Red
release date: May 25, 1981
format: vinyl / digital
[album rate: 3,5 / 5] [3,64]
producer: Robbie Shakespeare, Sly Dunbar
label: Island Records - nationality: Jamaica
Studio album by Jamaican reggae band Black Uhuru. The album is the second with a line-up consisting of Michael Rose, Sandra 'Puma' Jones and Derek 'Duckie' Simpson, and it's also the second consecutive album to have the producer-duo Sly & Robbie in the producer seats.
[ allmusic.com 5 / 5, Q Magazine 4 / 5 stars ]
[ just music from an amateur... music archaeologist ]
"Dagen er reddet & kysten er klar - Jeg er den der er skredet så skaf en vikar!"
27 June 2012
Lucio Dalla "Come è profondo il mare" (1977)
Come è profondo il mare
release date: 1977
format: cd
[album rate: 3,5 / 5]
Track highlight: 1. "Come è profondo il mare"
release date: 1977
format: cd
[album rate: 3,5 / 5]
Track highlight: 1. "Come è profondo il mare"
26 June 2012
Go-Go's "Vacation" (1982) (single)
Vacation, 7'' single
release date: Jun. 26, 1982
format: vinyl (A-2557)
[single rate: 3,5 / 5] [3,52]
producer: Richard Gottehrer
label: Illegal - nationality: USA
Tracklist: A) "Vacation" - - B) "Beatnik Beach"
Single release by American band Go-Go's and the first of four singles from the forthcoming album Vacation (Aug. 1982). This was the best-faring peaking at number #8 on the Billboard Hot 100 in the US as the band's all-time second-highest on that list in their entire career.
release date: Jun. 26, 1982
format: vinyl (A-2557)
[single rate: 3,5 / 5] [3,52]
producer: Richard Gottehrer
label: Illegal - nationality: USA
Tracklist: A) "Vacation" - - B) "Beatnik Beach"
Single release by American band Go-Go's and the first of four singles from the forthcoming album Vacation (Aug. 1982). This was the best-faring peaking at number #8 on the Billboard Hot 100 in the US as the band's all-time second-highest on that list in their entire career.
22 June 2012
Killing Joke "What's THIS For...!" (1981)
What's THIS For...!
release date: Jun. 22, 1981
format: digital (2005 remaster)
[album rate: 3,5 / 5] [3,36]
producer: Killing Joke, Hugh Padgham, Nick Launay
label: Virgin Records - nationality: England, UK
Track highlights: 1. "The Fall of Because" - 2. "Tension" - 3. "Unspeakable" - 5. "Follow the Leaders" - 8. "Exit" - *9. "Follow the Leaders (Dub)"
*Bonus track on 2005 remaster
2nd studio album by Killing Joke originally released on E.G. Records continue the style laid out on the debut by adding a more complex stylistic shape to its already highly individual sound. An overall label would be art punk within a post-punk sphere. Today, critics would be tempted to point to obvious industrial metal traits. What may not seem like a big issue from a modern perspective is what had evolved into an unwritten law of punk rock and (to some degree also) post-punk of the day: to play short compositions lasting from 1:30 mins to 3:50 and not much longer than that. Occasional tracks lasting longer was not uncommon but to have five tracks with a running time above 5 mins, and the shortest composition, track #7 "Who Told You How?" lasting 3:37 was quite unconventional.
What's THIS For...! doesn't build much on obvious chants like "Requiem" and "The Wait" from the debut - only track #5 comes close to that, but the album's strength is the unconditional approach playing with a highly unique sound.
Killing Joke had often been scheduled together with Joy Division when playing live, and I think one will find bolder examples of inspiration on this particular album - especially, in the rhythm section.
Listening to the album today, is a strange experience. There's no doubt that the band was one of a kind and made extraordinary songs that seem to share more with bands of the 90s than hardly any of the band's contemporaries and although the music, as well as the band, isn't an absolute favourite of mine, I still find it fascinating obscure.
[ allmusic.com 4 / 5 stars ]
release date: Jun. 22, 1981
format: digital (2005 remaster)
[album rate: 3,5 / 5] [3,36]
producer: Killing Joke, Hugh Padgham, Nick Launay
label: Virgin Records - nationality: England, UK
Track highlights: 1. "The Fall of Because" - 2. "Tension" - 3. "Unspeakable" - 5. "Follow the Leaders" - 8. "Exit" - *9. "Follow the Leaders (Dub)"
*Bonus track on 2005 remaster
2nd studio album by Killing Joke originally released on E.G. Records continue the style laid out on the debut by adding a more complex stylistic shape to its already highly individual sound. An overall label would be art punk within a post-punk sphere. Today, critics would be tempted to point to obvious industrial metal traits. What may not seem like a big issue from a modern perspective is what had evolved into an unwritten law of punk rock and (to some degree also) post-punk of the day: to play short compositions lasting from 1:30 mins to 3:50 and not much longer than that. Occasional tracks lasting longer was not uncommon but to have five tracks with a running time above 5 mins, and the shortest composition, track #7 "Who Told You How?" lasting 3:37 was quite unconventional.
What's THIS For...! doesn't build much on obvious chants like "Requiem" and "The Wait" from the debut - only track #5 comes close to that, but the album's strength is the unconditional approach playing with a highly unique sound.
Killing Joke had often been scheduled together with Joy Division when playing live, and I think one will find bolder examples of inspiration on this particular album - especially, in the rhythm section.
Listening to the album today, is a strange experience. There's no doubt that the band was one of a kind and made extraordinary songs that seem to share more with bands of the 90s than hardly any of the band's contemporaries and although the music, as well as the band, isn't an absolute favourite of mine, I still find it fascinating obscure.
[ allmusic.com 4 / 5 stars ]
Joni Mitchell "Blue" (1971)
Blue
release date: Jun. 22, 1971
format: digital
[album rate: 4,5 / 5] [4,55]
producer: Joni Mitchell
label: Reprise Records - nationality: Canada
Tracklist: 1. "All I Want" - 2. "My Old Man" - 3. "Little Green" - 4. "Carey" (5 / 5) (live) - 5. "Blue" - 6. "California" - 7. "This Flight Tonight" - 8. "River" - 9. "A Case of You" - 10. "The Last Time I Saw Richard"
4th studio album by Joni Mitchell is not only a step up and her so far best album, it's simply one of the most awarded and critically acclaimed genuine folk and singer / songwriter albums... ever. This is where everything came together in the right way - her slightly introvert solo compositions have been lifted and arranged with adequate accompanying musicians in great mix with either guitar, piano, vocal harmonies, or with strings as a foundation, or a mix of everything she has so far showed on her previous albums that worked. AND on top of that, this album simply contains great songs. The album was met by positive reviews, then, but time has put this very album among the absolute best of all popular albums - be it rock, pop, funk, soul... you name it. It's simply there, among the best of the best, and the best of all times. Naturally, it's enlisted in "1001 Albums You Must Hear Before You Die". This particular album is one of those rare albums that will endure and always be mentioned in sentences with the word: great.
