Gorillaz "The Fall" (2010)

The Fall
release date: Dec. 25, 2010
format: digital
[album rate: 3 / 5] [3,18]
producer: Gorillaz, Stephen Sedgwick
label: Parlophone - nationality: England, UK

Track highlights: 2. "Revolving Doors" - 3. "HillBilly Man" - 4. "Detroit" - 9. "The Snake in Dallas" - 10. "Amarillo" - 13. "Bobby in Phoenix" (feat. Bobby Womack)

4th studio album by Gorillaz [read: Damon Albarn] released only 7 months after Plastic Beach is an album, which actually showcases a much bolder change of style than one might expect. Albarn experiments, and here he has (luckily) left much of the experimental hip hop universe and instead digged into glitch pop, minimal house and electropop. Except from the two The Clash members Mick Jones (track #3) and Paul Simonon (track #12), and Bobby Womack (track #13), the vast crowd of featuring guest performers are as good as stripped down to Damon Albarn, who has composed, played and sang most of the tracks on his own.
Apparently, the entire album was recorded and mixed on Albarn's iPad during the American leg of the Escape to Plastic Beach World Tour (and more specifically the tracks were recorded from Oct. 3 to Nov. 2, 2010). Some critics point to the quick recording and production time when referring to the album as "outtakes" from Plastic Beach. Others just ignore it for being a commercial stunt. I think, they're both wrong, and it does contain fine music.
My first impression was an album of lesser interest than Plastic Beach and Demon Days, but most of all it really comes out as a document of Albarn's musicality - his interest for incorporating and playing with new styles in his broad musical universe, and, I think he has found a tone of his own. The thing is, with Albarn one has to come to terms with being confronted with new music, new influences, and in the end The Fall simply is more than just some sketches without being truly essential.
[ allmusic.com, The Guardian 3 / 5, Rolling Stone 3,5 / 5 stars ]

Neil Young "Comes a Time" (1978)

Comes a Time
release date: Sep. 29, 1978
format: cd (1993 reissue)
[album rate: 3,5 / 5] [3,63]
producer: Neil Young; Tim Mulligan; Ben Keith; David Briggs
label: Reprise Records, Germany - nationality: Canada

Track highlights: 1. "Goin' Back" (3,5 / 5) - 3. "Look Out for My Love" - 4. "Lotta Love" (3,5 / 5) - 5. "Peace of Mind" (4,5 / 5) - 6. "Human Highway" (3,5 / 5) - 7. "Already One" (4,5 / 5)

9th studio album by Neil Young is a solo release, and often when he's on his own, he turns to his roots of country and folk, and that's not my preferable cup 'o tea. The singer / songwriter folk songs are the best but there's simply too much Hank Williams in some of the weaker tracks - e.g. "Human Highway" and "Field of Opportunity" for my liking. Having said that, it's also a return to the "golden days" of his first solo albums and the album could easily be a natural follower to Harvest (1972), and it do contain some truly great songs. Crazy Horse feature on tracks #3 and #4 (produced by David Briggs) and there's plenty of artists helping out on this, although, it sounds rather quiet.
[ allmusic.com 4,5 / 5, Rolling Stone 5 / 5 stars ]

The Smiths "Hatful of Hollow" (1984)

Hatful of Hollow (compilation)
release date: Nov. 12, 1984
format: vinyl (ROUGH 76) / cd
[album rate: 4 / 5]
producer: John Porter, The Smiths, Roger Pusey, Dale 'Buffin' Griffin
label: Rough Trade Records - nationality: England, UK

Tracklist: A) 1. "William, It Was Really Nothing" (5 / 5) - 2. "What Difference Does It Make?" (4,5 / 5) - 3. "These Things Take Time" - 4. "This Charming Man" (5 / 5) - 5. "How Soon Is Now?" (4 / 5) - 6. "Handsome Devil" - 7. "Hand in Glove" (4 / 5) - 8. "Still Ill" (4 / 5)
B) 1. "Heaven Knows I'm Miserable Now" (5 / 5) - 2. "This Night Has Opened My Eyes" (4 / 5) - 3. "You've Got Everything Now" (4 / 5) - 4. "Accept Yourself" - 5. "Girl Afraid" (4 / 5) - 6. "Back to the Old House" (4 / 5) - 7. "Reel Around the Fountain" (4 / 5) - 8. "Please, Please, Please Let Me Get What I Want" (5 / 5)

Compilation album by The Smiths, and a sort of a strange release. It's the band's second album out but instead of a new studio release they send out a compilation album... I mean, how many bands release that after just one studio album? [I think The Beatles did, actually]. Anyway, this album was issued only 9 months after the debut and only 3 months before sending out a second studio album with brand new material. Hatful of Hollow contains the band's singles with B-sides and alternate recordings from John Peel sessions on BBC 1, but it's partly a clever record company decision, as the band had faced great success with their singles following the album debut. Another aspect is that Morrissey and Marr didn't fully appreciate the production sound by John porter on the debut, and they wanted the songs recorded in better versions.
The singles "Heaven Knows I'm Miserable Now" / "Suffer Little Children", and "William, It Was Really Nothing" / "How Soon Is Now?" both fared rather well and had only one song on the debut album. So, in that way this album is not 'just' an ordinary compilation of tracks you already know of.
Highly recommendable.
[ allmusic.com, Uncut, Select 5 / 5, Rolling Stone, Q Magazine 3 / 5 stars ]

The The

~ ~ ~

The The: formed in London, UK, 1979 by Matt Johnson (born Aug. 15, 1961 in London). Over the years several members have been included in The The but Johnson is the only founder and consistent member behind the name. Band members: Matt Johnson (vocals, guitar, keyboards), Keith Laws (keyboards, 1979-81), Steve Sherlock (saxophone, 1979-81), Tom Johnston (bass, 1980), 'Triash' Peter Ashworth (drums, 1980), Simon Turner (guitar, vocals, 1981), Colin Lloyd Tucker (guitar, vocals, 1981), Johnny Marr (guitar, harmonica, 1988-94), James Eller (bass, 1988-94), Dave Palmer (drums, 1988-94), D.C. Collard (keyboards, 1991-97), Keith Joyner (guitar, backing vocals, 1993-94), Jared Nickerson (bass, 1993-94), Gail Ann 'Hollywood' Dorsey (bass, 1994-96), Eric Schermerhorn (guitar, 1995-2002), Brian MacLeod (drums, 1995-97). Most of these members are more or less handpicked musicians that Matt has worked with on different occasions. In the years from 1988-94 The The consisted of a quartet that has been the most stable band featuring Matt Johnson, Johnny Marr (of The Smiths), James Eller, and Dave Palmer. Johnson released his solo debut album Burning Blue Soul in 1981 under his own name, however, in '93 it was re-issued as a release by The The, apparently, suggested by Johnson himself, so that all his album releases could be found under the band name. His older brother Andrew (aka Andy Dog) has made the cover art for several of the releases (singles, eps, studio albums). They are easy to point out as they are all painted in a very unique way with heavy use of colors, thick strokes, and a cartoonist expressionist style. Stylistically, The The has released music which covers many styles and genres but the main styles are neo-psychedelic rock and experimental pop / rock inspired by old school art rock and psychedelic rock artists like The Velvet Underground and Syd Barrett (of Pink Floyd), and more contemporary artists like The Residents and Throbbing Gristle. From the first releases Matt Johnson / The The has progressed towards more mainstream pop / rock releases of pop soul and blues rock elements but since the successful Dusk in '93, Johnson has experimented with his music, e.g. releasing the country homage to Hank Williams Hanky Panky in '95, the experimental and neo-psychedelic art rock release NakedSelf in 2000 (his latest studio album to date). Since then, he has withdrawn from the public eye and concentrated on studio projects for art installations, soundtrack albums for feature movies and documentaries, founded his own label Cinéola [also hosting podcast series with Johnson as host], and he has expanded his musical styles with ambient and minimalism.

