Far from going extinct, it seems that this fashion consisting of a group revisiting (with one excuse or another) part of their repertoire continues to rise. So much so that it seems more and more complicated for a veteran band to resist a type of invention of dubious justification, due to its lack of originality but at the same time due to the irrelevance of the final result. After the cases of renowned compatriots such as Paul Weller, Echo & The Bunnymen or Richard Ashcroft, now they are the no less mythical James who, taking advantage of their fortieth anniversary as a band as a pretext, are committed to re-recording two dozen of their songs, in this case with the support of The Orca 22 Orchestra (directed by Andra Vornici) and an eight-member choir.
The Manchester gang added, at least initially, certain advantages over those professional colleagues who ventured into a company that did not go entirely well. To begin with, the combo has a very marked melodic presence and a strong emotional component that guides their entire catalogue, after having always shown themselves to be especially skilled when it comes to coming up with intoxicating choruses that are difficult not to give up. It also happens that its leader Tim Booth is one of the best (and incidentally most beloved) vocalists of his generation, motivating that hypnotism that the British have worn practically without interruption since their debut. “Stutter” (Sire, 86) to the notable “All The Colours Of You” (Virgin, 21) –his best work in a long time–, and going through other titles as celebrated as they were “Seven” (Fontana, 92), “Laid” (Fontana, 93) o “Pleased To Meet You” (Mercury, 01).
A couple of specificities suitable to find accommodation in the new packaging and that serve to solve the majority of selected ones, although in no case do they exceed the original ones. In any case, the whim of Both and company escapes from that disaster into which the audacity of other formations or artists has resulted, and the inherent charm of their compositions is such that it is acceptable to taste the reinterpretations offered here. The English play with numerous rhythm changes to mutate the look and intention of the songs themselves, with more or less orchestral presence depending on the moment and while Booth’s powerful voice continues to emerge as an inextinguishable beacon. All in a repertoire divided between hits such as “Say Something”, “Sometimes”, “Sit Down” o “She’s a Star” and lesser known pieces like “Why So Close”, “Lookaway” o “Hymn From A Village”to which add the unprecedented “Love Makes A Fool”.
“Be Opened By The Wonderful. 40 Years Orchestrated” It is indeed a whim. But it is the whim of one of the most reputable and long-lived bands that has given rise to a city as prolific in terms of music as the industrial town of Manchester. A product that, in practice, remains on neutral ground, without being bitter or shocking, but far from the level of fascination of many of its previous deliveries. Something permissible given the status that James holds as property and the affection that his artistic presence has always generated; and, by the way, thanks also to the good taste left by his last studio album and subsequent tour of our country.