[ allmusic.com, Rolling Stone Magazine (among others) all hand it 5 / 5 stars ]
1971 Favourite releases: 1. Deep Purple Fireball - 2. Joni Mitchell Blue - 3. T. Rex Electric Warrior
release date: Jun. 22, 1971
format: digital
[album rate: 4,5 / 5] [4,55]
producer: Joni Mitchell
label: Reprise Records - nationality: Canada
Tracklist: 1. "All I Want" - 2. "My Old Man" - 3. "Little Green" - 4. "Carey" (5 / 5) (live) - 5. "Blue" - 6. "California" - 7. "This Flight Tonight" - 8. "River" - 9. "A Case of You" - 10. "The Last Time I Saw Richard"
4th studio album by Joni Mitchell is not only a step up and her so far best album, it's simply one of the most awarded and critically acclaimed genuine folk and singer / songwriter albums... ever. This is where everything came together in the right way - her slightly introvert solo compositions have been lifted and arranged with adequate accompanying musicians in great mix with either guitar, piano, vocal harmonies, or with strings as a foundation, or a mix of everything she has so far showed on her previous albums that worked. AND on top of that, this album simply contains great songs. The album was met by positive reviews, then, but time has put this very album among the absolute best of all popular albums - be it rock, pop, funk, soul... you name it. It's simply there, among the best of the best, and the best of all times. Naturally, it's enlisted in "1001 Albums You Must Hear Before You Die". This particular album is one of those rare albums that will endure and always be mentioned in sentences with the word: great.
[ allmusic.com, Rolling Stone Magazine (among others) all hand it 5 / 5 stars ]
1971 Favourite releases: 1. Deep Purple Fireball - 2. Joni Mitchell Blue - 3. T. Rex Electric Warrior
18 June 2012
Sods "Under en sort sol" (1980)
Under en sort sol
release date: Jun. 1980
format: vinyl (first pressing - MdLP 6027) / digital
[album rate: 3,5 / 5] [3,42]
producer: Michael Ritto, Werner Scherrer
label: Medley Records - nationality: Denmark
Tracklist: 1. "Repeature" - 2. "Ice-age for a While" (3 / 5) - 3. "Walking on Red" - 4. "Conflict" (3 / 5) - 5. "Roller Ball" - 6. "Marble Station" - 7. "Misguided" (3 / 5) - 8. "Eveningsong"
2nd studio album by Sods and also the final album under the name of Sods is released nearly 1½ years following the band's debut, which for a punk rock band is almost too long. Musically, the band has come a long way, and it's very different from their first studio album. The style is post-punk but in a more American and New York-based experimental art punk and no wave-style.
I was so fond of the debut album that I just went out and bought this, and boy, was I disappointed! The music is very different from their hardcore debut, and although, I was quite interested in the new developments within the punk rock and post punk sphere, I never found the album great. "Marble Station" has lyrics by the Danish poet Søren Ulrik Thomsen, and the final track, "Eveningsong" features Lars Hug of Kliché on vocals - he later debuted with his solo album City Slang (1984) consisting of music to poems entirely written by Ulrik Thomsen.
After this, the band rejected the name Sods and continued with an unchanged members list under the name of Sort Sol.
In retrospect, I think better of the album than at the time of its release. It's quite original in its sound and style, and it contains fine songs.
[ collectors' item - 1st pressing - from ~ €65,- ]
release date: Jun. 1980
format: vinyl (first pressing - MdLP 6027) / digital
[album rate: 3,5 / 5] [3,42]
producer: Michael Ritto, Werner Scherrer
label: Medley Records - nationality: Denmark
Tracklist: 1. "Repeature" - 2. "Ice-age for a While" (3 / 5) - 3. "Walking on Red" - 4. "Conflict" (3 / 5) - 5. "Roller Ball" - 6. "Marble Station" - 7. "Misguided" (3 / 5) - 8. "Eveningsong"
2nd studio album by Sods and also the final album under the name of Sods is released nearly 1½ years following the band's debut, which for a punk rock band is almost too long. Musically, the band has come a long way, and it's very different from their first studio album. The style is post-punk but in a more American and New York-based experimental art punk and no wave-style.
I was so fond of the debut album that I just went out and bought this, and boy, was I disappointed! The music is very different from their hardcore debut, and although, I was quite interested in the new developments within the punk rock and post punk sphere, I never found the album great. "Marble Station" has lyrics by the Danish poet Søren Ulrik Thomsen, and the final track, "Eveningsong" features Lars Hug of Kliché on vocals - he later debuted with his solo album City Slang (1984) consisting of music to poems entirely written by Ulrik Thomsen.
After this, the band rejected the name Sods and continued with an unchanged members list under the name of Sort Sol.
In retrospect, I think better of the album than at the time of its release. It's quite original in its sound and style, and it contains fine songs.
[ collectors' item - 1st pressing - from ~ €65,- ]
16 June 2012
Dexter Gordon "Manhattan Symphonie" (1978)
Manhattan Symphonie
release date: 1978
format: cd
[album rate: 4 / 5]
Tracklist: 1. "As Time Goes By" (5 / 5) - 2. "Moment's Notice" (5 / 5) - 3. "Tanya" - 4. "Body and Soul" (4 / 5) - 5. "I Told You So" - 6. "Ltd"
A late studio album by Dexter Gordon. This was the first full album I heard with Dexter Gordon back in the 1980s. I found it at the local library and kept it on cassette for many years until finally finding it on cd. Although, I found several other albums, this remains one of my favourites by Long Tall Dexter. Together with Gettin' Around (1966), and his appearance in the soundtrack (as well as the major part in the French movie) "Round Midnight" (1986, directed by Bertrand Tavernier) this contains some of his best recordings.
[ allmusic.com 4 / 5 stars ]
release date: 1978
format: cd
[album rate: 4 / 5]
Tracklist: 1. "As Time Goes By" (5 / 5) - 2. "Moment's Notice" (5 / 5) - 3. "Tanya" - 4. "Body and Soul" (4 / 5) - 5. "I Told You So" - 6. "Ltd"
A late studio album by Dexter Gordon. This was the first full album I heard with Dexter Gordon back in the 1980s. I found it at the local library and kept it on cassette for many years until finally finding it on cd. Although, I found several other albums, this remains one of my favourites by Long Tall Dexter. Together with Gettin' Around (1966), and his appearance in the soundtrack (as well as the major part in the French movie) "Round Midnight" (1986, directed by Bertrand Tavernier) this contains some of his best recordings.