~ ~ ~

Orchestral Manoeuvres in the Dark "Organisation" (1980)

Organisation
release date: Oct. 24, 1980
format: vinyl (1982 reissue) / reissue - DID 6) / cd (2005 remaster)
[album rate: 4 / 5] [4,18]
producer: OMD and Mike Howlett
label: Virgin / Dindisc - nationality: England, UK

Tracklist: 1. "Enola Gay" (5 / 5) - 2. "2nd Thought" (4 / 5) - 3. "VCL XI" (4 / 5) - 4. "Motion and Heart" (3 / 5) - 5. "Statues" (3 / 5) - 6. "The Misunderstanding" (4,5 / 5) - 7. "The More I See You" - 8. "Promise" - 9. "Stanlow"

2nd album by Orchestral Manoeuvres in the Dark released on Dindisc (sublabel of Virgin) only 8 months following the debut album, which had been Andy McCluskey and Paul Humphrey's project, but for this they have included drummer Malcolm Holmes as full-time member of the band.
This was the first album I heard with the band. At the time of its release, I was somewhat sceptical. I liked the synthpop and pop-elements, although, it was quite a new mix, and it felt very strange to someone who loved the energy and 'up-yours'-attitude of the contemporary punk rock. So my hesitation was really just a matter of not compromising myself by admitting to like something too attached to the contemporary popular culture. Anyway, I soon found that OMD was too extravagant, too modern, and perhaps to art pop-styled to fully attract a mere pop audience. Besides, I didn't care much what other people thought, and the band soon became another favourite of mine. "Enola Gay" was the hit single at the time but the album really contains so many great tracks. "VCL XI" ('VCL 11') was actually the name of the band (taken from an electrical diagram on the back-cover of Radio-Aktivität, 1975, by Kraftwerk) before choosing the longer name that eventually was abbreviated to just OMD. This early album is one of the band's best ever. On this one will find the original sound, a new wave and synthpop style that is anything than the hardrockin' attitude of other artists. The style is a mix of influences. Their biggest source of inspiration is Kraftwerk, which comes through in the more instrumental electronic parts, and even more so on Dazzle Ships (1983). The German band never mixed traditional instruments, bass, drums, and vocal arrangements like OMD, and with Organisation they became themselves the biggest source for other synthpop and electronic artists to follow in Britain, and also contemporary synthpop artists are hard to imagine without a link to OMD.

I first purchased a 'black cover' reissue (probably from 1986). Since then, I have tried to get hold of an original issue - I purchased one filed as an original 1980-issue, only to realise it's actually a 1982-reissue with the original grey cover.
[ allmusic.com, Q Magazine 4 / 5 stars ]

org. 'grey' Dindisc cover
with a bonus 7'' ep

The Style Council "Money-Go-Round (Parts 1+2)" (1983) (single)

own scan

Money-Go-Round (Parts 1+2), 7'' single
release date: May 1983
format: vinyl (TSC2)
[single rate: 2,5 / 5] [2,66]
producer: Peter Wilson and Paul Weller
label: Polydor Records - nationality: England, UK

Tracklist: A) "Money-Go-Round (Part 1)" - - B) "Money-Go-Round (Part 2)"

2nd single release by The Style Council. The single is included in a slightly altered "Club Mix" version on the band's first ep Introducing the Style Council. Following the single "Speak Like a Child" this is a different kinda style, and definitely not something one would associate with The Jam. It's jazz pop and funk (!) without the soul element, and really not my cup of tea.

Red House Painters "Red House Painters" (1) (1993)

Red House Painters (1)
release date: May 24, 1993
format: cd
[album rate: 4 / 5] [3,78]
producer: Mark Kozelek
label: 4AD Records - nationality: USA

Tracklist: 1. "Grace Cathedral Park" - 2. "Down Through" - 3. "Katy Song" (4 / 5) - 4. "Mistress" - 5. "Things Mean a Lot" - 6. "Funhouse" - 7. "Take Me Out" - 8. "Rollercoaster" - 9. "New Jersey" - 10. "Dragonflies" - 11. "Mistress" (Piano Version) - 12. "Mother" - 13. "Strawberry Hill" - 14. "Brown Eyes"

2nd studio album by Red House Painters released on 4AD and produced by Mark Kozelek follows only 8 months after the band's debut, Down Colorful Hill (Sep. 1992). The self-titled album is often referred to as Red House Painters [Rollercoaster] with reference to the front cover as also the following album is without other title than the band name thus being referred to as Red House Painters [II], or: Red House Painters [Bridge].

All tracks are credited Mark Kozelek, and it's simply one of the band's best albums. I really like the shoegaze, and dream pop sound and the feel on this one, which may be typical for the productions on 4AD Records, although, it's not really a style related to later Kozelek albums.
[ allmusic.com 4,5 / 5 stars ]

Atrocity "Because" (1985) (single)

own scan

Because, 7'' single (Arne 5)
release date: 1985
format: vinyl
[single rate: 3 / 5] [3,22]
producer: Ole Dreyer & Carsten West
label: Hub Records - nationality: Denmark

Tracklist: A) 1. "Because" - 2. "Scene" - - B) 1. "Love Song" - 2. "Part of the Crowd"

Single and only release by Danish post-punk band Atrocity consisting of vocalist and keyboardist Peter Boye, guitarist Ulrik Andersen, bassist Bjarne Hansen, and drummer Rune Torp.

