R.E.M. "Document" (1987)

1993 bonus tracks reissue

Document
release date: Aug. 31, 1987
format: cd (1993 - The I.R.S. Years Vintage 1987)
[album rate: 4 / 5] [4,12]
producer: Scott Litt & R.E.M.
label I.R.S. Records - nationality: USA

Tracklist: 1. "Finest Worksong" (4,5 / 5) - 2. "Welcome to the Occupation" - 3. "Exhuming McCarthy" (4 / 5) - 4. "Disturbance at the Heron House" (3,5 / 5) - 5. "Strange" (4 / 5) - 6. "It's the End of the World as We Know It (And I Feel Fine)" (5 / 5) (live) - 7. "The One I Love" (5 / 5) - 8. "Fireplace" (3,5 / 5) - 9. "Lightnin' Hopkins" - 10. "King of Birds" - 11. "Oddfellows Local 151"
Bonus tracks on 1993 extended edition: 12. "Finest Worksong (Other Mix)" - 13. "Last Date" - 14. "The One I Love" (Live at McCabe's Guitar Shop) - 15. "Time After Time, Etc." (Live) - 16. "Disturbance at the Heron House" (Live at McCabe's Guitar Shop) - 17. "Finest Worksong" (Lengthy Club Mix)"

5th studio album by R.E.M. is the last studio album to be issued by I.R.S. Records before signing with Warner Bros. It's the first in a long series of successful albums (and probably also their best selling albums) to be co-produced by Scott Litt.
Michael Stipe was notoriously known for his incomprehensible and sometimes undecipherable lyrics - at least up until this album. In their early days he used his voice just like any other instrument, regardless grammar or meaning. Like Buck's guitar, Mills' bass and Berry's drums, his voice was a sound unit. One of the best examples of Stipe creating the vocal side by rambling stuff off is the song "It's the End of the World...", which became one of their best loved songs over the years. At live concerts he would add and replace verses, phrases, mixing things together, or simply forgetting words, thus creating the song anew.
Despite being a fan of theirs, I somehow managed to reject this album at the time of its release, and I didn't get hold of it until after purchasing [in chronological order]: Green (1988), the two compilation albums Dead Letter Office (Apr. 1987) and Eponymous (1988), and both Out of Time (1991) and Automatic for the People (1992) - by then, I found this, the remastered 'Vintage' reissue, which I initially found a somewhat lesser release slightly in family with Fables of the / Reconstruction of the (1985). I recall the time when it came out, I was really fond of Lifes Rich Pageant (1986) and I had just only bought the band's first compilation album Dead Letter Office, which was really great, so I overlooked it as a studio album, misinterpreting the title Document as yet another compilation album - a 'document' of what they had so far issued. In fact, after finally purchasing it in '93, I mistakenly still thought of it as just another compilation album for some time.
When I finally came to realize its true significance, I also understood how great an album it really is. In my mind, it surely fits in among their 5 best albums ever. Deservedly, the album is enlisted in "1001 Albums You Must Hear Before You Die", and on my personal list it's in top 3 of R.E.M. studio albums.
[ allmusic.com 4,5 / 5, Rolling Stone 5 / 5 stars ]

vinyl cover

Top 5 albums by R.E.M.
1. Green
2. Lifes Rich Pageant
3. Document
4. Monster
5. Automatic for the People

Show lyrics <- click...

~ ~ ~
"It's the End of the World as We Know It (And I Feel Fine)"

"That's great, it starts with an earthquake
Birds and snakes, an aeroplane, and Lenny Bruce is not afraid

Eye of a hurricane, listen to yourself churn
World serves its own needs, don't misserve your own needs
Feed it up a knock, speed, grunt, no, strength
The ladder starts to clatter with a fear of height, down, height
Wire in a fire, represent the seven games
And a government for hire and a combat site
Left her, wasn't coming in a hurry with the Furies breathing down your neck

Team by team, reporters baffled, trumped, tethered, cropped
Look at that low plane, fine, then
Uh-oh, overflow, population, common group
But it'll do, save yourself, serve yourself
World serves its own needs, listen to your heart bleed
Tell me with the Rapture and the reverent in the right, right
You vitriolic, patriotic, slam fight, bright light
Feeling pretty psyched

It's the end of the world as we know it
It's the end of the world as we know it
It's the end of the world as we know it, and I feel fine

Six o'clock, TV hour, don't get caught in foreign tower
Slash and burn, return, listen to yourself churn
Lock him in uniform, book burning, bloodletting
Every motive escalate, automotive incinerate
Light a candle, light a motive, step down, step down
Watch your heel crush, crush, uh-oh
This means no fear, cavalier, renegade and steering clear
A tournament, a tournament, a tournament of lies
Offer me solutions, offer me alternatives, and I decline

It's the end of the world as we know it (I had some time alone)
It's the end of the world as we know it (I had some time alone)
It's the end of the world as we know it, and I feel fine (It's time I had some time alone)
I feel fine (I feel fine)

It's the end of the world as we know it (It's time I had some time alone)
It's the end of the world as we know it (It's time I had some time alone)
It's the end of the world as we know it, and I feel fine (It's time I had some time alone)

The other night I dreamt a nice continental drift divide
Mountains sit in a line, Leonard Bernstein
Leonid Brezhnev, Lenny Bruce, and Lester Bangs
Birthday party, cheesecake, jellybean, boom
You symbiotic, patriotic, slam but neck, right? Right

::::It's the end of the world as we know it (It's time I had some time alone)
It's the end of the world as we know it (It's time I had some time alone)
It's the end of the world as we know it, and I feel fine (It's time I had some time alone)
(It's time I had some time alone)"

~ ~ ~

Pink Floyd "The Wall" (2 lp) (1979)

vinyl cover

The Wall
release date: Nov. 30, 1979
format: 2 lp vinyl (gatefold) / cd (1990 reissue)
[album rate: 4 / 5] [4,12]
producer: Bob Ezrin, David Gilmour, Roger Waters, James Guthrie
label: EMI / Harvest / EMI - nationality: England, UK

Track highlights: A) 1. "In the Flesh?" - 2. "The Thin Ice" - 3. "Another Brick in the Wall (Part 1)" - 4. "The Happiest Days of Our Lives" - 5. "Another Brick in the Wall (Part 2)" - 6. "Mother" - - B) 1. "Goodbye Blue Sky" - 3. "Young Lust" - 4. "One of My Turns" - 6. "Another Brick in the Wall (Part 3)" - - C) 1. "Hey You" - 2. "Is There Anybody Out There?" - 3. "Nobody Home" - 5. "Bring the Boys Back Home" - 6. "Comfortably Numb" - - D) 1. "The Show Must Go On" - 2. "In the Flesh" - 3. "Run Like Hell" - 4. "Waiting for the Worms" - 6. "The Trial"