[ allmusic.com 4 / 5 stars ]
Deep Purple "24 Carat Purple" (1975)
24 Carat Purple (compilation)
release date: May 1975
format: vinyl
[album rate: 4 / 5]
producer: Deep Purple
label: EMI Electrola - nationality: England, UK
Track highlights: A) 1. "Woman From Tokyo" - 2. "Fireball" - 3. "Strange Kind of Woman" (live) - 5. "Black Night" (live) - - B) 2. "Smoke on the Water" (live) - 3. "Child in Time" (live)
Compilation album by Deep Purple originally released on Purple Records is the collection of some of the band's biggest hits.
It's hard to argue with the selection of songs here, but the inclusion of 4 live versions seem a bit odd and all of these are included on the Made in Japan live album, which makes it even stranger.
[ allmusic.com 4 / 5 stars ]
release date: May 1975
format: vinyl
[album rate: 4 / 5]
producer: Deep Purple
label: EMI Electrola - nationality: England, UK
Track highlights: A) 1. "Woman From Tokyo" - 2. "Fireball" - 3. "Strange Kind of Woman" (live) - 5. "Black Night" (live) - - B) 2. "Smoke on the Water" (live) - 3. "Child in Time" (live)
Compilation album by Deep Purple originally released on Purple Records is the collection of some of the band's biggest hits.
It's hard to argue with the selection of songs here, but the inclusion of 4 live versions seem a bit odd and all of these are included on the Made in Japan live album, which makes it even stranger.
[ allmusic.com 4 / 5 stars ]
15 June 2012
Blur "Modern Life Is Rubbish" (1993)
Modern Life Is Rubbish
release date: May 10, 1993
format: digital
[album rate: 3 / 5] [3,45]
producer: Stephen Street
label: Food Records / EMI Japan - nationality: England, UK
Track highlights: 1. "For Tomorrow" - 4. "Pressure on Julian" - 5. "Star Shaped" - 6. "Blue Jeans" - 7. "Chemical World" - 9. "Sunday, Sunday" - 13. "Coping"
2nd studio album by Blur follows two years after Leisure and it was originally released on Food Records. it's the first of theirs to introduce a kind of trademark of typical britpop that the debut lacked. All tracks except two are produced by Stephen Street (Steve Lovell produced two tracks and Blur and John Smith primarily produced some short additional intermissions on the album). The album marks a move towards the britpop they would later be much more associated with despite containing various stylistic elements. The tone of the lyrics is an evident ironic sarcasm as heard on typical mod bands like The Kinks and mod revivalists The Jam, and the music heavily builds on especially these two bands repertoire.
I didn't listen to this at the time of its release but have come to like it later on. It's not really great but it has its moments and does contain some original compositions, which makes it more than just interesting, also compared to Leissure, and it basically takes the band's music to a whole different level.
The album is the first of three Blur albums to be enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4,5 / 5, Q Magazine 4 / 5, NME 3,5 / 5 stars ]
release date: May 10, 1993
format: digital
[album rate: 3 / 5] [3,45]
producer: Stephen Street
label: Food Records / EMI Japan - nationality: England, UK
Track highlights: 1. "For Tomorrow" - 4. "Pressure on Julian" - 5. "Star Shaped" - 6. "Blue Jeans" - 7. "Chemical World" - 9. "Sunday, Sunday" - 13. "Coping"
2nd studio album by Blur follows two years after Leisure and it was originally released on Food Records. it's the first of theirs to introduce a kind of trademark of typical britpop that the debut lacked. All tracks except two are produced by Stephen Street (Steve Lovell produced two tracks and Blur and John Smith primarily produced some short additional intermissions on the album). The album marks a move towards the britpop they would later be much more associated with despite containing various stylistic elements. The tone of the lyrics is an evident ironic sarcasm as heard on typical mod bands like The Kinks and mod revivalists The Jam, and the music heavily builds on especially these two bands repertoire.
I didn't listen to this at the time of its release but have come to like it later on. It's not really great but it has its moments and does contain some original compositions, which makes it more than just interesting, also compared to Leissure, and it basically takes the band's music to a whole different level.
The album is the first of three Blur albums to be enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4,5 / 5, Q Magazine 4 / 5, NME 3,5 / 5 stars ]
Van Morrison "Tupelo Honey" (1971)
Tupelo Honey
release date: Oct. 15, 1971
format: cd (2008 remaster)
[album rate: 3,5 / 5] [3,48]
producer: Van Morrison, Ted Templeman
label: Exile / Polydor - nationality: Northern Ireland, UK
Track highlights: 1. "Wild Night" - 3. "Old Old Woodstock" - 5. "You're My Woman" - 6. "Tupelo Honey" - 9. "Moonshine Whiskey"
5th studio album by Van Morrison and originally released on Warner Bros is much of the continued journey from Street Choir with the addition of country rock. "Wild Night" and the title track are much like the presence of "Domino" on the previous album: great tracks that seem a bit on their own 'cause they are fuelled with r&b and soul whereas the rest are like Morrison trying to make a crossing of The Band meets Neil Young doing his country rock. Morrison sings so strongly that you almost see through the fact that the album hasn't many great and memorable tracks.
Although, this one is slightly better, it's easy comparing it with Street Choir, as they are both fine albums - clearly miles from mediocrity - but compared to the strengths of Astral Weeks and Moondance... they simply lack greatness.
[ allmusic.com 4,5 / 5, Uncut 4 / 5, Rolling Stone 5 / 5 stars ]
release date: Oct. 15, 1971
format: cd (2008 remaster)
[album rate: 3,5 / 5] [3,48]
producer: Van Morrison, Ted Templeman
label: Exile / Polydor - nationality: Northern Ireland, UK
Track highlights: 1. "Wild Night" - 3. "Old Old Woodstock" - 5. "You're My Woman" - 6. "Tupelo Honey" - 9. "Moonshine Whiskey"
5th studio album by Van Morrison and originally released on Warner Bros is much of the continued journey from Street Choir with the addition of country rock. "Wild Night" and the title track are much like the presence of "Domino" on the previous album: great tracks that seem a bit on their own 'cause they are fuelled with r&b and soul whereas the rest are like Morrison trying to make a crossing of The Band meets Neil Young doing his country rock. Morrison sings so strongly that you almost see through the fact that the album hasn't many great and memorable tracks.
Although, this one is slightly better, it's easy comparing it with Street Choir, as they are both fine albums - clearly miles from mediocrity - but compared to the strengths of Astral Weeks and Moondance... they simply lack greatness.
[ allmusic.com 4,5 / 5, Uncut 4 / 5, Rolling Stone 5 / 5 stars ]
Oh Land "Oh Land" (2011)
Oh Land
release date: Mar. 15, 2011
format: cd
[album rate: 3,5 / 5] [3,28]
producer: Dan Carey
label: Fake Diamond - nationality: Denmark
Track highlights: 1. "Perfection" (3,5 / 5) - 2. "Break The Chain" (3 / 5) - 3. "Sun Of A Gun" (3,5 / 5) - 5. "Lean" (3 / 5) - 6. "Wolf & I" (4 / 5) - 8. "White Nights" (4 / 5) - 10. "We Turn It Up" (3,5 / 5) - 11. "Rainbow" (3 / 5)
2nd studio album by Oh Land was her international breakthrough. Despite her 2008 album Fauna, this is by many considered her actual debut. The sound is tighter and consists of more pop-based material, and I find it a generally better release compared to her anonymous debut.
