Posthumous albums are always a touchy subject. Especially when the artist had true, legendary status. Brian James certainly fits this category; a one-off who kick started The Damned and influenced innumerable guitarists. There’s nothing I can say that hasn’t been said many times before. He had his moments, no doubt, but when I interviewed him a few years ago, he was generous with his time and happy to talk about any subject. His shadow looms large in my record collection, from The Damned, through The Lords, The Racketeers and his many solo albums.

These seven songs are the final ones he worked on. Let’s be clear, while they’ve been mixed, they are very rough and ready recordings. That should come as no surprise, but it needs stating. Some songs sound like the finished product, others are experimental/embryonic. That said, each one is undeniably ‘Brian’, so, if you “want some action?”, let’s jump in…

Joined by his regular comrades Malcolm Mortimer, Austen Gayton, Dave O’Brien and Alan Clayton, ‘In The Blood’ is the song that would fit in best on ‘The Guitar That Dripped Blood’. The familiar, knife-sharp guitar and Brian’s casual drawl is back like an old friend. ‘Soho’ is a bare-bones riff, “less is more”, but still captivating. 

‘Giallo Yellow’ is experimental meets chaotic, a hypnotic mess. The Italian ‘Giallo’ novels are apparently an influence on the album, the cover art by longtime collaborator Graham Humphreys echoing the distinctive, yellow book covers. ‘So Sad, Sonny’, with its funky piano, is reminiscent of the Blockheads at times, adding some groove to the mix. 

The version of ‘Dance With Me’ is pleasingly different to the original. Piano led, with touches of guitar, ex Mo-Dettes singer Ramona Wilkins-Carlier gives it a smoky, ‘Parisienne’ feel and a touch of class. ‘Ida Strong’ is another experimental groove, the farfisa keyboard sound keeping a primal feel, and ‘Happy Families/Zombie Song’ is practically free jazz, complete with duck quacks and Bo Diddley drums. Don’t say I didn’t warn you! The CD contains four extra songs, including ‘Living Doll’, which I haven’t had the chance to hear yet. 

Inevitably bittersweet, it is nonetheless a treat to hear Brian’s unique sound one more time.

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Author: Martin Chamarette