11th studio album by Pink Floyd originally released on Harvest is released as a double gatefold album. Roger Waters continues his dominating position in the band, which also made this the last album with the original line-up, or at least what was the band since the second album (with David Gilmour replacing Syd Barrett). Waters has written all compositions (with the exception of three co-written with Gilmour, and one with Bob Ezrin) and exclusively put him and Gilmour in the production seat of band members, which was another new initiative. The recording of the album was a long enduring process in and out of studios on both sides of the Atlantic, which resulted in Richard Wright's departure of the band, apparently, feeling he had no part in the project anymore.
This was not the first album I listened to with the band but it was the first I purchased. I remember being in London in Mar. 1980 and having brought a list of albums to buy on behalf of my older brother with at least three Pink Floyd albums that I didn't know of. My brother already had The Wall, so I knew that, I really liked it, so I got myself a copy alongside albums with The Police, Dire Straits and what have you - I didn't even know of punk rock until I came back home and later in 1980/81 discovered a whole new world of fantastic music. The Wall is of course enlisted in "1001 Albums You Must Hear Before You Die", and, although, rating The Dark Side of the Moon (1973) higher, which has to do with its musical significance, The Wall is the Floyd album I have played the most and it's certainly my favourite Pink Floyd album if forced to pick just one.
Highly recommended.
[ allmusic.com 4,5 / 5 stars ]

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Blondie "Parallel Lines" (1978)

Parallel Lines
release date: Sep. 1978
format: cd (2001 remaster)
[album rate: 4 / 5] [3,88]
producer: Mike Chapman
label: Chrysalis records - nationality: USA

Tracklist: 1. "Hanging on the Telephone" 4,5 / 5) - 2. "One Way or Another" (4 / 5) - 3. "Picture This" (4 / 5) - 4. "Fade Away and Radiate" (4 / 5) - 5. "Pretty Baby" (3,5 / 5) - 6. "I Know But I Don't Know" (3,5 / 5) - 7. "11:59" (3,5 / 5) - 8. "Will Anything Happen?" (3,5 / 5) - 9. "Sunday Girl" (3,5 / 5) - 10. "Heart of Glass" (5 / 5) - 11. "I'm Gonna Love You Too" (4 / 5) - 12. "Just Go Away" (3,5 / 5)

3rd studio album by Blondie and the first to be produced by Mike Chapman. The album has been reissued a number of times with various bonus tracks. My copy is a 2001 remaster with 4 bonus tracks. I think, the album was the second that I ever heard with the band, but it's undoubtedly the band's best ever. It's also the album that put Blondie on a primarily pop / rock shelf and not entirely in the new wave category. Although, the tracks have various writers and composers, this also remains the band's most uniform release, perhaps thanks to Mike Chapman who saw the band's potential in one genre or more precisely: helped finding and holding on to the style of Blondie and sending a clear message that the band is not dirty garage rock energetic 'up yours' attitudes of new wave but sophisticated and classy pop / rock. Not only does the album have several great tracks, it also has one mission instead of pointing in various directions. The album is the only by Blondie to be enlisted in "1001 Albums You Must Hear Before You Die", and it was the band's first album to make it all the way to number #1 in the UK.
[ allmusic.com 5 / 5 stars, Rolling Stone, Blender, Slant Magazine 4,5 / 5 ]

Ramones "Pleasant Dreams" (1981)

Pleasant Dreams
release date: Jul. 29, 1981
format: cd
[album rate: 3,5 / 5] [3,38]
producer: Graham Gouldman
label: Sire Record - nationality: USA

Track highlights: 1. "We Want the Airwaves" (3 / 5) - 2. "All's Quiet on the Easter Front" - 3. "The KKK Took My Baby Away" (3 / 5) - 4. "Don't Go" - 7. "She's a Sensation" (3 / 5)

6th studio album by Ramones featuring a new producer and once again a new sound. It seems the band was constantly searching for the right sound to go hand in hand with the power pop compositions that kept pointing in many directions, and once again they failed to come up with something great. Maybe due to internal controversy regarding what to play. It's a well-known tale that singer and lyrical composer Joey Ramone often wanted a more pop-minded sound whereas lead guitarist Johnny Ramone wanted to be in a hard rock band. At least on this album they make sure to show both sides of that coin, showing their interests for traditional rock & roll, ballads, power pop, and hard rock, but as an album, and despite several fine tracks, they don't succeed all that well.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Neil Young "On the Beach" (1974)

On the Beach
release date: Jul. 29, 1974
format: cd (2003 hdcd remaster)
[album rate: 4 / 5] [4,12]
producer: Neil Young; David Briggs; Mark Harman; Al Schmitt
label: Reprise Records, Germany - nationality: Canada

5th studio album by Neil Young with various producers is truly Neil back on top of... everything. Having released his 3 great folk rock singer / songwriter country rock albums, Everybody Knows This Is Nowhere, After the Gold Rush, and Harvest, this is his first real electrified blues rock album release in a singer / songwriter mode, almost in style with albums by Bob Dylan (whom he also was inspired by), only, this is so much better. The album wasn't a great contemporary success and soon seemed forgotten. In retrospect, however, the album is considered one of his true masterpieces and it has been included on many musical best of lists. It wasn't issued on cd until 2003 and had a long time featured as a cult album that everyone praised but only few actually knew of.
The album was recorded shortly after the recording sessions for Tonight's the Night and both albums are from a black period in Neil's personal life - he was himself a heavy heroin addict at the time and many of his friends and musical associates died from their drug abuse. Crazy Horse members feature on the studio recordings, as well as Stephen Stills, Graham Nash, and the two The Band members: Rick Danko and Levon Helms.
The album is enlisted in "1001 Albums You Must Hear Before You Die". , and it's enlisted as number #5 on the "Readers' Poll: The Best Neil Young Albums of All Time" in Rolling Stone Magazine".
This album is one of my favourite Neil Young albums and of course highly recommended.
[ allmusic.com 5 / 5 stars ]

1974 Favourite releases: 1. Tom Waits The Heart of Saturday Night - 2. Neil Young On the Beach - 3. Mike Oldfield Hergest Ridge

Men At Work "Cargo" (1983)

Cargo

release date: Apr. 29, 1983

format: cd (1993 reissue)

[album rate: 3,5 / 5] [3,36]

producer: Peter McIan

label: Columbia - nationality: Australia

2nd studio album by Australian pop / rock and new wave quintet Men At Work released 1½ years following the fine debut Business As Usual (Nov. '81). The band continues in the same style only with slightly more focus on the mainstream pop / rock and pop reggae part of its style. Men At Work play in a style that evokes memories of both The Police and Dire Straits only without emphasis on rock. In it's place the band plays melodic pop / rock with bonds to either reggae or new wave and heavily built on Hay's vocal harmonies. Cargo comes close to the sound of the debut but basically lacks strong singles.

The album was the band's last in its classic line-up.