[ collectors' item - from ~ €60,- ]

Jean-Michel Jarre "Magnetic Fields" (1981)

Magnetic Fields
release date: May 22, 1981
format: cd (2014 remaster)
[album rate: 3 / 5] [2,96]
producer: Jean Michel Jarre
label: Sony Music - nationality: France

Track highlights: 2. "Magnetic Fields, Part 2" - 4. "Magnetic Fields, Part 4" - 5. "Magnetic Fields, Part 5"

5th studio album by Jean-Michel Jarre originally released on Disques Dreyfus is the first in a long series of more pop-shaped albums. The compositions are still all instrumental but now focusing on more simple structures, which broadened the way for much bigger commercial success. I remember well how friends at school enjoyed this and his following albums, whereas I never really got it. I rejected this before hearing it to the end. It's soaked in pop matter and jingle-like tunes. I still find it close to mediocre compared to his two previous grand albums. The only positive sides to it, is a rather fine production sound, and that it still contains progressive electronic, and not only his later popularised and synthesized version of electropop, and although, I find tracks #2, #4 and #5 the best from the album they do contain elements that he would later draw from to compose his most popular tracks. The album was his third album to top the albums chart list in France.
[ allmusic.com 4 / 5 stars ]

Sandie Shaw "Hand in Glove" (1984), single

Hand in Glove, 12'' single
release date: Apr. 9, 1984
format: vinyl (RTT 130) / digital
[single rate: 4 / 5] [3,76]
producer: John Porter
label: Rough Trade - nationality: England, UK

Tracklist: A) 1. "Hand in Glove" (3,5 / 5 ) - - B) 1. "I Don't Owe You Anything" (4 / 5) - 2. "Jeane" (4 / 5)

Single release by Sandie Shaw; although, it's also a single by The Smiths featuring Sandie Shaw. All three songs are written and composed by Morrissey and Marr, and Shaw contributes with her voice. Morrissey isn't credited on the album as musician, although, it's apparent that he adds additional and / or background vocals on the song "Jeane". All songs have been rearranged with new instrumental parts for the occasion. The producer is John Porter - like he is on the debut album by The Smiths, and the label is Rough Trade, which is the one The Smiths are contractually bound to, and then also the cover is made completely in the tradition by The Smiths with Morrissey finding a classic b/w photo of a former actor / actress. In this case it's a retro film shot of British actress Rita Tushingham.
The single peaked at #27 on the UK single charts, which played a major part to boost Shaw's comeback.

Gorillaz "Plastic Beach" (2010)

Plastic Beach
release date: Mar. 9, 2010
format: cd
[album rate: 3,5 / 5] [3,48]
producer: Gorillaz
label: Parlophone - nationality: England, UK

Track highlights: 4. "Rhinestone Eyes" - 5. "Stylo" (feat. Bobby Womack & Mos Def) - 6. "Superfast Jellyfish" (feat. Gruff Rhys & De La Soul) - 8. "Glitter Freeze" (feat. Mark E. Smith) - 10. "On Melancholy Hill" - 11. "Broken" - 13. "Plastic Beach" (feat. Mick Jones & Paul Simon)

3rd studio album by Gorillaz following Demon Days by almost five years is an album with a more 'experimental hip hop' and 'glitch pop' style on top of the 'art pop'. The album features a vast number of prominent guest appearances - including Snoop Dogg, Bobby Womack, De La Soul, Mark E. Smith. Mick Jones and Lou Reed.

Naturally, Damon Albarn hasn't just stopped making music for nearly five years. He has been involved in all sorts of side-projects - initiating the lasting "super-group" The Good, The Bad & The Queen, being involved in projects connected to African music: Monkey Journey to the West (2008) and Africa Express (2009) - as well as re-joining Blur for live concerts. Albarn is a genuine music machine.

My initial thoughts about the album had me thinking of it as weak. I found that it didn't contain any evident hits, where "Stylo" and especially "Superfast Jellyfish" were the only tracks above the mediocre, but - like is the case with, I think, all Gorillaz studio releases except the debut - I have changed my opinion during the last 10 years or so. And possibly this album took me the longest time to embrace. No, it doesn't showcase a lot of memorable songs. And, I do find the bold focus on 'experimental hip hop' a bit tedious in the long run, which initially had me thinking of it as far from an immediate favourite; however, looking at it from a contemporary perspective and with a mindset on what Gorillaz did that worked, it's really not that bad, and I do find that it contains original fine tunes. Plastic Beach is really the band's first conceptual album in that it has its centre around modern society and the obvious pits of various types of pollution - be it the most literal: Plastic on the world's beaches, or the more symbolic themes about questionable lifestyles and what seems to be a stress on artificial material, which is underlined by utilizing synthesizers, loops, 'dub' programming, electronic beats and various types of electronic equipment.

And no, the hit material may be less evident, but the overall thematic tone and message is put at first hand, and that, I think works quite all right. There's a sensation of seriousness that isn't present on Demon Days or the debut, which makes it gloomier - less positive. I don't consider it among the absolute best by Gorillaz, as it generally points in all sorts of directions, but then again, this band is and never was about making cohesive albums, as much as showcasing what they have as their most potential strength: a platform / playground for near endless musical possibilities, and here they demonstrate an original perspective on modern life.

[ allmusic.com, Rolling Stone 3,5 / 5, Q Magazine 5 / 5 stars ]

Lise Westzynthius "Rock, You Can Fly" (2004)

Rock, You Can Fly

release date: Mar. 22, 2004

format: cd (TRBL 111))

[album rate: 3,5 / 5] [3,58]

producer: Ian Caple

label: Auditorium / Playground - nationality: Denmark

Track highlights: 1. "Séance" (video) - 2. "Mousquetaire" - 5. "Break Another Heart" - 7. "Cowboys and Indians" (video) - 8 . "Sunstroke" - 10. "The Wreck" - 11. "Return to Take-Off"

2nd studio album by Lise Westzynthius following 1½ years after Heavy Dream (Sep. 2002) is produced by Ian Caple, who amongst other things has worked with Saybia, Sort Sol (the Danish connection), Tindersticks, Suede, and The Creatures - an international producer name making his engagement on this a bit of a scoop. All twelve songs are credited Westzynthius and the album was recorded with a stable core of (primarily British) studio musicians. The total running time is close to 52 minutes.

Her debut album gave hints of originality but basically didn't come through as a strong coherent release. In contrast to that, Rock You Can Fly boasts with diversity and musical artistry on a level that immediately puts her on par with international names of electronic indie pop with a singer / songwriter edge. On earlier releases - with Luksus and on her debut - she took too strong inspirations from say Dolores O'Riordan or Morrissey, but here she appears mostly in her own original projection. It's predominantly in an introspective and ethereal corner of indie pop and the overall sensation is remarkably well-grounded, as if coming from someone who has released 5-7 albums prior to this. I think, with this Westzynthius really proves her worth as a solo artist, providing great expectations for upcoming albums.

