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In the early '70s, the songwriting partnership of Pete Atkin and Clive James was held in high esteem by the British music press, yet commercial success proved much more elusive. Their unique attempt to fuse the discipline and craftsmanship of Tin Pan Alley with the self-expression of rock, while refusing to accept any limitation on what constituted appropriate subject matter for lyrics, inevitably set them on a collision course with their record companies' marketing departments. An Atkin-James album could embrace a brief encounter in a railway carriage, the Vietnam War, and the lot of an aging session musician, while James' points of reference took in the full panoply of art, cinema, literature, and poetry, sometimes leaving his work open to accusations of being wordy and pretentious. In its own way, Atkin's music was just as erudite, drawing on every form of popular music from show tunes through folk, jazz, and rock. Both words and music, then, were no match for the blistering anti-elitism of punk when it arrived, and after six albums the partnership succumbed before the irresistible union of record company indifference and the Clash.

That was the year that the New York Times' influential music critic Robert Palmer named KILL TUNES as one of his Top 10 releases, and around the time when Tom Waits declared in the British music press that the Pogues and the Leaving Trains were his two favorite new bands. Waits even namedropped Falling James in the first line of the shaggy-dog yarn "Gun Street Girl," from his "Rain Dogs" album, so James jokingly responded by singing "waiting for Tom Waits to finish the sequel" during "How Can I Explode?" on the Trains' next album, FUCK. Produced by former Last keyboardist Vitus Matare and with a title that predictably stirred up censorship controversies and retail bans.

Guided by magic-man producer Earle Mankey (the Weirdos, Runaways, Concrete Blonde), the Trains recorded two diametrically opposed albums in the late '80s: the short-&-sweet, hard-&-fast punk barrage TRANSPORTATIONAL D. VICES, with guitarist Sam Merrick (Bobbi Brat, the Nymphs); and the languorously obsessive collection of interwoven doom-ridden love songs, SLEEPING UNDERWATER SURVIVORS, recorded with Nymphs guitarist Bobby Belltower during Falling James' 1989-1990 stormy marriage to pre-fame Courtney Love (before everything fell apart, James also produced Hole's debut single).

Eventually, Sam Merrick went back to Idaho, Bobby Belltower moved to Manhattan, and James found a new partner in crime, Chris "Whitey" Sims, a tireless New Orleans party animal, provocateur and prolific writer, who persuaded James to write remorselessly about the absurdities in the world around him instead of just dwelling on old girlfriends. Their often-tasteless satires ("Bob Hope," "You Don't Need a Doctor," "Women Are Evil," "Fuck You, God!"), from the LOSER ILLUSION, PART ZERO E.P. and THE LUMP IN MY FOREHEAD CD, either delighted or alienated old Trains fans. Some felt betrayed that Falling James was now dressing in drag full-time, even offstage. Falling James' ongoing, quixotic anarchist campaigns for U.S. president, meanwhile, started to get a surprising amount of mainstream media attention.

Whitey's onstage nudity and jock-baiting instigated frequent onstage riots, arrests, pulled plugs and daily police harassment for over several years until, inevitably, everyone cracked. Guitarist Aaron "Mo-Ron" Donovan moved to Mexico to study art, and Whitey escaped to San Francisco, where he edited one issue of the sacred-cow slaughterhouse, BEHAVE, before dropping out of sight.