[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

Tom Waits "Foreign Affairs" (1977)

Foreign Affairs
release date: Sep. 24, 1977
format: digital
[album rate: 3,5 / 5] [3,68]
producer: Bones Howe
label: Asylum Records - nationality: USA

Track highlights: 2. "Muriel" - 3. "I Never Talk to Strangers (feat. Bette Midler)" - 5. "A Sight for Sore Eyes" (4 / 5) - 6. "Potter's Field" - 7. "Burma-Shave" - 9. "Foreign Affair" (4 / 5)

5th studio album by Tom Waits following one year after his landmark album Small Change is also his fourth consecutive album with Bones Howe as producer.

Once again Waits produces a fine collection of songs, although my impression tells me that the album is a bit of a repeat of what he has released up until this point, which in a way might sound like he is stagnating, with no real musical development, but one could then argue that he is simply sticking to a highly original style, and why necessarily change what has proven to work?

The album differs from his other releases by being close to a concept album with a detective-narrator, Nickel, who is an eyewitness to a 'film-noir-Chandler-esque-murder-story' of sorts. Bette Midler and Waits formed a couple in the years '76 / 77 and she sings on track #3.

Some artists don't need to show much artistic development - especially when they continue to make fine and relevant songs, and this album do contain several fine compositions like the ones highlighted above.

Dominant Legs "Invitation" (2011)

Dominant Legs
Invitation (2011)
[debut album]
[album rate: 3 / 5]

"Take a Bow"

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St. Vincent "Krokodil" (2012) (single)

Krokodil, single
release date: Apr. 21, 2012
format: digital
[single rate: 3,5 / 5]
producer: ? [Annie Clark] [uncredited]
label: 4AD Records - nationality: USA

Tracklist: A) "Krokodil" (live) - - B) "Grot"

Single release by St. Vincent released for Record Store Day 2012 and limited to 2.500 copies.
Both compositions differ somewhat from her usual style as they are both noise pop and especially the B-side track is loaded with progressive pop.

Saybia "The Second You Sleep" (2002)

The Second You Sleep [debut]
release date: Jan. 21, 2002
format: cd
[album rate: 4 / 5] [3,82]
producer: Andreas Ahlenius, Saybia
label: EMI-Medley - nationality: Denmark

Track highlights: 1. "7 Demons" - 2. "Fools Corner" - 3. "The Second You Sleep" (4 / 5) - 4. "Snake Tounged Beast" - 5. "Joy" - 6. "Still Falling" - 7. "The Day After Tomorrow" - 8. "In Spite Of" - 9. "Empty Stairs" - 11. "The One for You"

Studio album debut by Danish quintet Saybia released on Medley Records (since 1992 bought by EMI Records and continued in Denmark as EMI-Medley). Saybia consists of primary songwriter and lead vocalist Søren Huss, lead guitarist Sebastian Sandstrøm, bassist Jeppe Langebek Knudsen, keyboardist Jess Jensen and drummer Palle Sørensen.
The band plays soft rock and pop / rock with obvious jangle pop and chamber pop influences.
The Second You Sleep is filed as the first Danish debut album to top the national chart list and at the Danish Music Awards 2003 Saybia won the prizes for Best Danish Album, Best Danish Band, and Søren Huss was handed the prize for Best Danish Vocalist.
Yes, the national hype around this band was tremendous, but they deserve all the acclaim. It truly is a great and surprisingly solid collection of songs for a debut. The style is not the most original one clearly building on britpop acts like Coldplay, Sleeper, Manic Street Preachers and Travis, but the production and the execution - the instrumental and vocal performances on these 11 songs lack nothing in comparison with their much more renowned British colleagues.
The album was never really a favourite of mine. I think, I tired too much of the musical exposure and also found it a bit too much on the softer side of rock to my liking - but my only regret was that I found it too close to music already made; however, there's no doubt that this is altogether a quite an impressive Danish debut where especially Søren Huss shines brightly as vocalist.
[ Gaffa.dk 4 / 6, SputnikMusic 3,5 / 5 stars ]

Gazebo "Lunatic" (1983) (single)

Lunatic, 7'' single
release date: 1983
format: vinyl (BR 50297)
[single rate: 2,5 / 5] [2,55]
producer: P. L. Giombini
label: Baby Records (Italy) - nationality: Italy

Tracklist: A) "Lunatic" - - B) "Lunatic (Instrumental)"

Single release by Beirut-born artist Gazebo (aka Paul Mazzolini [birth name], aka Pierluigi Giombini) taken from his debut album Gazebo (1983) and following his most successful single "I Like Chopin", also from the debut.

St. Vincent "4AD Session" (2012) (ep) (live)

4AD Session, ep (live)
release date: Apr. 10, 2012
format: cd
[album rate: 3,5 / 5] [3,68]
producer: ? [video directed by Iain Forsyth, Jane Pollard]
label: 4AD - nationality: USA

Tracklist: 1. "Chloe in the Afternoon" - 2. "Surgeon" - 3. "Strange Mercy" - 4. "Cheerleader" - 5. "Year of the Tiger"
[ full session ]

5-track live ep by St. Vincent aka Annie Clark shot at Shangri-La Studios in Brooklyn and released on 4AD Records.
The 5 songs are all tracks from her most recent album Strange Mercy from 2011. The songs are not entirely performed as to resemble the album versions. Her guitar is much more unclean here, both more jazz- and rock-inspired, which adds that extra to the album versions that you want when listening to live versions of familiar songs.
This is great experimental art pop, and what a treat it is to see a woman play guitar like that. It's raw, energetic, and brilliantly unique. Love her voice and guitar sound.
Too bad she paired up with ex-Talking Heads 'big head', David Byrne later on in 2012 making Love This Giant (2012). Although, I haven't yet heard the album, as I cannot stand Mr. Byrne. One day, I have to give it a chance, though, and no matter what, Annie Clark do so well on her own.

Sort Sol "Glamourpuss" (1993)

Glamourpuss
release date: Nov. 16, 1993
format: cd
[album rate: 4 / 5] [3,94]
producer: Sort Sol, Flemming Rasmussen
label: Columbia Records - nationality: Denmark

Track highlights: 1. "Dog Star Man" (4 / 5) (live) - 2. "Popcorn" (4 / 5) - 3. "Let Your Fingers Do the Walking" - 4. "Sleepwalker" - 5. "Shaheeba Bay" (4 / 5) (live) - 7. "Eileen Alphabet" - 9. "Lady of the Lake"