This particular album is recommended as Westzynthius' best (ever) solo album.

The Birthday Party "Prayers on Fire" (1981)

Prayers on Fire [debut]
release date: Mar. 30, 1981
format: digital (2000 remaster)
[album rate: 2,5 / 5] [2,72]
producer: Tony Cohen, The Birthday Party
label: 4AD Records - nationality: Australia

Studio album debut, or: second album by Australian post-punk and no-wave band The Birthday Party... Fact is, it's officially the first under the name of The Birthday Party; however, the same band with the same line-up - under the name of The Boys Next Door - released the album The Birthday Party in 1980, and in retrospect that album has been re-released as the debut by The Birthday Party.

Anyway, this album follows the 1980-album, and the earlier debut album Door, Door (1979) by the same members but under the name of The Boys Next Door, with some of its members who had played together since 1973, and in the current line-up since '76.

Compared to the 1980-album The Birthday Party this takes another step in an experimental direction focusing on art punk and no wave with less harmony structure.

I never really liked this album nor the music of this band all that much, and it's quite evident that this is a different version of post-punk looking at how it was probably less harmonic and melodic compared to its British counterparts, which was overshadowed by gothic rock. This is closer to a clone of American proto-punk (The Stooges), contemporary no wave (Contortions) and German industrial and experimental post-punk (e.g. Einstürzende Neubauten) at the time looking for new ways of musical expression.

After this, the band released Junkyard in '82 before they finally dissolved in '83 and split into the bands Crime & the City Sollution, and Nick Cave and the Bad Seeds.

[ allmusic.com 4 / 5, Rolling Stone Album Guide 3 / 5 stars ]

Dieters Lieder "Jeg ka' lieder" (1983)

Jeg ka' lieder [debut]
release date: 1983
format: vinyl (GENLP 133)
[album rate: 3 / 5] [3,18]
producer: Jesper Bay
label: Genlyd - nationality: Denmark

Track highlights: A) 1. "Ser på dig" - 2. "Åh-ååååh" - 5. "Du ka få den i nat" - - B) 1. "Søndag eftermiddag" - 5. "Gropiusstadt"

Studio debut album by Dieters Lieder with music composed by Johan Gerup on guitar, and with lyrics by Martin Gerup on drums. Apart from the two brothers the band consists of Ped Ott Tønsberg on bass, and with Peter Rahbek on vocals.
The music is an original blend of new wave and pop / rock with elements from post-punk. There are hints of The Jam, The Kinks, Blondie, Elvis Costello, and what I find connects with German new wave, Neue Deutsche Welle - and especially Ideal. Anyway, it was interesting at the time.
The album hasn't matured well, but I found some fine guitar notes by Johan Geerup. The best track was and still is undoubtedly "Gropiusstadt" with its great guitar work. The album didn't sell that many records, and the band did not succeed very well despite its unique sound and obvious talent. They had a minor radio hit with the song "Dig og mig" (1984). The song was included in the Danish TV-series Sonny Soufflé Chok Show (Winter 1986-'87) and it now became a major national hit (included on the '87-compilation Sonny Soufflé - Fra Tonny Til Sonny). And again in 1999 the song became a cover hit for the girl-duo Blå Øjne.
Dieters Lieder released their follow-up and final album Hvor flink kan man blive? in 1988.

Btw. Jeg ka' lieder in vinyl format comes with an extensive comic book as inlay.

[ collectors' item - from €40,- ]

Ebba Grön "Kärlek och uppror" (1981)

Kärlek och uppror
release date: Mar. 1981
format: vinyl (MLR-17) / digital
[album rate: 4 / 5] [3,86]
producer: Stefan Glaumann
label: Mistlur - nationality: Sweden

Track highlights: 1. "800°C" (4 / 5) - 2. "Mamma pappa barn" (4 / 5) - 3. "Stockholms pärlor" - 4. "Alla visa män" (4 / 5) (live) - 6. "Mental istid" - 9. "Slicka uppåt, sparka neråt" - 10. "Mord i mina tankar"

2nd studio album by Ebba Grön is recorded by the same cast of people as the debut - i.e. band members and producer Glaumann, but the sound has changed considerably to a more layered form.
The album really put the band on everyone's lips in Scandinavia back in the early 1980s. The music is no longer highly inspired by former American proto-punk artists but more securely reflects the band's very own original blend somewhere in between punk rock and new wave. The production sound is perhaps the most noticeable change compared to the debut from 1979, but also the lyrics by Joakim Thåström reflect a stronger social awareness.
All in all, this album is one of the true classics of the original Scandinavian punk rock scene. Kärlek och uppror was awarded the Swedish "Årets svenska album" ['Swedish album of the year'] prize Rockbjörnen in 1981.
Later in '81 the band became a quartet as keyboardist Stry Terrarie (aka Anders Sjöholm) was included and they began playing stronger blues rock-inspired material - they also released the single "Scheisse", which would be included on the band's third and final album in '82. Bassist Lennart 'Fjodor' Eriksson (apparently) found life on the road more than a tiresome affair, and still in '81, the band's front figure, lyricist, guitarist and vocalist Joakim 'Pimme' Thåström, drummer Gunnar 'Gurra' Ljungstedt and new band member keyboardist Stry Terrarie formed the side-project Rumdimperiet.
Highly recommendable.

Gorillaz "D-Sides" (2 CD) (2007)

D-Sides (compilation)
release date: Nov. 19, 2007
format: 2 cd (2017 reissue)
[album rate: 3,5 / 5] [3,45]
producer: Gorillaz, Jason Cox, James Dring, Danger Mouse
label: Parlophone - nationality: England, UK

Track highlights: CD ONE: 3. "Hongkongaton" - 4. "We Are Happy Landfill" - 5. "Hong Kong" - 8. "Bill Murray" (feat. The Bees) - 11. "Spitting Out the Demons"
CD TWO: 1. "DARE (DFA Remix)" (feat. Shaun Ryder) - 2. "Feel Good Inc. (Stanton Warriors Remix)" (feat. De La Soul) - 4. "DARE (Soulwax Remix)" (feat. Shaun Ryder) - 5. "Kids with Guns (Hot Chip Remix)" - 7. "DARE (Junior Sanchez Remix)" (feat. Shaun Ryder)