[ allmusic.com 3,5 / 5 stars ]
release date: Mar. 15, 2011
format: cd
[album rate: 3,5 / 5] [3,28]
producer: Dan Carey
label: Fake Diamond - nationality: Denmark
Track highlights: 1. "Perfection" (3,5 / 5) - 2. "Break The Chain" (3 / 5) - 3. "Sun Of A Gun" (3,5 / 5) - 5. "Lean" (3 / 5) - 6. "Wolf & I" (4 / 5) - 8. "White Nights" (4 / 5) - 10. "We Turn It Up" (3,5 / 5) - 11. "Rainbow" (3 / 5)
2nd studio album by Oh Land was her international breakthrough. Despite her 2008 album Fauna, this is by many considered her actual debut. The sound is tighter and consists of more pop-based material, and I find it a generally better release compared to her anonymous debut.
[ allmusic.com 3,5 / 5 stars ]
12 June 2012
St. Vincent "Marry Me" (2007)
Marry Me [debut]
release date: Jul. 10, 2007
format: cd
[album rate: 3,5 / 5] [3,32]
producer: Annie Clark with Brian Teasley and Daniel Farris
label: Beggars Banquet - nationality: USA
Track highlights: 1. "Now, Now" (live) - 3. "Your Lips Are Red" - 4. "Marry Me" - 5. "Paris Is Burning"
Studio album debut by St. Vincent [aka Annie Clark - birth-name: Anne Erin Clark], former member and guitarist of (project-band) The Polyphonic Spree (from 2003-06). According to Clark, she had already begun work on the album before joining with The Polyphonic Spree, and while opening for Surfjan Stevens at a concert in London she made contact with Beggars Banquet.
The album has a distinct St. Vincent particular sound, which builds on chamber pop and art rock with a certain... quirkiness. It's singer / songwriter material with songs dealing with sadness and hope, love and despair. Some songs are (twee-pop) positive and others more harsh rockers.
I like it, but don't think of it as an immediate favourite.
[ allmusic.com, Slant 4 / 5 stars ]
release date: Jul. 10, 2007
format: cd
[album rate: 3,5 / 5] [3,32]
producer: Annie Clark with Brian Teasley and Daniel Farris
label: Beggars Banquet - nationality: USA
Track highlights: 1. "Now, Now" (live) - 3. "Your Lips Are Red" - 4. "Marry Me" - 5. "Paris Is Burning"
Studio album debut by St. Vincent [aka Annie Clark - birth-name: Anne Erin Clark], former member and guitarist of (project-band) The Polyphonic Spree (from 2003-06). According to Clark, she had already begun work on the album before joining with The Polyphonic Spree, and while opening for Surfjan Stevens at a concert in London she made contact with Beggars Banquet.
The album has a distinct St. Vincent particular sound, which builds on chamber pop and art rock with a certain... quirkiness. It's singer / songwriter material with songs dealing with sadness and hope, love and despair. Some songs are (twee-pop) positive and others more harsh rockers.
I like it, but don't think of it as an immediate favourite.
[ allmusic.com, Slant 4 / 5 stars ]
11 June 2012
Blur "Leisure" (1991)
Leisure [debut]
release date: Aug. 27, 1991
format: digital
[album rate: 2,5 / 5] [2,58]
producer: Stephen Street
label: Food Records / EMI Japan - nationality: England, UK
Track highlights: 1. "She's So High" - 2. "Bang" - 7. "There's No Other Way"
Studio album debut by London-based four-piece Blur originally released on the small independent label Food Records. Blur consists of the two Essex-friends vocalist and keyboardist Damon Albarn and guitarist Graham Coxon who teamed up with bassist Alex James and drummer Dave Rowntree in the fall of 1988 under the name of Seymour, which at some point in 1990 was exchanged for Blur.
The majority of the tracks are produced by Stephen Street, track #1 and the bonus track #13 are produced by Steve Lovell and Steve Power, tracks #8 and #11-12 are produced by Mike Thorne, and track #6 and the two bonus tracks #14-15 are produced by Blur.
Although, one can't really say britpop without mentioning Blur this is stylistically without typical britpop traits. In fact it's much more in the tradition of a soft version of alt. rock and more so inspired by the Manchester origins of baggy / Madchester style, exemplified by Stone Roses, Happy Mondays and The Charlatans with bits of what should be labelled dream pop.
I didn't realise the album until after coming across "Girls & Boys" in '94, when Oasis came around and the historical UK battle of best britpop band began. I do recall the cover though, as it caught my attention back then, but that's probably the best thing about it, I guess. I never touched on their music until after Parklife (1994), and I have to confess that I didn't quite understand what the fuss was all about. I mean: I didn't find it all that spectacular, anyway. Time considered, everything then was about indie rock, grunge and power pop at this point in music history, or: that was where a great portion of my attention lay. Listening to Blur was like "silly pop meant for a younger audience", in my mind. And listening to it at various stages since then, I haven't really altered my initial conclusion, although, I admit that it's not entirely bad. I just never found it appealing, and I still find it hard to pin out a really good track here. It's all very mediocre, really. Middle of the road 2.5 / 5, yeah.
Not recommended.
[ allmusic.com 3 / 5, Q Magazine 4 / 5, Rolling Stone 2,5 / 5 stars ]
release date: Aug. 27, 1991
format: digital
[album rate: 2,5 / 5] [2,58]
producer: Stephen Street
label: Food Records / EMI Japan - nationality: England, UK
Track highlights: 1. "She's So High" - 2. "Bang" - 7. "There's No Other Way"
Studio album debut by London-based four-piece Blur originally released on the small independent label Food Records. Blur consists of the two Essex-friends vocalist and keyboardist Damon Albarn and guitarist Graham Coxon who teamed up with bassist Alex James and drummer Dave Rowntree in the fall of 1988 under the name of Seymour, which at some point in 1990 was exchanged for Blur.
The majority of the tracks are produced by Stephen Street, track #1 and the bonus track #13 are produced by Steve Lovell and Steve Power, tracks #8 and #11-12 are produced by Mike Thorne, and track #6 and the two bonus tracks #14-15 are produced by Blur.
Although, one can't really say britpop without mentioning Blur this is stylistically without typical britpop traits. In fact it's much more in the tradition of a soft version of alt. rock and more so inspired by the Manchester origins of baggy / Madchester style, exemplified by Stone Roses, Happy Mondays and The Charlatans with bits of what should be labelled dream pop.