6th studio album by Sort Sol released 2½ years after the band's commercial breakthrough Flow My Firetear continues on the same stylistic path as the predecessor, which is something quite unusual for this band, who has always sought to renew its style going from one album to the next. The album is the last to feature founding member and lead guitarist Peter Peter [aka P. Schneidermann]. Like the '91 album, Glamourpuss contains nine songs and reaches a total running time at 40 mins.
Compared to the '91 album, the stylistic output has been polished even more on this, and it soon became the band's biggest commercial success, in part with thanks to the popular Danish movie "Nattevagten" from early '94 by Ole Bornedal (featuring Nikolaj Coster-Waldau), which included several tracks from the album. Both band and album won several prizes at the Danish Grammy Award show in 1994 - the band won as Band of the Year, and the album was rewarded the two prizes: "Best Danish Album" and "Danish Rock Release", and producer Flemming Rasmussen won for "Danish Producer of the Year".
Glamourpuss both contains great energetic burst-outs like "Dog Star Man", "Popcorn", "Shaheeba Bay", and "Eileen Alphabet", as well as more subtle and harmonic ballads, and then it nearly doesn't contain any fillers, although it fades out a little towards the end. On top of that it's the band's most coherent and best produced album to date making it their best album, imho.
Despite both critics and fans' positive reception of the album founding member Peter Peter decided to leave the band after what he experienced as a negative turn to commercialism. After leaving Sort Sol he formed the band Bleeder (in 2000 reorganised and named The Bleeder Group).

The Prodigy "What Evil Lurks" (1991) (ep)

What Evil Lurks, ep
release date: Feb. 1991
format: digital
[album rate: 3 / 5]
producer: Liam Howlett
label: XL Recordings - nationality: England, UK

Tracklist: 1. "What Evil Lurks" - 2. "We Gonna Rock" - 3. "Android" - 4. "Everybody in the Place"

Studio ep debut by The Prodigy, project name for producer and composer Liam Howlett who included Keith Flint and Maxim [aka Keith Palmer] on vocals, and as dancers when performing live. This is initial breakbeat hardcore or rave. The ep was released in only 7000 copies but reissued in 2004 as a 15th Anniversary edition celebrating XL Recordings.

Gleaming Spires "Walk on Well Lighted Streets" (1983)

Walk on Well Lighted Streets
release date: 1983
format: vinyl (PVC 8916)
[album rate: 2,5 / 5] [2,66]
producer: Stephen Hague; Robbie Fields
label: PVC Records - nationality: USA

2nd studio album by American new wave band Gleaming Spires.

The Prodigy

~ ~ ~

The Prodigy: formed 1990 in Braintree, Essex, UK. Current members: Liam Howlett (synthesizers, drum machine, keyboards, programming), Keith Flint [aka Keef] (vocals, dancer), Maxim Reality [birthname: Keeti Palmer] (MC, backing vocals).

former members: Leeroy Thornhill (dancer; 1990-2000), Sharky (dancer, backing vocals; 1990–1991); live members: Leo Crabtree (drums, percussion; 2008-), Rob Holliday (guitar, bass; 2005–2006, 2008–present).

'Band' is really a difficult term when referring to The Prodigy. Basically, it's Liam Howlett who's in charge of making the music. He composes, programs, and he mixes everything. Keith Flint, Maxim, and Leeroy were the up front faces and performers for live concerts as well as for videos, and Keith has been the most used lead vocalist for the music by The Prodigy, whereas Maxim and Leeroy primarily shared roles as dancers with backing vocals. The Prodigy were among the pioneering artists of the big electronic dance explosion in Europe with the introduction of breakbeat, big beat and rave / hardcore rave (together with Fat Boy Slim and The Chemical Brothers) that took place in the early 1990s. The music has evolved a lot since the debut with hardcore breakbeat into more melodic breakbeat and big beat sound (when they were most popular) to progress in to industrial hip hop and techno house and dub. I came across the Prodigy in 1994 as they had just released Music for the Jilted Generation. The music totally blew my mind. I was so amazed, and of course listened to the album over and over again, and mostly at maximum volume, so I often had my neighbors banging on the wall. I still think that particular album is brilliant, it's a musical masterpiece that The Prodigy most likely will never equal.

~ ~ ~

Joe Strummer "Love Kills" (1986) (single)

Love Kills, 7'' single
release date: Jul. 1986
format: vinyl (CBSA 7244) / digital
[single rate: 3,5 / 5] [3,42]
producer: Joe Strummer
label: CBS Records - nationality: England, UK

Tracklist: A) 1. "Love Kills" (4 / 5) - B) 1. "Dum Dum Club" (2,5 / 5)

1st solo single release by Joe Strummer after the failing attempt to continue The Clash with new band members and the album Cut the Crap (1985). The two tracks were included in the (semi-biographical) movie, "Sid & Nancy: Love Kills" (1986) (featuring Gary Oldman as main character) about the life and death of Sex Pistols bassist, Sid Vicious (and his girlfriend, Nancy) by Alex Cox, originally titled "Love Kills". Both tracks are found on the Original Soundtrack album. I bought the single as it was released, and found the title track quite fine as it's a continued style from the music by The Clash. As a curiosity, Strummer composed several other tracks included in the movie, but was credited under other artists' names that were made up because he had contractual obligations, which only allowed him the two official songs for the movie. Also, Strummer had featured as supporting actor in Martin Scorsese's movie "King of Comedy" (1982, featuring Robert De Niro) in a very small part. After his collaboration work for the music to "Sid & Nancy" he had a leading role in Alex Cox' movie "Straight to Hell" (1987), and also the Alex Cox movie "Walker" (1987), for which Strummer made the entire soundtrack (and had a supporting role), which was to become his first solo album release.

Pixies "Bossanova" (1990)

Bossanova
release date: Aug. 1990
format: cd (CAD 0010 CD) / sacd (2008 reissue - UDSACD 2035)
[album rate: 3,5 / 5] [3,72]
producer: Gil Norton
label: 4AD Records / Mobile Fidelity - nationality: USA

Track highlights: 1. "Cecilia Ann" - 2. "Rock Music" - 3. "Velouria" - 4. "Allison" - 5. "Is She Weird" (4 / 5) - 7. "All Over the World" - 8. "Dig for Fire" (4 / 5) - 12. "Hang Wire" - 14. "Havalina"