Compilation album by Gorillaz much like the G-Sides album a compilation containing B-sides, remixes and bonus tracks from their most recent album Demon Days (2005), thus both referring to that album [as "Demon Days-sides"] and also, I guess, as a suitable title extending the notion of something other and more than just "B-sides".
The idea of putting out a 2-disc compilation album of compositions, which are not best of material but "just" more of your favourite (project) band may seem over-the-top, but with Gorillaz it just falls out quite all right, 'cause fact is, the band builds its compositions on 'dub' and mixes, so new and quite different versions are easily constructed. CD ONE is reserved for actual single versions and more traditional (extended) mixes, whereas CD TWO contains new remixes of tracks from Demon Days and e.g. no less than three different versions of "DARE" and "Kids with Guns".
With some tracks you may ask yourself as to why they are here, but the longer you get into Gorillaz' world of sounds, it does make sense. Almost as usual with their albums - initially, I tend to have more luke-warm feelings to a new album, and then rather quickly I change my verdict to a more positive one. It's strange, very original and yet quite simple music, but I like it, although, I'm not listening to it that often, but when I do, I often end up thinking "It's actually pretty neat" 'cause fact is it basically sounds more like a new studio album than remixes of familiar tunes. It's really more than just Okay and definitely worth more than a listen or two and ultimately also has more to offer than the first compilation, G-Sides.
[ allmusic.com, NME 4 / 5, Uncut 3 / 5 stars ]

The Smiths "The Smiths" (1984)

The Smiths [debut]
release date: Feb. 20, 1984
format: vinyl (ROUGH 61) / cd
[album rate: 4,5 / 5] [4,45]
producer: John Porter, The Smiths
label: Rough Trade / MNW - nationality: England, UK

Tracklist: A side: 1. "Reel Around the Fountain" (4 / 5) - 2. "You've Got Everything Now" (4,5 / 5) - 3. "Miserable Lie" (4 / 5) - 4. "Pretty Girls Make Graves" (4 / 5) - 5. "The Hand That Rocks The Cradle" (5 / 5) - - B side: 1. "Still Ill" (4 / 5) - 2. "Hand in Glove" (4,5 / 5) - 3. "What Difference Does It Make?" (4,5 / 5) - 4. "I Don't Owe You Anything" (5 / 5) - 5. "Suffer Little Children" (5 / 5)

Studio debut album by The Smiths released on the punk rock related independent label Rough Trade Records. The album was an immediate favourite soon after the release. It sort of divided people, like most significant art does. Many ignored it 'cause it was too far from Springsteen, Huey Lewis & The News, and Tina Turner, or some found it too queer. And then a vast crowd simply saw it as refreshingly new and contrary to mainstream pop / rock. Clearly it was part of the 'indie' revolution at the time. Lots of new bands and unknown artists had found a way around the mastodon record companies who wouldn't sign with an artist who was too independent, and funny enough, that gave way to independent music and a whole new genre that actually wasn't a musical style but a practical and financial one. 'Indie' music was released on very low budgets, and Rough Trade Records, who happened to sign with The Smiths, was a rather well known independent company that grew rapidly. (Stephen Patrick) Morrissey and (Johnny) Marr [Maher] were the two major composers of the band. They got together in Manchester and put in an add seeking a drummer and a bassist for a new band. Mike Joyce (drums) and Andy Rourke (bass) may have played a secondary role as supporting members but they filled that part brilliantly, as their roles were given and they played along with their instrumental skills without asking too many questions. Marr created and directed the music to Morrissey's lyrics, and Marr / Morrissey soon became a signature like Lennon / McCartney was. The cover for the album is a photo of the 1960s / Andy Warhol male sex symbol, actor Joe Dallesandro, reflecting Morrissey's textual universe filled with sex disgust and impossible love.
Highly recommendable.
[ allmusic.com 5 / 5, Blender, Q Magazine, Rolling Stone, Uncut 4 / 5 stars ]

1984 Favourite releases: 1. U2 The Unforgettable Fire - 2. The Smiths The Smiths - 3. The Blue Nile A Walk Across the Rooftops

Everything but the Girl "Love Not Money" (1985)

Love Not Money
release date: Apr. 1985
format: vinyl (BYN 3) / cd (1995 reissue)
[album rate: 4 / 5] [4,24]
producer: Robin Millar
label: Blanco y Negro - nationality: England, UK

Track highlights: A) 1. "When All's Well" (5 / 5) - 3. "Shoot Me Down" (4 / 5) - 4. "Are You Trying to Be Funny?" (4 / 5) - - B) 1. "Ballad of the Times" (4 / 5) - 3. "This Love (Not for Sale)" - 4. "Trouble and Strife" (4 / 5) - 5. "Angel" (4 / 5)

2nd studio album by Everything but the Girl. The album introduces a change of style to their most jangle pop sounding album. As much as I liked the slow and gentle jazz pop of the earliest takes, I really prefer Tracey and Ben when they're more up-tempo as here. It's still sophisti-pop with sax and violins and in that close to a more pop soul-style embodied by Sade. The album reached number #10 on the UK albums chart list. I had listened shortly to Eden (1984), and initially found that of little interest (and first saw the debut as fine and delicate some 10-15 years later), but this was the first album I purchased with EBTG and it remains one of my top 3 favourites by the band.
The front cover features a B/W photo by British photographer John Humphrey Spender titled "Bolton Wasteland for Mass Observation", 1937.
Highly recommendable.
[ allmusic.com 3 / 5 stars ]

Orange Juice "You Can't Hide Your Love Forever" (1982)

You Can't Hide Your Love Forever
release date: Feb. 1982
format: digital (1998 re-issue)
[album rate: 4 / 5] [3,94]
producer: Adam Kidron
label: Polydor Records - nationality: Scotland, UK

Track highlights: 1. "Falling and Laughing" - 3. "Wan Light" - 4. "Tender Object" - 6. "L.O.V.E. (Love)" - 8. "Upwards and Onwards" (4 / 5) - 10. "Three Cheers for Our Side" - 11. "Consolation Prize" - 12. "Felicity"

Studio album debut by Scottish quartet Orange Juice, founded in 1979 [formerly known as Nu-Sonics from 1976-79 with Edwyn Collins, Alan Duncan, James Kirk and Steven Daly] and here made up by Edwyn Collins on lead vocals and guitar, James Kirk on guitar and vocals, David McClymont on bass guitar and with Steven Daly on drums and percussion. Nine of the album's 13 tracks are composed by Collins, and three are by Kirk and track #6 is a cover written by Al Green, Mabon 'Teenie' Hodges and Willie Mitchell.
Stylistically, the album may be part of the wide post-punk label as a natural consequence of being released in the early 80s, but the link to any punk rock traits is really not here. Instead it's associated with blue-eyed soul and more adequately labelled as jangle pop and indie pop as one of the absolute first of the genre, which would pave way for sofhisti-pop, and its' an album that played a major role as inspiration for bands in the early 1980s.
One of the band's most characteristic features is the vocal of Edwyn Collins, and at the time, I mostly found it too peculiar to really consider the band one of my favourites. In hindsight though, it's no wonder Mr. Collins has been mentioned as a remarkable singer and songwriter. The sound of the band is quite unique and the inclusion of brass, strings and harmony vocals makes me think of the band as a unity with links to the blue-eyed soul and baroque pop of the 1960s.
The album became the band's best charting album reaching number #21 on the albums chart list in the UK. In retrospect, one should perhaps praise the band and Collins (in particular) more for being an obvious source of inspiration for bands like Aztec Camera, The Go-Betweens, Everything but the Girl, The Divine Comedy and The Smiths.
[ allmusic.com, Smash Hits 4 / 5 stars ]