I didn't realise the album until after coming across "Girls & Boys" in '94, when Oasis came around and the historical UK battle of best britpop band began. I do recall the cover though, as it caught my attention back then, but that's probably the best thing about it, I guess. I never touched on their music until after Parklife (1994), and I have to confess that I didn't quite understand what the fuss was all about. I mean: I didn't find it all that spectacular, anyway. Time considered, everything then was about indie rock, grunge and power pop at this point in music history, or: that was where a great portion of my attention lay. Listening to Blur was like "silly pop meant for a younger audience", in my mind. And listening to it at various stages since then, I haven't really altered my initial conclusion, although, I admit that it's not entirely bad. I just never found it appealing, and I still find it hard to pin out a really good track here. It's all very mediocre, really. Middle of the road 2.5 / 5, yeah.
Not recommended.
[ allmusic.com 3 / 5, Q Magazine 4 / 5, Rolling Stone 2,5 / 5 stars ]
10 June 2012
Ramones "Leave Home" (1977)
Leave Home
release date: Jan. 10, 1977
format: cd
[album rate: 4 / 5] [3,94]
producer: Tony Bongiovi, Tommy Ramone
label: Sire Records - nationality: USA
Track highlights: 1. "Glad to See You Go" - 2. "Gimme Gimme Shock Treatment" (4,5 / 5) - 3. "I Remember You" (4 / 5) - 4. "Oh, Oh, I Love Her So" (4 / 5) - 6. "Suzy Is a Headbanger" (4 / 5) - 8. "Now I Wanna Be a Good Boy" (4 / 5) - 11. "California Sun" (4 / 5) - 13. "You're Gonna Kill That Girl" (4 / 5)
2nd studio album by Ramones following 9 months after the debut introduces Tony Bongiovi as new co-producer together with Tommy Ramone (aka Thomas Erdelyi), who would go on to be an acclaimed producer.
The album simply continues where the debut ended, and the album is packed with several great tracks. In a more critical perspective it also seems like a release with a few fillers that do not reach quite the same high level throughout e.g. "Carbona Not Glue", "Pinhead", "What's Your Game", "Commando", and "You Should Have Never Opened That Door". Another thing that doesn't work too great is the production side. The debut was lo-fi-like garage rock-produced, perhaps with something to be desired but it's punk rock, right, so it has to be dirty and simple. This has a tone of hard rock production aspect to it - that I understand is Bongiovi's contribution - that doesn't sound right nor goes hand in hand with the simplicity of the music.
[ allmusic.com, Rolling Stone 4,5 / 5, NME 5 / 5 stars ]
release date: Jan. 10, 1977
format: cd
[album rate: 4 / 5] [3,94]
producer: Tony Bongiovi, Tommy Ramone
label: Sire Records - nationality: USA
Track highlights: 1. "Glad to See You Go" - 2. "Gimme Gimme Shock Treatment" (4,5 / 5) - 3. "I Remember You" (4 / 5) - 4. "Oh, Oh, I Love Her So" (4 / 5) - 6. "Suzy Is a Headbanger" (4 / 5) - 8. "Now I Wanna Be a Good Boy" (4 / 5) - 11. "California Sun" (4 / 5) - 13. "You're Gonna Kill That Girl" (4 / 5)
2nd studio album by Ramones following 9 months after the debut introduces Tony Bongiovi as new co-producer together with Tommy Ramone (aka Thomas Erdelyi), who would go on to be an acclaimed producer.
The album simply continues where the debut ended, and the album is packed with several great tracks. In a more critical perspective it also seems like a release with a few fillers that do not reach quite the same high level throughout e.g. "Carbona Not Glue", "Pinhead", "What's Your Game", "Commando", and "You Should Have Never Opened That Door". Another thing that doesn't work too great is the production side. The debut was lo-fi-like garage rock-produced, perhaps with something to be desired but it's punk rock, right, so it has to be dirty and simple. This has a tone of hard rock production aspect to it - that I understand is Bongiovi's contribution - that doesn't sound right nor goes hand in hand with the simplicity of the music.
[ allmusic.com, Rolling Stone 4,5 / 5, NME 5 / 5 stars ]
08 June 2012
Lou Reed "Transformer" (1972)
Transformer
release date: Nov. 8, 1972
format: vinyl (LSP-4807) / cd (2006 remaster)
[album rate: 4,5 / 5] [4,65]
producer: David Bowie, Mick Ronson
label: RCA Records - nationality: USA
2nd solo studio album by Lou Reed following his debut by only 7 months is produced by David Bowie and Mick Ronson (then guitarist in Bowie's backing band The Spiders From Mars). Both Bowie and Ronson are credited as musicians - Bowie for backing vocals and keyboards as well as playing acoustic guitar on "Wagon Wheel" and "Walk on the Wild Side", and Ronson plays lead guitar, keyboards and is credited as arranger of all songs.
Half of the songs are actually composed for The Velvet Underground, but as contrary to the songs found on Lou Reed (Apr. 1972) all songs here have been arranged in a slower glam rock style with a distinct singer / songwriter touch, which makes a remarkable difference.
Transformer is Lou Reed's contribution to the rock & roll Hall of Fame, and his most legendary album. Alongside the two T. Rex [Marc Bolan] albums Electric Warrior (1971) and The Slider (1972), Bowie's The Rise and Fall of Ziggy Stardust... (1972) this album told anyone interested in Western popular music that glam rock was it. It's one of the best albums of a decade, it's Reed's most famous album, which is enlisted in most of popular music's best of lists comprising the best pop / rock albums, and it's also one of only two of his to be enlisted in "1001 Albums You Must Hear Before You Die". Transformer is his acclaimed and most important album in his long fascinating career that saw him as an international star for five decades. It's also one of my top-10 favourite rock albums of all-time.
The 2006 cd remaster contains two additional demo recordings as bonus tracks.
[ allmusic.com 4,5 / 5, Rolling Stone Album Guide 4 / 5 stars ]
1972 Favourite releases: 1. David Bowie The Rise and Fall of Ziggy Stardust and the Spiders From Mars - 2. Lou Reed Transformer - 3. Jethro Tull Thick as a Brick
release date: Nov. 8, 1972
format: vinyl (LSP-4807) / cd (2006 remaster)
[album rate: 4,5 / 5] [4,65]
producer: David Bowie, Mick Ronson
label: RCA Records - nationality: USA
2nd solo studio album by Lou Reed following his debut by only 7 months is produced by David Bowie and Mick Ronson (then guitarist in Bowie's backing band The Spiders From Mars). Both Bowie and Ronson are credited as musicians - Bowie for backing vocals and keyboards as well as playing acoustic guitar on "Wagon Wheel" and "Walk on the Wild Side", and Ronson plays lead guitar, keyboards and is credited as arranger of all songs.
Half of the songs are actually composed for The Velvet Underground, but as contrary to the songs found on Lou Reed (Apr. 1972) all songs here have been arranged in a slower glam rock style with a distinct singer / songwriter touch, which makes a remarkable difference.