3rd full studio album by Pixies, and their second time working with the English independent producer Gil Norton. The album is by many considered the weakest release by the band. I don't see it as solely weak and uninteresting, but yes, it's not their best, and it's also obvious that the production sound has changed. Critics find that the sound is blurred, too heavy and that it lacks space, and band members have recalled the recording process as a bit of a mess. On their previous material the music was mostly written by Black Francis but Kim Deal also provided one or two songs for the albums, and beside that played a more visible singing part, but this time everything is by Francis (except "Cecilia Ann", written by The Surftones), and it seems like an area of conflict within the band that only got worse. Unable to have much of a say or able to provide songs for the new album, Kim formed The Breeders and they soon released the acclaimed debut album Pod, also 1990. The music on Bossanova seems much inspired by 1960s surf rock and the noise rock, indie rock, alternative rock is more polished in a way, although, a song like "Rock Music" has much more in common with fierce and flaming guitar-driven tracks like "Tame", "Debaser" and "Bone Machine" on their previous albums than any of the remaining songs on this one. Most of the songs have focus on a softer and more quiet chorus with much more harmony than normal with Pixies. My favourite tracks are "Is She Weird" and the ultimate Pixies pop song "Dig for Fire", which got a lot of airplay on the Danish national radio station P3 that year, and that's a song I never get tired of. I think the album is weak in the sense that it lacks direction. As I mentioned, some tracks could fit nicely on their previous albums and others have more in common with the follower, and in that way it's somewhat unfinished. The team work was not perfect and that already signaled the end of the band with Deal concentrating on her side-project The Breeders and Francis taking over as a self-appointed chief of the band. The album is enlisted in "1001 Albums You Must Hear Before You Die".
In 2008 the album was reissued in a remastered version. I have both albums, but frankly, don't understand the need to update the original (heavy or not) sound of the original release. Yes, the remastered version has another sound - but better? I don't think so.
[ allmusic.com 4,5 / 5, Blender 5 / 5, Rolling Stone 3 / 5 stars ]

2008 Remaster,
Mobile Fidelity

Dire Straits "Communiqué" (1979)

Communiqué
release date: Jun. 15, 1979
format: vinyl (SRM-1-3791) / digital
[album rate: 3,5 / 5] [3,58]
producer: Barry Beckett, Jerry Wexler
label: Mercury Records - nationality: England, UK

Track highlights: 1. "Once Upon a Time in the West" - 3. "Where Do You Think You're Going?" (live) - 5. "Lady Writer" (4 / 5) - 7. "Portobello Belle" - 8. "Single-Handed Sailor"

2nd studio album by Dire Straits following one year after the great debut was originally released by Vertigo.
Now, I really liked Dire Straits way back then but just a few years later as I discovered punk rock and new wave, I saw them as a bit dull and old-fashioned, although I still enoyed their music. I recall how I heard my older brother playing the first two albums by the band all the time, at least when he didn't play Pink Floyd, Jean-Michel Jarre or Mike Oldfield. I really loved "Sultans of Swing" from the debut, so I was actually more than disappointed about this one - initially. I thought it was too slow and a bit boring - too much blues and not enough rock. It has never been my preferred Dire Straits album but over time, I think it is rather good, although still a bit on the slow side and too much rooted in the blues, and I'm not really a blues man. I always loved soul so much more but electric blues and psychedelic blues rock á la Jimi Hendrix is a damn good type of blues. I think the trouble with this album is the total focus on Mark Knopfler, his guitar sound and voice way up front... all the time. I mean, I enjoy some of his post-Dire Straits solo works but that's often much more varied or composed with other elements than his poignant guitar and very distinct voice. Having said that, I really enjoy the song "Lady Writer", which is very much in line with the tracks on the debut album.
[ allmusic.com 2,5 stars ]

BEST OF 1981:The Cure "Faith" (1981)

FIX 6

Faith
release date: Apr. 14, 1981
format: vinyl (FIX 6) / (2cd) (2005 RM)
[album rate: 5 / 5] [4,82]
producer: The Cure, Mike Hedges
label: Fiction Records - nationality: England, UK

Tracklist: 1. "The Holy Hour" (4,5 / 5) - 2. "Primary" (5 / 5) - 3. "Other Voices" (5 / 5) - 4. "All Cats Are Grey" (4 / 5) - 5. "The Funeral Party" (4 / 5) - 6. "Doubt" (4 / 5) - 7. "The Drowning Man" (5 / 5) - 8. "Faith" (4,5 / 5)

3rd studio album by The Cure following Seventeen Seconds (Apr. 1980), after which Matthieu Hartley left the band and they were back to a trio. Robert Smith also did keyboards on this album, and drummer Laurence Tolhurst also contributed with drum programming, although, he would eventually handle keyboards for the band.
One word: M a s t e r p i e c e . I hold this album very dear. I suppose I've heard it sooo many times on the turntable that the pick-up must've digged out some hidden... expressiveness... and unfortunately, but also inevitably, scratched it just a bit too much. I know, it's dark. It's sinister, it's cold, and it's depressive. Or actually not, really. When I was 16, and all school mates and everyone else at the time listened to old pop / rock, disco, funk, glam pop like Queen, ABBA, Jean Michel Jarre [going pop], ELO, Genesis, Boney M, Kim Wilde, Tina Turner etc. etc., I listened to punk rock, new wave, post-punk and gothic rock like this. I remember sitting in my room late in the evening on many cold winter days all by myself. I switched off all light, and had my best chair facing the dark window, only displaying the occasional lights of cars driving by and reflecting raindrops running slowly down. I sat there in my chair with my B&O headphones on with the volume turned to maximum. I would then sit there listening to this album over and over again while experiencing how good the songs made me feel. The music is soothing with its coldness, hopelessness, and by expressing such depression that it it had the exact opposite effect on me - it lifted me out of my own loneliness, my despair, making everything worthwhile in my melancholic teenage "weltschmerz". The Cure is one of many artists I've listened to long before they became international big stars. I recall the day I became hooked on The Cure. My best friend and I shared the same musical taste, and we listened to a program on the radio presenting new bands and music. I already knew The Jam, The Clash, Elvis Costello, and many others - but mainly punk rock or new wave bands, and this was something really new. Gothic rock had evolved from post-punk featuring Joy Division as the stylistic icon with bits from glam rock and progressive rock. On the radio that day, they had played tracks from Seventeen Seconds (1980), as well as Boy's Don't Cry (1980), and I was really hooked - I had never heard anything like this before. Of course we recorded the tracks on tape, so we could share and hear it again. One of the following days I went to my local record dealer with the intention to buy Seventeen Seconds but he had only just received the brand new album by The Cure, so I purchased Faith without really listening to it. The immediate impression as I returned home was bland, as this was something else than what I had heard and liked so much but after the first full listen, I was caught in the fascinating musical universe of Faith. I stayed a big fan of The Cure's music, and got tired of Robert Smith and Laurence Tolhurst with band [The Cure] in the mid-80s and especially with the release Disintegration - an album which most critics and an ever-growing audience received as a good progression. Later on they got even bigger but I didn't like it anymore. Nowadays, I hardly ever listen to The Cure although, I do understand why I liked it so much. Today, it may appear too linked up with the 1980s post-punk and gothic rock era but nevertheless, I find it a true modern classic, way more important than Michael Jackson's Thriller, and anyhow, it's one of a handful of albums from my teens that runs in my veins.
"Every home should have one".
[ allmusic.com 3,5 / 5, Sounds Magazine 4,5 / 5 stars ]

1981 Favourite releases: - 1. The Cure Faith - 2. The Sound From the Lions Mouth - 3. The Durutti Column LC

[ collectors' item ]

Philip Glass "Powaqqatsi" (OST) (1988)

Powaqqatsi (soundtrack)
release date: 1988
format: cd
[album rate: 4 / 5] [4,18]

"Serra Pelada"

A Philip Glass soundtrack to the great movie "Powaqqatsi" by Godfrey Reggio.