Aztec Camera "Stray" (1990)

Stray
release date: Jun. 28, 1990
format: vinyl (WX350) / cd
[album rate: 4 / 5] [4,06]
producer: Roddy Frame & Eric Calvi
label: WEA Records - nationality: Scotland, UK

Track highlights: 1. "Stray" (4 / 5) - 2. "The Crying Scene" - 3. "Get Outta London" - 4. "Over My Head" (5 / 5) - 5. "Good Morning Britain" (feat. Mick Jones) - 6. "How It Is" - 8. "Notting Hill Blues" (4 / 5) - 9. "Song for a Friend" (live)

4th studio album release by Aztec Camera is a return to more folk-oriented sources. The 1987 album Love was a wonderful collection of blue-eyed pop soul and jangle pop songs, and an album I would always consider for my desert island collection but it wasn't well-received by the English press who saw it as too naive and simply "out of time". I guess, Frame spent some time figuring out what to do next 'cause what he really does so well is to write simple love songs. As on Love Roddy Frame works alone here on his Aztec Camera project with hand-picked studio musicians to fill out the impression of a band release.
Stray is a return to simple singer / songwriter material with a bold political and social criticism on life in Britain. The album also features former Clash guitarist and composer Mick Jones on the hit single "Good Morning Britain", which I just find somewhat unoriginal and a bit tedious, although the critics kinda loved it. Best songs, however, are the title track and the the wonderful jazz-fuelled "Over My Head", which really showcases Frame's potential as a class singer / songwriter. Despite being ignored by critics and music buyers, the album is more than fine - in fact, I find it my favourite by Roddy Frame, and being forced to choose between the obvious pop release Love and this one, Stray would be my pick.
[ allmusic.com 4 / 5 stars ]

Van Morrison "Beautiful Vision" (1982)

Beautiful Vision
release date: Feb. 16, 1982
format: cd (1998 remaster)
[album rate: 4 / 5] [3,86]
producer: Van Morrison
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "Celtic Ray" - 3. "Dweller on the Threshold" (live) - 6. "Cleaning Windows" (live) - 7. "Vanlose Stairway" (live) - 8. "Aryan Mist" - 9. "Across the Bridge Where Angels Dwell" (live)

13th studio album by Van Morrison originally released by Mercury and as usual produced by Van himself is almost the exception to the rule that Van never releases an album in the same style as his previous album. Beautiful Vision takes off and continue his journey into a country-side of new age-inspired surroundings where Common One (1980) had left many critics and fans somewhat pondering as to what he was up to, perhaps thinking he had given up on his rhythm & blues ground.
It seems critics were more positive about this than the predecessor - many claiming that this is more coherent and melodic.
I recall the time of its release - I wasn't yet a fan but remember how Al Jones on the national radio show kept circling around the fact that Morrison had a Danish girlfriend and that the album had a Danish theme and Scandinavian touch running through it. Of course he had tracks like "Northern Muse (Solid Ground)", "Vanlose Stairway" and "Scandinavia" as obvious evidence, though perhaps the track "Across the Bridge Where Angels Dwell" is one of his most direct love songs. I didn't listen to the album in its entirety until the late 80s thinking of it as one of his lesser releases, but that impression has changed since then. I have always returned to this album, and every time it has given me something new. And that's the obvious strength about it 'cause it has the same universal greatness about it as its predecessor. It's not so much the single tracks that makes you listen but the stories and the sensations it stirs. Earlier, I always felt that "Cleaning Windows" was the only true hit on the album. Nowadays, I still enjoy that, although, I find it a bit out of tune with the other songs, as it has a simpler construct, like a song that would fit better on Into the Music (1979). The other songs here are deeper, soothing of either mysticism or a search of something... love or beliefs. Undoubtedly, the album is produced during a time where Morrison was in search of spiritual faith. Whether he was a strong believer or not, the music and lyrics he delivers don't link him to any specific belief, and the overall theme of love may be interpreted in many ways, which I think is a fine strength of the album. There's a fine element of (free) jazz that stirs the tone of 'new age' and makes it all much more digestible.
It's not an album full of great hit songs, but it's far from weak or a low point in Van's long career. I basically consider it essential to the Van Morrison collection.
Highly recommendable.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Squeeze "East Side Story" (1981)

East Side Story
release date: May 15, 1981
format: vinyl (AMLH 64854) / cd (2021 remaster)
[album rate: 4 / 5] [3,84]
producer: Elvis Costello & Roger Bechirian
label: A&M Records - nationality: England, UK

Track highlights: 1. "In Quintessence" (4 / 5) (live) - 2. "Someone Else's Heart" (video) - 3. "Tempted" (official video) - 4. "Picadilly" - 6. "Heaven" - 7. "Woman's World" (video) - 8. "Is That Love" (TV-performance) - 10. "Labelled With Love" (TV-performance) - 11. "Someone Else's Bell" - 12. "Mumbo Jumbo"

4th studio album by British quintet Squeeze produced by Elvis Costello and Roger Bechirian except track #1, which is produced by Dave Edmunds. Jools Holland left the band after the release of Argybargy (1980) and he is here replaced by Paul Carrack. Other credited band members are: Glenn Tilbrook as lead vocalist, on lead guitar and on keyboard, Chris Difford on rhythm guitar and backing vocals (lead vocals on "Someone Else's Heart" and "Heaven"), Paul Carrack on keyboards and backing vocals (lead vocal on "Tempted"), John Bentley on bass and backing vocals, and with Gilson Lavis on drums.

In the same year, Jools Holland released his solo debut Jools Holland and His Millionaires - he should return to to Squeeze in '85, but then left again in 1990 - and was later to become host on various English TV-shows, before settling as host on the BBC-show "Later.... with Jools Holland" from '92.

East Side Story pretty much continues where Argybargy ended only packed with even more truly fine compositions in tight and balanced arrangements.

The front cover shows us the new line-up from left to right: John Bentley, Gilson Lavis, Chris Difford, Glenn Tilbrook, and Paul Carrack.

This album is no less than the absolute best by Squeeze.