Transformer is Lou Reed's contribution to the rock & roll Hall of Fame, and his most legendary album. Alongside the two T. Rex [Marc Bolan] albums Electric Warrior (1971) and The Slider (1972), Bowie's The Rise and Fall of Ziggy Stardust... (1972) this album told anyone interested in Western popular music that glam rock was it. It's one of the best albums of a decade, it's Reed's most famous album, which is enlisted in most of popular music's best of lists comprising the best pop / rock albums, and it's also one of only two of his to be enlisted in "1001 Albums You Must Hear Before You Die". Transformer is his acclaimed and most important album in his long fascinating career that saw him as an international star for five decades. It's also one of my top-10 favourite rock albums of all-time.
The 2006 cd remaster contains two additional demo recordings as bonus tracks.
[ allmusic.com 4,5 / 5, Rolling Stone Album Guide 4 / 5 stars ]
1972 Favourite releases: 1. David Bowie The Rise and Fall of Ziggy Stardust and the Spiders From Mars - 2. Lou Reed Transformer - 3. Jethro Tull Thick as a Brick
07 June 2012
Japan "Tin Drum" (1981)
Tin Drum
release date: Nov. 13, 1981
format: cd
[album rate: 3,5 / 5] [3,66]
producer: Steve Nye, Japan
label: Virgin Records - nationality: England, UK
Track highlights: 1. "The Art of Parties" - 2. "Talking Drum" - 3. "Ghosts" (4 / 5 - 4. "Canton" - 5. "Still Life in Mobile Homes" - 7. "Sons of Pioneers" - 8. "Cantonese Boy"
5th studio album by Japan is also the band's final studio album (as Japan). With new romantic exploding in full scale in Britain, Japan, who was perhaps the first band of the genre, has taken its music elsewhere. This is still synth pop but much more art pop-founded than any of their previous releases, and the music has become slower and more experimental. Actually, it has more in common with David Sylvian's solo releases of the mid-80s than the previous releases by Japan. Sylvian has always taken a dominating part in the band but after the departure of guitarist Rob Dean, Sylvian's dominance surely hasn't decreased, although, more tracks than usual are co-written with other members of the band on this. The band now consists of David Sylvian on vocals, guitar, keyboards & keyboard programming, tapes, and cover concept, Mick Karn is credited for playing fretless bass, African flute, and dida, Richard Barbieri is credited for keyboards & keyboard programming, and tapes, and Steve Jansen for handling drums, acoustic, electronic & keyboard percussion. The album is the highest peaking studio album by Japan in the UK, as it reached number #12 on the national albums chart list.
I never found the album interesting until I rediscovered it after the new millennium. Today, I think of it as a near masterpiece, but also more like a David Sylvian solo release, and that may also have been the case and the reason as to why the band split after recording this due to disagreements about leadership in the band (other sources suggest that the actual reason to the split was an affair between Sylvian and then girlfriend of Mick Karn that led to the final split). The album doesn't contain obvious hit singles but there are no fillers and all compositions are truly delicate and almost true symbols of coolness. In 1983 the band's final album, Oil on Canvas, a live album was released; and in 1991 the Japan members from this late period rejoined under the name of Rain Tree Crow to record and release one more album.
[ allmusic.com 4,5 / 5, Smash Hits 4 / 5 stars ]
release date: Nov. 13, 1981
format: cd
[album rate: 3,5 / 5] [3,66]
producer: Steve Nye, Japan
label: Virgin Records - nationality: England, UK
Track highlights: 1. "The Art of Parties" - 2. "Talking Drum" - 3. "Ghosts" (4 / 5 - 4. "Canton" - 5. "Still Life in Mobile Homes" - 7. "Sons of Pioneers" - 8. "Cantonese Boy"
5th studio album by Japan is also the band's final studio album (as Japan). With new romantic exploding in full scale in Britain, Japan, who was perhaps the first band of the genre, has taken its music elsewhere. This is still synth pop but much more art pop-founded than any of their previous releases, and the music has become slower and more experimental. Actually, it has more in common with David Sylvian's solo releases of the mid-80s than the previous releases by Japan. Sylvian has always taken a dominating part in the band but after the departure of guitarist Rob Dean, Sylvian's dominance surely hasn't decreased, although, more tracks than usual are co-written with other members of the band on this. The band now consists of David Sylvian on vocals, guitar, keyboards & keyboard programming, tapes, and cover concept, Mick Karn is credited for playing fretless bass, African flute, and dida, Richard Barbieri is credited for keyboards & keyboard programming, and tapes, and Steve Jansen for handling drums, acoustic, electronic & keyboard percussion. The album is the highest peaking studio album by Japan in the UK, as it reached number #12 on the national albums chart list.
I never found the album interesting until I rediscovered it after the new millennium. Today, I think of it as a near masterpiece, but also more like a David Sylvian solo release, and that may also have been the case and the reason as to why the band split after recording this due to disagreements about leadership in the band (other sources suggest that the actual reason to the split was an affair between Sylvian and then girlfriend of Mick Karn that led to the final split). The album doesn't contain obvious hit singles but there are no fillers and all compositions are truly delicate and almost true symbols of coolness. In 1983 the band's final album, Oil on Canvas, a live album was released; and in 1991 the Japan members from this late period rejoined under the name of Rain Tree Crow to record and release one more album.
[ allmusic.com 4,5 / 5, Smash Hits 4 / 5 stars ]
06 June 2012
Roger Glover and Guests "The Butterfly Ball and the Grasshopper's Feast" (1974)
The Butterfly Ball and the Grasshopper's Feast
release date: Dec. 1974
format: vinyl / digital (1999 remaster)
[album rate: 3 / 5] [2,78]
producer: Roger Glover, Alan G. Rainer
label: Purple Records - nationality:
Solo project album by Deep Purple bassist Roger Glover.
[ allmusic.com 4 / 5 stars ]
release date: Dec. 1974
format: vinyl / digital (1999 remaster)
[album rate: 3 / 5] [2,78]
producer: Roger Glover, Alan G. Rainer
label: Purple Records - nationality:
Solo project album by Deep Purple bassist Roger Glover.
[ allmusic.com 4 / 5 stars ]
05 June 2012
Grind "The Glorious Kind" (1994)
The Glorious Kind [debut]
release date: Jan. 1, 1994
format: cd
[album rate: 2,5 / 5] [2,72]
producer: Anders Bonde
label: AGM Music / Black Pilot - nationality: Denmark
Track highlights: 1. "Fool's Stuffing" (4 / 5) (live) - 2. "The Silver Walk"
Studio debut album by the Danish band Grind consisting of vocalist Peter Buur, bassist Jacob K. Leth (ex-member of De Må Være Belgiere), guitarist Kim G. Hansen (member of Institute for the Criminally Insane and Antenna), guitarist Jens Danielsen - credited as Jens Valo (ex-member of Kliché), and drummer Andreas Jørnvil.
It's difficult to categorise the style but it's predominantly alt. metal, although, not really heavy metal, and then again, it's also 'heavy' but more like experimental or actually what is known as thrash metal.