Genesis "Selling England by the Pound" (1973)

Selling England by the Pound

release date: Oct. 13, 1973

format: cd (1986 reissue)

[album rate: 3,5 / 5] [3,68]

producer: John Burns & Genesis

label: Virgin / Charisma - nationality: England, UK

Track highlights: 2. "I Know What I Like (In Your Wardrobe)" (live) - 3. "Firth of Fifth" - 5. "The Battle of Epping Forest" - 7. "The Cinema Show"

5th studio album by Genesis following one year after Foxtrot and only two months after the band's first live album Genesis Live. Co-producer John Burns had worked as sound engineer on the '72-album and would also produce the band's follow-up album The Lamb Lies Down on Broadway (1975). The band remains the stable quintet of vocalist Peter Gabriel, guitarist Steve Hackett, bassist Mike Rutherford, keyboardist Tony Banks and drummer Phil Collins, and although, Gabriel wrote all lyrics, all five are credited the album's eight tracks, which has a total playing time at just under 54 minutes.

Musically, it's first and foremost a prog rock album with an overall theme reflecting on old nostalgic England in a contemporary modern era of economic and social crisis.

The album was met by positive reviews and became the band's first top-3 charting album, and retrospect reviews has put the album near the very top on lists of the best prog rock albums ever. It's also the band's first of only two albums to be included in "1001 Albums You Must Hear Before You Die".

Together with the successor, The Lamb Lies Down on Broadway, this represents the most daring and artistic original version of the band Genesis.

Recommended.

[ allmusic.com 5 / 5, Q Magazine 4 / 5 stars ]

New Order "1981-1982" (1982) (ep)

1981-1982, ep
release date: Nov. 1982
format: vinyl (FACTUS 8) / digital
[album rate: 4 / 5] [4,20]
producer: Martin Hannett; New Order
label: Factory Records - nationality: England, UK

Tracklist: A) 1. "Everything's Gone Green" (5 / 5) - 2. "Procession" (5 / 5) - 3. "Mesh" (3,5 / 5) - - B) 1. "Temptation" (4 / 5) (studio session) - 2. "Hurt" (3,5 / 5)

1st studio ep release by New Order aka Factus 8 on Factory Records. It's a strong and classic ep, which signals a new sound of the band, but it still shows the bonds to the sound of Joy Division. Upon its release, my favourite tracks were #A2, #A1, and #B1, in that order. "Procession" is a marvellous track, I recorded on cassette from a radio program (it was originally released as the band's second single Sep. '81) before buying the album, and I played it over and over a zillion times. That bass-line, and progress in development is... gorgeous. It has both something of the new synthpop as well as much of the old post-punk, like heard on "Ceremony". It's the last album to be produced by Martin Hannett, who had worked with the band since the beginning, thus helping in shaping the sound and style of both Joy Division and New Order. But where the debut album Movement (1981) by New Order follows close in the footsteps of Joy Division, this ep signals a new era, which would really come through on the following album. The A-side is produced by Hannett, whereas New Order themselves produced the B-side.
[ allmusic.com 3 / 5 stars ]

Die Kapelle "MCMLXXXVI" (1986)

MCMLXXXVI [debut]
release date: 1986
format: vinyl (SAM 13)
[album rate: 3,5 / 5] [3,46]
producer: Die Kapelle, Peter Brander
label: SAM Records - nationality: Denmark

Full-length studio album debut by Danish post-punk band Die Kapelle consisting of the two brothers Tange, vocalist and guitarist Michael and drummer Niclas, and together with bassist Martin Sellen they form this trio. The band released its ep, or mini-album debut As the Book of Autumn in 1984.
Musically, this comes close to music by The Sound and Killing Joke, but also points to a more synth rock-based style, which at times seems inspired by early Simple Minds. I purchased this album upon its release.

Blur "13" (1999)

13
release date: Mar. 15, 1999
format: 2 cd (2012 remaster)
[album rate: 3,5 / 5] [3,44]
producer: William Orbit
label: Food / Parlophone - nationality: England, UK

Track highlights: 1. "Tender" (4 / 5) (live) - 2. "Bugman" - 3. "Coffee & TV" - 4. "Swamp Song" - 7. "Battle" - 11. "Trimm Trabb" - 12. "No Distance Left to Run"

6th studio album by Blur follows two years after the album Blur and it's the band's first not to be produced by Stephen Street. As Blur has increasingly experimented and sought out new styles the change of producer really comes like a natural progression, and frankly had been expected at an earlier stage. The album both follows closely in the footsteps of Blur with its noisier style, but also manages to go its own way by incorporating new elements like trip hop and neo-psychedelia. Producer William Orbit is an English instrumental electronic musician, which may not be heard on the album, but naturally adds in the making.
Apparently, guitarist Graham Coxon had pushed the band towards a more noise rock / alt. rock universe, which had its dawn on Blur, while Albarn dragged the band into a more experimental sound. An episode which had its impact in shaping the album took place in the personal life of Damon Albarn, who experienced a break-up in a long-time relationship with Elastica vocalist Justine Frischmann, which may be hinted at on several tracks. The title refers to the recording studio by Blur, and in addition, when placed close enough, the two digits 1 + 3 [13] form the letter B for "Blur". The cover art is a detail of a painting "The Apprentice" by guitarist Graham Coxon with the addition of the title numbers.
13 doesn't contain obvious pop hit songs, although, three well-fairing singles were released: "Tender", "Coffee & TV" and "No Distance Left to Run". The album was generally met by positive reviews, and it topped the albums chart list as the fourth consecutive by Blur, and the single "Tender" reached number #2 on the singles chart list. In addition, 13 was nominated several awards including the prestigious Mercury Prize Award.
I always found this album a bit strange, but it does win in the long run. The trip hop and art pop elements that Blur elaborate on here are not far from later Albarn projects. What seems an interesting point is the fact that Albarn shortly prior to starting the recording sessions for the album initiated collaborative works with Jamie Hewlett, who would later be the other half of the Albarn-project, Gorillaz. 13 is a bit of a mixed bag with some fine songs but also too many ideas and stylistic expressions that it's difficult to listen to in one go. That impression doesn't disappear with the remastered 2-disc issue with the inclusion of a "Bonus material disc", which takes everything even further in all directions.
After this album, Albarn initiated his (virtual) project-band Gorillaz and guitarist Graham Coxon concentrated on a solo career he had already initiated before the recording sessions for this album.
[ allmusic.com, Rolling Stone 3,5 / 5, The Guardian, Q Magazine 4 / 5 stars ]

U2 "Pride (In the Name of Love)" (1984) (single)

Pride (In the Name of Love), 12'' single
release date: Sep. 3, 1984
format: vinyl (601 469-213)
[single rate: 4 / 5] [3,94]
producer: Brian Eno, Daniel Lanois
label: Island Records - nationality: Ireland

Tracklist: A) "Pride (In the Name of Love)" - - B) 1. "Boomerang I" (instrumental) - 2. "Bommerang II" (vocal) - 3. "4th of July"

Single release by U2 taken from the forthcoming album The Unforgettable Fire. Both the A-side and track #B3 are included on the '84 album, whereas the two "Boomerang" tracks are really not of much interest.

