps we should, it might help
Saul : You see this is what happens all summer. We get on less festivals than we should because we keep turning up to the wrong country.
Reporter : You’re crazy guys, I can tell that much. Last week, Liam was slapped for being a bad boy, what sort of fun and games do you get up to?
Saul : How about this? Dave, our drummer, on the roof of our bus in Auburn Hills wearing nothing but a pair of old Calvin Klein boxer shorts with a rolled cigarette in one hand and a pint of beer in the other with a pair of Wayfairer shades with a prostitute bent double in front of him wearing a bikini for example, and the whole Lollapolooza tour. We’re all there taking photos and it’s the best thing I’ve ever seen.
Reporter : What a bunch of rubbish that was. I bet you made that up. Right James, you’re releasing your Greatest Hits now, is that not selling out? I bet it is. Come on.
Saul : Why are we doing this?
Tim : Because somebody pointed out to us that we’d had something like 14 consecutive Top 40 singles and we were like “Have we really?” and “Yeah, do you want to put them out as a Greatest Hits record?”, “OK”
Reporter : Tim, give me a hippy nomad answer to where you’re living now
Saul : He doesn’t know. He’s going through what I went through for years.
Tim : I’ve lived in a suitcase for the last few years. I have a woman I’m marrying in New York,
Saul : One in Barbados
Tim : A son in Brighton, a house in Manchester and work in London.
Reporter : The satellite link is breaking up lads, thanks very much, you’ve been brilliant
Saul : I have this lovely house beside a mountain in Scotland
Reporter : Shut up
Saul : I’m having the time of my life up there when I get to see it, surrounded by forests and wonderful people, it’s a mad party house actually.
Reporter : I didn’t even ask you a question. Shut up. Goodbye. Off you go.