I bought the album shortly after its release, and I really loved the opening track "Fool's Stuffing", which is why I decided to purchase the album, 'cause it's a brilliant noise rock progressive alt. metal... composition. I also remember being more than just interested in the band because of the cover..., although, that wasn't really enough to go and buy it. Unfortunately, only the second track is also of any interest, and the rest of this 7-track album (with tracks running from 3:03 to 11:20 mins.) are not that good.
The album was launched to some enthusiasm but the band didn't receive much recognition for its music, and after their second (and slightly lesser) album Creampetal (1995) they disbanded.
release date: Jan. 1, 1994
format: cd
[album rate: 2,5 / 5] [2,72]
producer: Anders Bonde
label: AGM Music / Black Pilot - nationality: Denmark
Track highlights: 1. "Fool's Stuffing" (4 / 5) (live) - 2. "The Silver Walk"
Studio debut album by the Danish band Grind consisting of vocalist Peter Buur, bassist Jacob K. Leth (ex-member of De Må Være Belgiere), guitarist Kim G. Hansen (member of Institute for the Criminally Insane and Antenna), guitarist Jens Danielsen - credited as Jens Valo (ex-member of Kliché), and drummer Andreas Jørnvil.
It's difficult to categorise the style but it's predominantly alt. metal, although, not really heavy metal, and then again, it's also 'heavy' but more like experimental or actually what is known as thrash metal.
I bought the album shortly after its release, and I really loved the opening track "Fool's Stuffing", which is why I decided to purchase the album, 'cause it's a brilliant noise rock progressive alt. metal... composition. I also remember being more than just interested in the band because of the cover..., although, that wasn't really enough to go and buy it. Unfortunately, only the second track is also of any interest, and the rest of this 7-track album (with tracks running from 3:03 to 11:20 mins.) are not that good.
The album was launched to some enthusiasm but the band didn't receive much recognition for its music, and after their second (and slightly lesser) album Creampetal (1995) they disbanded.
03 June 2012
Pink Floyd "Obscured by Clouds" (OST) (1972)
Obscured by Clouds (soundtrack)
release date: Jun. 3, 1972
format: digital (2011 remaster)
[album rate: 2 / 5]
producer: Pink Floyd
label: Harvest Records / EMI - nationality: England, UK
Track highlights: 3. "Burning Bridges" - 4. "The Gold It's in the..." - 8. "Free Four"
7th studio album by Pink Floyd - originally released on Harvest and reissued by EMI - is the band's second soundtrack album to a movie by Barbet Schroeder - this time the film "La Vallée". The style is more psychedelic folk pop and feels like a return to their first singles rather than a progression from Meddle (1971).
[ allmusic.com 2 / 5, The Daily Telegraph 3 / 5 stars ]
release date: Jun. 3, 1972
format: digital (2011 remaster)
[album rate: 2 / 5]
producer: Pink Floyd
label: Harvest Records / EMI - nationality: England, UK
Track highlights: 3. "Burning Bridges" - 4. "The Gold It's in the..." - 8. "Free Four"
7th studio album by Pink Floyd - originally released on Harvest and reissued by EMI - is the band's second soundtrack album to a movie by Barbet Schroeder - this time the film "La Vallée". The style is more psychedelic folk pop and feels like a return to their first singles rather than a progression from Meddle (1971).
[ allmusic.com 2 / 5, The Daily Telegraph 3 / 5 stars ]
02 June 2012
Bruce Springsteen "Darkness on the Edge of Town" (1978)
Darkness on the Edge of Town
release date: Jun. 2, 1978
format: vinyl (1987 reissue) / cd (2010 remaster)
[album rate: 4,5 / 5] [4,42]
producer: Bruce Springsteen, Jon Landau, Steven Van Zandt
label: Columbia Records - nationality: USA
Tracklist: A) 1. "Badlands" (4,5 / 5) - 2. "Adam Raised a Cain" - 3. "Something in the Night" (4 / 5) - 4. "Candy's Room" (5 / 5) - 5. "Racing in the Street" (4 / 5) - - B) 1. "The Promised Land" (4 / 5) - 2. "Factory" (4 / 5) - 3. "Streets of Fire" (4 / 5) - 4. "Prove It All Night" (4,5 / 5) - 5. "Darkness on the Edge of Town" (4 / 5)
[ full album ]
4th studio album release by Bruce Springsteen who continues his work with producer Jon Landau after helping him in finding a more contemporary sound on the predecessor. The album basically continue the style developed on Born to Run (Aug. 1975) only accentuating its rock tone.
This was the very first Springsteen album I heard, although, I may not have come across it until 1980. The album was released at a time when I had only just discovered a world of music, you could say. Within a few years, I went from listening mostly just to ABBA, Boney M, and the music of my older brother, i.e. Dire Straits, Pink Floyd, Deep Purple, Jethro Tull, Jean-Michel Jarre, Frank Zappa, to a state where I was constantly looking for music of my own taste. In '79 our class was on a trip to London, and I bought albums with The Police, Pink Floyd and Dire Straits, and a year later, I loved all the new wave and punk rock stuff from Britain and artists like Elvis Costello, The Jam, Black Uhuru, The Clash, The Cure, Sex Pistols, Adam and the Ants, Siouxsie and the Banshees, Blondie (as one of only a few artists from America). Somehow, I also found room for Springsteen, David Bowie, Lou Reed, Kiss, Thin Lizzy, and many others, despite the fact that it was clearly two very different approaches to music. Springsteen was a slow growing star in USA and the rest of the world, and I was introduced to his music through a teacher from another school. Of course the library had other Springsteen albums, and soon I knew them all. After this I heard his next album, which had only just been released, the double-lp The River (1980), which is another great album. I then went backwards and discovered all his great music, but this very album remains my all-time favourite Springsteen album. On this one will find some of his original music inspired by rock & roll, which may be heard on his first albums, and his ability to write both great down-to-earth stories of ordinary life and epic pop / rock outbursts of pure energy. I think, after he became really huge, meaning after his best-selling album Born in the U.S.A. (1984), his music lost some of the originality and he began repeating himself and playing along on the idea that he was this icon of pop, which he undoubtedly was, but the music got lost in the big 1980s heavy productions and bigger-better-giant stadiums philosophy. The album is of course enlisted in "1001 Albums You Must Hear Before You Die".
Darkness... doesn't contain fillers and simply contains hit after hit. To me, this is the best Springsteen album of them all, and naturally is a highly recommendable bargain.