Boney M "Nightflight to Venus" (1978)

Nightflight to Venus
release date: Jul. 28, 1978
format: vinyl (UK) / digital
[album rate: 3 / 5] [2,82]
producer: Frank Farian
label: Atlantic - nationality: (West) Germany

3rd studio album by Boney M originally released on Hansa International.

I believe, as a 13 year-old, I purchased this back in '78 and subsequently got hold of the Love for Sale album.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Neil Young "Time Fades Away" (1973) (live)

Time Fades Away (live)
release date: Oct. 15, 1973
format: digital
[album rate: 3 / 5] [3,15]

producer: Neil Young, Elliot Mazer

label: Reprise Records - nationality: Canada

Track highlights: 1. "Time Fades Away" - 5. "Love in Mind" - 8. "Last Dance"

First official live album by Neil Young released as 'previously unreleased material' recorded shortly after the release of After the Gold Rush. The late 1960s and early '70s was a period where live sessions, festivals, and live recordings was paid much attention. This album, however, is mostly found in poor sound quality as it was heavily pirated, and it doesn't contain his best songs from his major releases, 1962 to 1972. The album was only released in limited vinyl pressings and therefore most likely is found as bootleg material up until it's first official re-issues, which would be in 2017, which also may explain the origination of the digital version of the album, I have come by.

Tracey Thorn "A Distant Shore" (1982)

A Distant Shore [debut]
release date: Aug. 1982
format: digital
[album rate: 4 / 5] [3,78]
producer: Pat Bermingham [recorded by]
label: Cherry Red Records - nationality: England, UK

Track highlights: 1. "Small Town Girl" - 2. "Simply Couldn't Care" - 4. "Femme Fatale" - 5. "Dreamy" - 7. "New Opened Eyes" - 8. "Too Happy"

Studio solo debut album by former Marine Girls vocalist, guitarist and composer Tracey Thorn is a relatively short album counting 8 compositions and a total running time at only 23 mins. All songs except the Velvet Underground cover "Femme Fatale" (by Lou Reed) are written by Thorn, and the arrangements are stripped down to Thorn singing on top of her strumming acoustic guitar all recorded as is by Pat Bermingham, who also produced the debut Beach Party by Marine Girls.
Stylistically, it follows closely in the patterns played by Marine Girls and it also forecasts the later works by Everything but the Girl. It's far from the early 1980s post-punk agenda, and it comes out as something completely on its own terms - far from contemporary genres and styles and just is plain folk pop and singer / songwriter compositions in minimal outing.
It's a quite pleasant collection of tunes albeit staying much on the same path. Thorn's singing capabilities makes it all worth and shines through an ever-present melancholy like sun-spots in a summer's rain. "Femme Fatale" is great with Nico but this version is even stronger.
The front cover art work is btw credited band member Jane Fox of Marine Girls.
[ allmusic.com 4,5 / 5 stars ]

BEST OF 1998:Grant Lee Buffalo "Jubilee" (1998)

Jubilee
release date: Jun. 9, 1998
format: cd / vinyl (2 lp)
[album rate: 4 / 5] [4,18]
producer: Paul Fox
label: Slash Records - nationality: USA

Tracklist: 1. "APB" (4 / 5) - 2. "Seconds" - 3. "Change Your Tune" (4,5 / 5) - 4. "Testimony" (4 / 5) - 5. "Truly, Truly" (4 / 5) - 6. "SuperSloMotion" - 7. "Fine How'd Ya Do" - 10. "Everybody Needs a Little Sanctuary" (4 / 5) - 12. "Crooked Dice" - 13. "Jubilee" - 14. "The Shallow End" (4 / 5)

4th and final studio album by Grant Lee Buffalo following Copperopolis (1996). The style is very much the same recognizable alt. rock and indie rock, although this is, in my opinion, the band's best and most pop / rock-styled release with a bunch of great and original songs. This is also the least alt-country, country rock, and least americana-styled release of its 4 albums. Bassist, keyboardist, and the band's usual producer Paul Kimble had left the band in '97 and he's replaced by Dan Rothchild on bass, Rami Jaffee on organ, and Jon Brion on keyboards for the studio recordings only 'cause the band is by now just a duo, consisting of Grant-Lee Philips and drummer, Joey Peters. Many guest artists (vocalists and instrumentalists) feature on several of the songs. Most notable are Andrew Williams (additional vocals on tracks #5 and #9), Robyn Hitchcock (additional vocals and harmonica on track #11, and additional vocals on #14), and Michael Stipe (additional vocals on track #10).
All the band's albums had been very well-received by the music press in general but the band basically failed to attract customers remaining a cult band that never experienced huge popularity in its lifetime. In early 1999 Phillips and Peters split and pursued solo careers. Singer and songwriter Grant-Lee Phillips (who had written all songs for the band) initiated his fine solo career, but this album is simply the best pop / rock release of 1998 - and too few know of its existence.
[ allmusic.com 4 / 5 stars ]

1998 Favourite releases: 1. Grant Lee Buffalo "Jubilee" - 2. Mark Hollis "Mark Hollis" - 3. Fatboy Slim "You've Come a Long Way, Baby"

CajsaStina Åkerström "Klädd för att gå" (1996)

Klädd för att gå
release date: 1996
format: digital
[album rate: 2 / 5]

2nd studio album by CajsaStina Åkerström. The music is mostly pop soul singer / songwriter and she has a nice vocal. Only, I think, the music and songs lack that special thing that should make it interesting. It's not very bad. It just leaves me indifferent, with a thought of "so what?". And: "Why should I bother listen to it again?" There are so many other interesting artists from Sweden, I'd rather listen to. The two Lisas: Ekdahl and Nilsson, make more interesting music, and this album is a mere shadow of her fine debut.

Die Kapelle "Makasi" (1985), single

org. cover

Makasi, 7'' single
release date: 1985
format: vinyl (RP 17 643)
[single rate: 3 / 5] [2,92]
producer: Die Kapelle; John Christensen (a); Lars Nielsen (b)
label: Power Puke Production - nationality: Denmark

Tracklist: A) "Makasi" - - B) "Another Song"

Single release by Danish post-punk and gothic rock band Die Kapelle.
[Unfortunately, my purchased single was sold with a generic white paper sleeve].

