Re-release of one of the most famous James’ anthem, with exclusive cover star “El Wray”.
As for the history, Fontana Records wanted to maintain the momentum of finally getting James into the singles charts. No sooner had How Was It For You? dropped out of the Top 75 in 1990 then the next single was lined up for release.
But to long-term fans it all appeared a bit of a con as it was a re-release of Come Home which just seven months earlier had been issued by Rough Trade.
The difference in this version of Come Home was that is was mixed with the dance floor in mind with uber-producer Flood brought into oversee things. And for the real hardcore clubbers, the song was also given to Andrew Weatherall.
The results were a completely different sounding James than before and as far away from the Folklore-era Factory days as could be imagined. But it worked….thanks in part to the quality of Come Home as a song but also the fact that the re-mixes were right out of the top drawer.
COME HOME was an afterthought on GOLD MOTHER. It was just about the last jam the band did – after they’d finished recording the album. they liked it so much they put it on there…
‘Come Home’ one of the two original singles from this record. It hit top forty in the wake of ‘Madchester’ and all was well. It’s not an amazingly brilliant song, it repeats itself a little too often but it is brimming with confidence.
Come Home was equally well-gauged. The timing – and the Madchester explosion – meant they were ripe for fashionable remixes which further spread the word. Tim Booth might loathe the thought, but they became perceived as a less aloof, more welcoming Smiths, who wouldn’t say no to a boogie. Later they leaned towards Eno, and art with a capital A, perhaps reacting to this.
As written in Folklore, « The clearest, perhaps only, instance of the Madchester scene’s direct influence on James was on ‘Come Home’, one of the new songs coming together in the studio. Larry cheerfully admits that it arose as a variation on ‘Sit Down’. ‘It has the same chords. Jim and I started up with “Sit Down” and the new lads didn’t know what we were doing; they thought it was a new jam. You’re all in different bits of Out Of The Blue, to get any separation playing live some of you have to stand by the coffee machine, some in the corridor and “Come Home” came out of that. But Tim didn’t recognize it and started singing something else, Mark’s keyboard line, da da da da, fell into place and with that drum beat, it didn’t sound anything like “Sit Down”.’
Dave Baynton-Power’s ‘baggy’ beat, as that shuffling indie- dance rhythm was known, was a direct homage to Happy Mondays whom he loved. ‘There was that holy trinity, the Mondays, the Inspirals and the Roses, and part of the time, I wanted to be caught up in that. The Inspirals had supported us on the One Man Clapping tour with Noel Gallagher as guitar roadie before he’d joined Oasis. I used to think, Hey, what about us? but fair play to Tim, he’d always say, “Never get involved too closely in a movement because when it goes down, you go down with it,” and he was right. Where are all those bands now?’ For Mark Hunter, ‘Come Home’ was a turning point: ‘I think “Come Home” persuaded them that we new boys really had something to offer. Dave’s baggy beat and my keyboard melody convinced them it was working.’
As the album, provisionally entitled Gold Mother , neared completion, so the band found themselves at amicable logger- heads with its patron, Rough Trade. In debt to the tune of £50,000 and on the brink of bankruptcy, the band were desperate for the security of a major label advance. In November, as The Stone Roses and Happy Mondays appeared on the same Thursday’s Top of the Pops , with hindsight, the apogee of the Manchester era, James’ modishly ‘baggy’ ‘Come Home’ was released to a flurry of rave reviews. The NME, making it Single Of The Week, described it as ‘harder, fresher and more bitter than most bands around … should rank them up there with the Mondays and The Roses’. Given James’ burgeoning profile, sales were disappointing and the record peaked outside the Top 40. The only sign of the band on Top of the Pops was a James T-shirt worn by a member of chart-topping Beats International. Tim felt that the promotion of ‘Sit Down’ and ‘Come Home’ had undersold the songs. ‘I went in for a meeting with Geoff Travis and he said, “You have to understand that James will never sell more than 20,000 records. I can’t put money into promoting your music, I love it and he did, he was a staunch supporter but I can’t take the risk ».