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

A Flock of Seagulls "Transfer Affection" (1983) (single)

Transfer Affection, 7'' single
release date: Jun. 1983
format: vinyl (Jive 41)
[single rate: 3 / 5] [2,88]
producer: Mike Howlett
label: Jive - nationality: England, UK

Tracklist: A) "Transfer Affection" - - B) "I Ran" (recorded live in concert, London)

Single release by Liverpool band, A Flock of Seagulls.

I single, I purchased just to get the "I Ran" song in a live version - not that I was ever a fan of the band.

Simple Minds "New Gold Dream (81-82-83-84)" (1982)

org. cover

New Gold Dream (81-82-83-84)
release date: Sep. 12, 1982
format: cd (1983 reissue)
[album rate: 4 / 5] [3,86]
producer: Peter Walsh
label: Virgin Records - nationality: Scotland, UK

Track highlights: 1. "Someone Somewhere in Summertime" - 3. "Promised You a Miracle" (4 / 5) - 4. "Big Sleep" - 5. "Somebody Up There Likes You" - 6. "New Gold Dream (81-82-83-84)" - 7. "Glittering Prize" (5 / 5) - 8. "Hunter and the Hunted"

5th studio album by Simple Minds and the band's second studio album on Virgin. Musically, the band has made a more distinct turn into mainstream pop / rock and composed a collection of pompous melodic synthpop anthems. Tracks #1, #3, #7, and #8 have all become Simple Minds staples at live concerts and the album became the band's international break-through album. It peaked at number #3 on the UK albums chart list and became the band's first multi-platinum selling album. None of the album's three singles (tracks #3, #7 and #1 - release order) became top-10 singles with "Promised You a Miracle" as the highest faring single at number #13 on the national singles chart list.
The album is the only by Simple Minds to be enlisted in "1001 Albums You Must Hear Before You Die". Overall, I find it Simple Minds' most cohesive and best album with a fine balance of synthpop artistry, new wave roots and original pop / rock, and "Glittering Prize" is the band's best single track - if forces to pick just one.

The Smiths "This Charming Man" (1983) (single)

This Charming Man, 12'' single

release date: Oct. 31, 1983
format: vinyl (RTD 010T) / digital
[single rate: 4 / 5] [4,18]
producer: John Porter, Geoff Travis
label: Rough Trade Records - nationality: England, UK

Tracklist: A) 1. "This Charming Man (Manchester)" (5 / 5) - 2. "This Charming Man (London)" (4 / 5) -- B) 1. "Accept Yourself" (3,5 / 5) - 2. "Wonderful Woman" (4 / 5)

One of the first singles released by The Smiths on Rough Trade Records and produced by John Porter. This was my first acquisition of any release by The Smiths. It's a beloved 12" single that I played over and over again until they finally released their debut album.
The single comes in various issues. A 7-inch was released Oct. 28 as a European release containing the title track and "Jeane" as B-side. A French 12-inch contains a US Remix of the title track as #B2 instead of #A2, and a Dutch issue contains the title track in two different versions: 'New York' mix of the single and an instrumental version.
The track "Jeane" on the initial 7-inch was included on the Sandie Shaw 12-inch single of "Hand in Glove" on which she performs with The Smiths (apparently, the track is identical to the one issued on the '83 single).

[ collectors' item - 'near mint' 1st German pressing - from €35,- ]

Téléphone "Téléphone!" (1982)

Téléphone!
release date: 1982
format: vinyl (OVED 10)
[album rate: 3 / 5] [3,16]
producer: Bob Ezrin
label: Virgin Records - nationality: France

Studio album or mini-album issued as an international release by French new wave, pop / rock quartet Téléphone consisting of Jean-Louis Aubert on lead vocals & rhythm guitar, Louis Bertignac on lead guitar & backing vocals, Corine Marienneau on bass & backing vocals (lead vocals on "The Cat"), and Richard Kolinka on drums. The cover is almost identical to the studio album Dure limit (Jun. 1982). The album contains six tracks with five titles with English titles, and translated, you'll find all tracks on Dure limit which contains ten tracks.

Lou Reed "Walk on the Wild Side - The Best of Lou Reed" (1977)

Walk on the Wild Side - The Best of Lou Reed (compilation)
release date: Apr. 1977
format: vinyl (1984 reissue) / cd (1990 reissue)
[album rate: 4 / 5]
producer: various
label: RCA International - nationality: USA

First best of compilation by Lou Reed solo, released on RCA International at the end of his contract with RCA (issued on cd, Oct. 25, 1990). The album comes in several versions with a number of bonus tracks. The original vinyl version contains 11 fine tracks, although, they don't really suffice, and you only wonder why they didn't bother making it a double album.
[ allmusic.com 4,5 / 5 stars ]

Pixies "Trompe le monde" (1991)

Trompe le monde
release date: Sep. 23, 1991
format: cd / vinyl (2021, 30th Anniversary Ed. - ltd. green vinyl)
[album rate: 4 / 5] [4,15]
producer: Gil Norton
label: 4AD Records - nationality: USA

Tracklist: 1. "Trompe le monde" - 2. "Planet of Sound" (4 / 5) - 3. "Alec Eiffel" - 4. "The Sad Punk" - 5. "Head On" - 6. "U-Mass" (4 / 5) - 7. "Palace of the Brine" - 8. "Letter to Memphis" - 9. "Bird Dream of the Olympus Mons" (4 / 5) - 10. "Space (I Believe In)" - 11. "Subbacultcha" - 12. "Distance Equals Rate Times Time" - 13. "Lovely Day" - 14. "Motorway to Roswell" - 15. "The Navajo Know"

4th and final epic studio album by Pixies is a strong return to a noise rock, garage rock universe. All tracks are written by Black Francis except for one song (like was the case on the previous album). Here they include a cover version, "Head On" by British noise-rockers Jesus and Mary Chain. When I first heard Trompe le monde, I was really disappointed. It wasn't the comeback release to the sound and glory of Doolittle (1989) that I had hoped for, and I didn't like the distorted singing / screaming by Francis. I thought it was nothing but noise. After the initial rejection I returned to it, and it took me some time but eventually it slowly opened, and I found the beauty in the ugly, you could say, almost like with the rest of their albums. It has some strong narrative beautiful songs like "Bird Dream of the Olympus Mons" and "Motorway to Roswell" as well as fierce-full outburst like "Planet of Sound", "U-Mass", and "Lovely Day". I think it's simply the band's second best album, although the unpolished Surfer Rosa (1988) is another album hard to get past.
The band spent the last months of '91 and most of '92 by touring, and tensions within the band led to an initial hiatus by the end of the year. The band members put energy in individual projects - of which the (Kim and sister Kelley) Deal-led band, The Breeders was most interesting. In early '93, in a BBC interview, Black Francis stated that Pixies were no more, and this was later informed to the other members, who apparently knew nothing of the split. Black Francis released his solo debut album Frank Black (now as Frank Black) in March, and lead guitarist Joey Santiago formed The Martinis and The Breeders released its fine debut album Last Splash in August that year. From hereon, it seemed very unlikely that Pixies should ever re-unite.
EDIT 2021:
Original issues of the album has sky-rocketed in prices, and yes, I happened to own that issue but as I resold that still of '91, I must settle with less. The cd-issue just isn't the same, and especially the cover art is so unique, you need to see it in another scale, so as of 2021, I have now purchased the album in a '30th Anniversary Edition', which luckily still sounds great and definitely much better than the various remaster editions, which should be avoided.
[ allmusic.com, Blender, Q Magazine, Rolling Stone 4 / 5 stars ]