[ allmusic.com 4,5 / 5, Rolling Stone 5 / 5 stars ]
1978 Favourite releases: 1. The Clash Give 'Em Enough Rope - 2. The Jam All Mod Cons - 3. Bruce Springsteen Darkness on the Edge of Town
release date: Jun. 2, 1978
format: vinyl (1987 reissue) / cd (2010 remaster)
[album rate: 4,5 / 5] [4,42]
producer: Bruce Springsteen, Jon Landau, Steven Van Zandt
label: Columbia Records - nationality: USA
Tracklist: A) 1. "Badlands" (4,5 / 5) - 2. "Adam Raised a Cain" - 3. "Something in the Night" (4 / 5) - 4. "Candy's Room" (5 / 5) - 5. "Racing in the Street" (4 / 5) - - B) 1. "The Promised Land" (4 / 5) - 2. "Factory" (4 / 5) - 3. "Streets of Fire" (4 / 5) - 4. "Prove It All Night" (4,5 / 5) - 5. "Darkness on the Edge of Town" (4 / 5)
[ full album ]
4th studio album release by Bruce Springsteen who continues his work with producer Jon Landau after helping him in finding a more contemporary sound on the predecessor. The album basically continue the style developed on Born to Run (Aug. 1975) only accentuating its rock tone.
This was the very first Springsteen album I heard, although, I may not have come across it until 1980. The album was released at a time when I had only just discovered a world of music, you could say. Within a few years, I went from listening mostly just to ABBA, Boney M, and the music of my older brother, i.e. Dire Straits, Pink Floyd, Deep Purple, Jethro Tull, Jean-Michel Jarre, Frank Zappa, to a state where I was constantly looking for music of my own taste. In '79 our class was on a trip to London, and I bought albums with The Police, Pink Floyd and Dire Straits, and a year later, I loved all the new wave and punk rock stuff from Britain and artists like Elvis Costello, The Jam, Black Uhuru, The Clash, The Cure, Sex Pistols, Adam and the Ants, Siouxsie and the Banshees, Blondie (as one of only a few artists from America). Somehow, I also found room for Springsteen, David Bowie, Lou Reed, Kiss, Thin Lizzy, and many others, despite the fact that it was clearly two very different approaches to music. Springsteen was a slow growing star in USA and the rest of the world, and I was introduced to his music through a teacher from another school. Of course the library had other Springsteen albums, and soon I knew them all. After this I heard his next album, which had only just been released, the double-lp The River (1980), which is another great album. I then went backwards and discovered all his great music, but this very album remains my all-time favourite Springsteen album. On this one will find some of his original music inspired by rock & roll, which may be heard on his first albums, and his ability to write both great down-to-earth stories of ordinary life and epic pop / rock outbursts of pure energy. I think, after he became really huge, meaning after his best-selling album Born in the U.S.A. (1984), his music lost some of the originality and he began repeating himself and playing along on the idea that he was this icon of pop, which he undoubtedly was, but the music got lost in the big 1980s heavy productions and bigger-better-giant stadiums philosophy. The album is of course enlisted in "1001 Albums You Must Hear Before You Die".
Darkness... doesn't contain fillers and simply contains hit after hit. To me, this is the best Springsteen album of them all, and naturally is a highly recommendable bargain.
[ allmusic.com 4,5 / 5, Rolling Stone 5 / 5 stars ]
1978 Favourite releases: 1. The Clash Give 'Em Enough Rope - 2. The Jam All Mod Cons - 3. Bruce Springsteen Darkness on the Edge of Town
01 June 2012
Men Without Hats "The Safety Dance" (1982) (single)
The Safety Dance, 7'' single
release date: Jun. 1982
format: vinyl (TAK 1)
[single rate: 3,5 / 5] [3,68]
producer: Marc Durand
label: Statik / Harlekin - nationality: Canada
Tracklist: A) "The Safety Dance" (4 / 5) - - B) "Security"
Single release by Canadian band Men Without Hats is the band's second of four singles taken from the debut album Rhythm of Youth (Apr. '82). The single version of the song varies from the album version by being considerably shorter with its playing time running 2:45 minutes, whereas the album version runs 4:37 minutes, but it's also in a different mix, known as the "Video Mix".
release date: Jun. 1982
format: vinyl (TAK 1)
[single rate: 3,5 / 5] [3,68]
producer: Marc Durand
label: Statik / Harlekin - nationality: Canada
Tracklist: A) "The Safety Dance" (4 / 5) - - B) "Security"
Single release by Canadian band Men Without Hats is the band's second of four singles taken from the debut album Rhythm of Youth (Apr. '82). The single version of the song varies from the album version by being considerably shorter with its playing time running 2:45 minutes, whereas the album version runs 4:37 minutes, but it's also in a different mix, known as the "Video Mix".
The song rocketed the duo all the way to the top of the charts in Europe and in the US that summer.
Chet Baker "The Touch of Your Lips" (1979)
The Touch of Your Lips
release date: Jun. 1979
format: digital
[album rate: 3,5 / 5]
An album recorded and released in Denmark by SteepleChase Records. The album is a beautiful collection of Chet's typical tracklist when performing live, at this point of his career. It's his trademark of cool jazz and vocal jazz, and it features Niels-Henning Ørsted Pedersen on bass.
release date: Jun. 1979
format: digital
[album rate: 3,5 / 5]
An album recorded and released in Denmark by SteepleChase Records. The album is a beautiful collection of Chet's typical tracklist when performing live, at this point of his career. It's his trademark of cool jazz and vocal jazz, and it features Niels-Henning Ørsted Pedersen on bass.
Bauhaus "Spirit" (1982) (single)
Spirit, 7'' single
release date: Jun. 1982
format: vinyl (picture disc, Beg 79P)
[single rate: 4 / 5] [3,78]
producer: Hugh Jones
label: Beggars Banquet - nationality: England, UK
Tracklist: A) "Spirit" (4,5 / 5) (official video) (live 1999) - - B) "Terror Couple Kill Colonel (Recorded Live in Paris)"
A single release by Bauhaus. The A-track single is from the forthcoming album The Sky's Gone Out but here it's released in a rather different version, which was one of my favourite tracks of the early 1980s gothic rock. It contains both the gothic and post-punk dark style and with the addition of a more pop-styled version of the band's music, as it also appears on "She's in Parties".
The picture disc edition was a limited issue, and the cover art is a replica of Oscar Schlemmer's Bauhaus logo from 1922 for the German art and design school.
[ collectors' item ]
release date: Jun. 1982
format: vinyl (picture disc, Beg 79P)
[single rate: 4 / 5] [3,78]
producer: Hugh Jones
label: Beggars Banquet - nationality: England, UK
Tracklist: A) "Spirit" (4,5 / 5) (official video) (live 1999) - - B) "Terror Couple Kill Colonel (Recorded Live in Paris)"
A single release by Bauhaus. The A-track single is from the forthcoming album The Sky's Gone Out but here it's released in a rather different version, which was one of my favourite tracks of the early 1980s gothic rock. It contains both the gothic and post-punk dark style and with the addition of a more pop-styled version of the band's music, as it also appears on "She's in Parties".
The picture disc edition was a limited issue, and the cover art is a replica of Oscar Schlemmer's Bauhaus logo from 1922 for the German art and design school.
[ collectors' item ]
A side | B side |
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