Halo James - Witness (Anniversary Celebration)

UK release date: April 2nd 1990
UK album chart peak: #18

Buy Witness here (Amazon GB)
Read my #Witness30 singles project here

While everyone was obsessing over Bros or falling hard for the faux-street vibes of New Kids On The Block, I was swiftly being charmed by a new boy-band trio. Halo James were the most visually aesthetically pleasing of a wave of Brit boys who embraced jazzy influences, sax solos and addictive adult contemporary choruses. Whilst bands such as Waterfront, Breathe, Climie Fisher and Johnny Hates Jazz were spearheading this new global infatuation with a more mature pop sound, Halo James seemed to easily bridge the gap between the teen scene and what Smash Hits unflatteringly (and rather unfairly) called Mom Pop. I would go as far as to argue that their delectable tunes were the template for the second album stylings of Take That – long before that five piece were even a flick of Nigel St Martin’s wrist. Whilst Halo James would only have one sizeable hit, their music and debut album, Witness, seemed to garner critical acclaim and is fondly remembered by many (so much so that a special edition version with remixes and b-sides has been released for its 25th anniversary). Why sustained mainstream success eluded them will remain one of the great mysteries of pop – but as Witness will testify, the trio of dreamy singer Christian James, Ray St John and Neil Palmer certainly knew how to craft a pop hook which lingered long after their album disappeared from the shelves of Woolworths. One top ten hit single, a top twenty album and a rather delightful Smash Hits cover (see here on Instagram) remains the band’s surface legacy but how the songs touched those who they reached is a much deeper endowment…

The band’s first single appeared in Autumn 1989 in the form of the rather charming Wanted. I discovered this in my local record store (Andy Cash), perusing through the new releases rack of music. In those days big new releases were £1.99 for the 7” and a whopping £3.99 for 12” or cd single. Of greater interest to me were those which were priced at half those prices; often new or lesser known acts hoping their flashy artwork would catch the eye of consumers. Wanted certainly did that. I bought the CD single purely for the shallow reasons of thinking Christian James was the most handsome man I’d seen. I’m lucky that the music contained within was just as satisfying. Wanted was a dreamy ballad with shades of Spandau Ballet seared into the chorus. It helped that the lyrics tapped into that universal theme of needing to be loved – as a dramatic, 15 year old teen who didn’t understand why he liked boys, the words eloquently bought to life every yearning desire within me. Christian gave an achingly vulnerable vocal which set the template for his blue-eyed soul style delivered on future singles and the album. I was most disconcerted when the single peaked just outside the UK Top 40 – for some, this would be one and done yet it was clear the record label were invested in the band and eager to get their sound heard. This lead to a second single, Could’ve Told You So, released in the busy Christmas number one race of 1989. This song could have easily got lost in the glut of releases hitting the stores but it became somewhat of a sleeper smash, gradually rising up the charts until it peaked at number six in February of 1990. It is not hard to see why. It was a mid-tempo tune which I still believe is the architectural blueprint for Take That’s Pray. The peppy uptempo score, infused with gloriously sweeping strings and powerful piano chords, was a catchy gem whose indelible hook could not be denied. The melancholy lyrics were offset by the effusive melodies and once again Christian didn’t just sing the song – he performed with every ounce of lived disappointment corsing through his veins. It really was the first great pop song of 1990 (alongside Better The Devil You Know) and for a hot moment Halo James were all anyone could talk about.

Now personally – and with hindsight - I would have switched the order release of singles 3 and 4 to capitalise and build on the finger clicking grooves of Could’ve Told You So. Still, I can see why the label opted to release the swooning heartbreak ballad Baby. I was always fascinated by the way the lyrics told a story of someone who just wished their lover all the best as the relationship crumbled. So often there is a focus on the devastating pain or all-consuming bitterness, so (to me) it felt refreshing to have an acceptance of the situation which celebrated the good times. When I heard this was going to be the third single, I was convinced this was going to be a chart topper for the guys. There had been a subtle but perceptible shift, however, in the charts towards a more euro-dance sound with hip hop and rap nipping at its heels. The new decade was, sadly, leaving songs like this behind so it never really got its time to shine, peaking at 43. It remains boy band gold, however, and the melody shines through even all these years later. Perhaps the single mix of Magic Hour (with a bigger focus on dance remixes) would have been a more sensible follow up to Could’ve Told You So. It was the most energetic of the Halo James singles to date and should have dominated radio playlists. I remember buying the cd single on day of release, purely for the new mixes of the song which amped up the percolating percussion and put more emphasis on the bass. What could not be subdued in these new mixes was the indomitable spirit of the song. I was haunted by this particular magic hour for weeks, its chorus firmly embedded in my cerebral cortex. I couldn’t believe it didn’t reverse the band’s chart fortunes, becoming their smallest hit to date by stalling at number 59. Perhaps a year earlier or five years later these songs would have all nestled comfortably in the top ten. I choose to believe Halo James were just too good for their time.

While the album Witness sold well over 100,000 copies in the UK (no mean feat for an opus which never climbed higher than 18), Halo James never released a second album together. They did, apparently, work on some songs but couldn’t agree on the direction their music should take and opted to call it a day instead. This remains a real shame – there was an obvious gift for writing endearing and enduring pop tunes. Perhaps Jason Donovan’s 1993 single, Mission of Love, (co-written by Christian James) was a hint at what the next stage of Halo James might have been (see my review of that song here). I guess we’ll never know – the band have never reformed so Witness remains their definitive contribution to the world of pop. And what a contribution that turned out to be.