2021 vinyl reissue

Modern English "After the Snow" (1982)

After the Snow
release date: May 3, 1982
format: vinyl / cd (1992 reissue)
[album rate: 3,5 / 5] [3,42]
producer: Hugh Jones, Modern English
label: 4AD Records - nationality: England, UK

2nd studio album by Modern English. The '92 cd-issue is definitely the better option here with its 6 bonus tracks of which four are 'just' remixes of album tracks but it also contains the nearly 12 minutes long "The Choicest View", the B-side track from the Life in the Gladhouse 12'' single.

The Cure "Pornography" (1982)

Pornography
release date: May 3, 1982
format: vinyl (2383 639) / 2 cd (2005 remaster)
[album rate: 4 / 5] [4,02]
producer: Phil Thornalley, The Cure
label: Fiction Records - nationality: England, UK

Tracklist: A) 1. "One Hundred Years" (4 / 5) - 2. "A Short Term Effect" (4 / 5) - 3. "The Hanging Garden" (4,5 / 5) - 4. "Siamese Twins" (3 / 5) - - B) 1. "The Figurehead" (3,5 / 5) - 2. "A Strange Day" (4 / 5) - 3. "Cold" (3 / 5) - 4. "Pornography" (4 / 5)

4th studio album by The Cure following one year after Faith (May 1981). The band remains a trio, although, the band's bassist Simon Gallup would leave after the album release and Laurence Tolhurst shows initiating attempts with his (rather big) instrumental change going from drummer to keyboardist, although, he only plays keyboard on "One Hundred Years", whereas Smith still handles keyboards on the remaining tracks. At this point of their career the band hasn't yet made two albums with a similar sound or style. It's still gothic rock and post-punk but on this, drum machines and keyboards play a much more central part, and the whole atmosphere of the album is one of strong tension and anger. This is also the band's final album of dark, sinister gothic rock. From Seventeen Seconds (Apr. 1980) to this, you'll notice a progression from dark, over gloomy darkness and despair, to almost touch on explosive self-destructiveness. Robert Smith has often explained how they felt on a musical slope where they ended with this, and there was no going further from here. The only way out was death or a change of style. They obviously chose life, and from here on they started to play much lighter synth pop music, and met greater commercial success.
The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 3,5 / 5, Rolling Stone 1,5 / 5 stars ]

[ collectors' item - 'near mint' from ~ €60,- ]

BEST OF 1983:New Order "Power, Corruption & Lies" (1983)

Power, Corruption & Lies
release date: May 2, 1983
format: vinyl (FACT 75) / cd
[album rate: 5 / 5] [4,77]
producer: New Order
label: Factory / MNW - nationality: England, UK

Tracklist: A) 1. "Age of Consent" (5 / 5) (studio session) - 2. "We All Stand" (4 / 5) - 3. "The Village" (5 / 5) - 4. "586" - - B) 1. "Your Silent Face" - 2. "Ultraviolence" (live in '83) - 3. "Ecstacy" - 4. "Leave Me Alone" (5 / 5)

2nd studio album by New Order released as FACT 75 / FACT SEVENTY FIVE on Factory Records (Factory / MNW in Scandinavia). Although, it doesn't even contain "Blue Monday" released only two months prior to this, PC&L stands as New Order's masterpiece. With this, New Order was way ahead of anyone else at the time just like when (they as) Joy Division made their two classic albums. This is one of those very rare albums that just sounds like that and nothing or no one else. If someone should pick the most important album of the 80s they'd be in serious trouble and doubt as to whether to choose Closer (1980) or Power, Corruption & Lies by the same people. One of my all-time favourite tracks is "Leave Me Alone".
A 'Collector's Edition' was released as a double cd with tracks omitted from the album like "Blue Monday", "The Beach", and 1984 tracks like "Confusion" and "Thieves Like Us". I can only give this album my highest recommendations as the music, now more than 30 years old, still seems new, fresh and timeless.
Every home should have one!
[ allmusic.com 4,5 / 5, Blender 5 / 5, Rolling Stone 4 / 5 stars ]

1983 Favourite releases: 1. New Order Power, Corruption & Lies - 2. Tom Waits Swordfishtrombones - 3. Big Country The Crossing

Kliché "Supertanker" (1980)

Supertanker [debut]
release date: 1980
format: vinyl (MdLP 6021) / cd
[album rate: 5 / 5] [4,85]
producer: Kliché, Poul Bruun
label: Medley Records - nationality: Denmark

Tracklist: A) 1. "Igen og igen" - 2. "Havets blå" (live) - 3. "Hetz" - 4. "Militskvinder" - 5. "Panorama" - - B) 1. "Aldrig mere" - 2. "Stjernerne i deres øjne" - 3. "Bodyguards" - 4. "Masselinjen"

reviewed Nov. 21, 2004
Studio debut album by the Danish band Kliché at this point consisting of Lars Hug [Lars Haagensen] on vocals and guitar, Johnny Voss [Johannes Møller] on bass and vocals, Jens Valo [Jens Danielsen] on keyboards, and with Anders Brill [Anders Gilberg] on drums. In my mind this is not only the most important Danish rock album but also the best. It was like a lightning from a clear blue sky when the album was released. Undoubtedly they had made some original singles and a noteworthy appearance on the Danish punk compilation Pære Punk but what sound (compare to other albums of the time), and what originality - it just blew you away! They dressed like Devo but the music was much more inspired by Eno (well, it was of course better!), Bowie and Roxy Music. However, they had hit the gas pedal and simplified and modernized the music. The album has no weak spots and it contains several truly original classics. Alas, they lit up so strongly and lasted only few years releasing only two albums - "but what a debut outta the blue!" This album is a must if you are interested in Danish rock. My top 3 of Danish albums: 1. Kliché Supertanker (1980), 2. Steppeulvene Hip (1967), 3. C.V. Jørgensen I det muntre hjørne (1989).

1980 Favourite releases: 1. Joy Division Closer - 2. Kliché Supertanker - 3. The Jam Sound Affects

[ collectors' item ]

... and one of their first singles: "Farvel" (not on this album)