Grant Lee Buffalo "Copperopolis" (1996)

Copperopolis
release date: Jun. 4, 1996
format: cd
[album rate: 3,5 / 5] [3,38]
producer: Paul Kimble
label: Slash Records - nationality: USA

Track highlights: 1. "Homespun" - 3. "Arousing Thunder" (4 / 5) - 9. "Two and Two" - 10. "Better for Us" - 12. "Comes to Blows" - 13. "The Only Way Down"

3rd studio album by Grant Lee Buffalo following Mighty Joe Moon (1994), once again produced by bassist and keyboardist Paul Kimble is also his last with the band as he would leave in '97. The style isn't that far from the '94 album but perhaps feels more like a combination of the first two studio albums, but it also lacks really great compositions.
[ allmusic.com 3,5 / 5 stars ]

Ideal "Ideal" (1980)

Ideal [debut]

release date: Nov. 1980

format: cd (1990 reissue)

[album rate: 4 / 5] [3,82]

producer: Klaus D. Müller

label: WEA - nationality: Germany

Track highlights: 1. "Berlin" - 2. "Irre" - 3. "Telepathie" - 4. "Blaue Augen" - 6. "Luxus" - 7. "Rote Liebe"

Studio album debut by Berlin quartet Ideal originally released on the independent label Innovative Communication founded by German artist Klaus Schultze and Michael Haentjes. The band consists of vocalist, keyboardist and songwriter Annette Humpe, guitarist Frank Jürgen 'Eff Jott' Krüger, bassist Ernst Ulrich Deuker, and drummer Hans-Joachim 'Hansi' Behrendt. Both Humpe and Krüger had previously played together in X-Pectors, and Humpe was also a member of Neonbabies where she figured alongside her younger sister Inga before leaving that band to concentrate on Ideal.

Ideal counts ten compositions of which three have music credited all members, two are credited Humpe and Krüger, whereas the five remainders are credited Humpe alone.

Stylistically, this is one of the earliest examples of the German variation of new wave that came to be known as Neue Deutsche Welle (NDW), a style based on British and American new wave and art rock (think Talking Heads, Devo, Pere Ubu, David Bowie, XTC). The style may be regarded as the fuse of energy transformed from punk rock with inspiration from a simplistic and experimental rock style with that of a strong social dimension - a trait that later fell in the background on the expense of melodic pop arrangements - here you may think of a musical progression from early Ideal (this album) and Nina Hagen Band via Spliff, Extrabreit, Fehlfarben and DAF to Nena, Trio and DÖF.

Despite being released on a small independent label, the album went as high as to number #3 on the national albums chart list, and the band made way for a general interest, as well as that from more established labels, in other artists playing NDW.

I vividly recall watching the band on TV transmissions on (German) Rockpalast back in the early 80s, and I really enjoyed their sound but at the same time witnessed how little interest they garnered in the English music press. This very album stands as their perhaps best effort as a cornerstone, not only in Germany but as an important pioneers of European music that has inspired many more artists to follow. I hear much of their music in later Danish acts like Warm Guns, Voxpop, TV2, and Clinic Q.

Highly recommended.

CajsaStina Åkerström "Cajsa Stina" (1994)

Cajsa Stina [debut]
release date: 1994
format: digital
[album rate: 3 / 5]
producer: Kaj Erixon
label: MCA Music - nationality: Sweden

Track highlights: 1. "Fråga stjärnorna" (4 / 5) - 3. "Du (vill se dig igen)" (3,5 / 5) - 4. "Om jag var din flicka" (3 / 5) -6. "Vill du veta vem jag är" (3,5 / 5) (live)

Studio debut album by CajsaStina Åkerström. The style is European pop with a twist of r&b, pop soul and sophisti-pop. It contains the song "Fråga stjärnorna" ['Ask the stars'], which undoubtedly is her so far biggest hit in most Scandinavian countries. It sounds much like songs by Lisa Nilsson but is fine and addictive compositions. Apart from that the album is bit dull, though. Sometimes shes sounds like Nilsson, and other times she sounds more like Eva Dahlgren, which points to the weakness of the album: she seems more preoccupied about playing music by her sources to her inspiration rather than being her own self.

CajsaStina Åkerström

~ ~ ~

CajsaStina Åkerström [aka Cajsa-Stina] is a Swedish pop soul contemporary r&b singer / songwriter born Aug. 16, 1967 in Stockholm, Sweden. She is daughter of Swedish folk and singer / songwriter Fred Åkerström. Musically, her style is pop, pop soul, and in that closely related to that of Swedish Lisa Nilsson.

~ ~ ~

Van Morrison "Into the Music" (1979)

Into the Music
release date: Aug. 1979
format: cd (2008 remaster)
[album rate: 4 / 5] [4,16]
producer: Van Morrison, Mick Glossop (ass. producer)
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "Bright Side of the Road" (4 / 5) - 2. "Full Force Gale" (4,5 / 5) (live) - 3. "Stepping Out Queen" (4 / 5) - 4. "Troubadours" - 6. "You Make Me Feel So Free" (4 / 5) - 7. "Angeliou" - 8. "And the Healing Has Begun" - 9. "It's All in the Game"

11th studio album by Van Morrison originally released on Mercury Records is almost as the Morrison tradition prescribes: something else as he has hardly ever released two consecutive albums in the same genre and style. It's always build on a singer / songwriter formula, and quite often, as is the case here, he incorporates rhythm & blues and soul. Compared to his previous and rather successful album Wavelength from '78 he has sort of summed up things on this one. Although, he had just produced his so far most mainstream pop / rock album ever, and to much success, he has abandoned that style with Into the Music, which is a way of saying: "that wasn't me - now, let's dig into the music."
At this point of his musical journey Morrison had left America and returned to the UK, settling in a London-neighbourhood. The songs are both filled with religious / mystic content, which has been central motifs throughout his long career and then celtic folk also plays a strong part on an album that seems to contain both ends of his musical strengths: the strong self-reflections on emotional grounds and the uptempo soulful compositions that recall Ray Charles and Fats Domino as inspirational sources.
The album is rightfully considered one of Morrison's very best and it contains several compositions that have found their way to best of albums, which I initially wrongly thought the album was - all because of the strong songs it contains. Just the first three tracks: "Bright Side of the Road", "Full Force Gale" and "Stepping Out Queen" are top-notch compositions, and the quality of the remaining songs is so high that it's no wonder it received critical acclaim and is regarded a musical cornerstone. Village Voice music critic Robert Christgau argued that the album was his best since 1970's Moondance. Van Morrison has never been a singles hit artist, and the best fairing single from the album was "Bright Side of the Road" reaching number #63 in the UK and number #110 in the US, which seems almost ridiculous. That song also featured as the B-side on "Full Force Gale", which didn't make noteworthy sales, which again proves how singles weren't Morrison's nor the label's concern, but both tracks are natural ingredients on any compilation album encompassing his long career.
Highly recommended.
[ allmusic.com 4,5 / 5, Rolling Stone 5 / 5 stars ]