The Sound "In the Hothouse" (1985) (live)

In the Hothouse (live)
release date: Nov. 1985
format: vinyl 2 lp (gatefold - STAT DLP 1)
[album rate: 4 / 5] [3,88]
producer: Jon King and Mark Wade (recorded by)
label: Statik Records - nationality: England, UK

Double live album by The Sound from two live concerts at The Hothouse (The Marquee) London, Aug. 27/28, 1985. The album is the last on Statik who went bankrupt after the release.

[ collectors' item - 'near mint' ]

Bauhaus "Bauhaus 1979-1983" (1985)

org. vinyl issue

Bauhaus 1979-1983 (compilation)
release date: Nov. 1985
format: 2 cd (1986 cd-issue)
[album rate: 4 / 5]
producer: Bauhaus
label: Beggars Banquet - nationality: England, UK

Compilation album by Bauhaus originally released as a double vinyl album containing 23 tracks. In 1986 the album was issued as two separate cd releases titled Bauhaus 1979-1983 - Volume One and Bauhaus 1979-1983 - Volume Two. The two cd discs are enhanced versions of the vinyl release and contain the same tracks with 3 and 5 bonus tracks respectively.
Two Beggars Banquet official best of albums exists: this and the single album release Crackle from 1998 released during the first time Bauhaus re-united. The '98 album may be seen as a reduced best of, as it contains 16 tracks that one will also find on this album. The only differences are the playing order and a decision to 'only' include the live-version of "Bela Lugosi's Dead" on 1979-1983, which has the single-version on the '98 album. But apart from that, I think this album is the best as it consequently enlists the songs in a chronological order, whereas Crackle has the tracks all mixed together, and that, I think generally speaking, is a crime when making 'best of' albums.
It's all right to have a two disc best of compilation with this band - my only objection is with regards to some of the tracks included, and I know, it's NOT called "Best of Bauhaus", because why would anyone include tracks like "Dancing", "Hair of the Dog", "Paranoia, Paranoia", "Swing the Heartache", and "Satori"??? Just because there's room for more tracks doesn't mean we want it all, which is why I would hand the original double vinyl version 4,5 / 5 stars and the cd issue 3,5 / 5 stars. It's not that the band didn't produce enough great songs it's more that there're simply just too many rarities on the two cd releases to make maintain the greatness.
[ allmusic.com 4,5 / 5 stars ]

1986 CD issue,
Volume One

    

1986 CD issue,
Volume Two

Gangway "Once Bitten, Twice Shy" (1985) (single)

Once Bitten, Twice Shy, single
release date: 1985
format: digital
[single rate: 3,5 / 5]

Tracklist: A) 1. "Once Bitten, Twice Shy" (4 / 5) (live performance at the Danish Live Aid project Music for Africa, 1985) - - B) 1. "Can You Believe This?" (3 / 5)

Single release by Gangway originally a 7'' vinyl disc released on Irmgardz and reissued on the compilation album Re-Master Piecies (2002) in an alternate version. The A-side was included on the second album Sitting in the Park. The B-side is not that bad but more of a lounge and jazz pop composition.

Moby "Animal Rights" (1996)

Animal Rights
release date: Sep. 23, 1996
format: digital
[album rate: 3 / 5] [2,98]
producer: Moby, Alan Moulder
label: Mute Records - nationality: USA

4th studio album by Moby following a year and a half after Everything Is Wrong.
Stylistically, this is something completely different, to say it mildly. On this, Moby has turned away from the electronic genre that he has released music in up until now. Apparently, he was unsatisfied with the reception his music was given and returned to play the hardcore punk rock and alt. rock that he listened to as a teenager.
Animal Rights was generally met by negative reviews and didn't attract record buyers making it an even bolder failure than his previous attempts.
Yes, it's guitar-based, aggressive hardcore punk and as far away from what he previously had been (as well as later on would become) associated with as he possibly could, but musically it isn't all bad. It's well-composed and loyal to the genre and showcases some originality. I just don't find it all that enjoyable.
Not recommended.
[ allmusic.com, The Guardian 2 / 5, Rolling Stone, Mojo 3 / 5, NME 4 / 5 stars ]

Sigur Rós "Von" (1997)

Von [debut]
Release date: Jun. 14, 1997
format: cd
[album rate: 2,5 / 5] [2,68]
producer: Sigur Rós

label: Smekkleysa Records - nationality: Iceland

Track highlights: 4. "Myrkur" - 7. "Hafssól" - 9. "Von"

Studio album debut by Sigur Rós released on Smekkleysa Records [Icelandic for 'Bad Taste Records'] and produced by the band. The album only had its release in Iceland in '97 and then was reissued in 2004 on One Little Indian. The album is rather different from most later releases by the band, as it's much more experimental. In that sense it's a strong and daring release for a debut, although, the story goes that the band upon hearing the result after long struggles with studio sessions, basically had wanted to start all over because they felt that the result was too far away from their initial ideas. Financially, they couldn't dump the recordings and start anew, so it was released as is.
I think some of the tracks could be inspired by noise pop, noise rock bands like Jesus and Mary Chain, My Bloody Valentine, and then other more ambient compositions with a certain Brian Eno, Talk Talk touch, which really makes it a rather diverse pond of inspirational sources. The result is rather original, although, it's also related to Godspeed You Black Emperor! and some releases by Mogwai; however, Sigur Rós really precedes these two bands.
I don't think it's one of their best albums, as the music is too much of a vast pond - like something that needs more direction. There's space rock, neo-psychedelic, and experimental rock in a huge blend, which makes it difficult to follow. It has moments but the end result isn't more than a mediocre but somewhat interesting [giving the band's later works] first draft.
[ allmusic.com 3,5 / 5 stars ]

Frank Sinatra "The Voice" (1983)

The Voice (compilation)
release date: 1983
format: vinyl (DN 6211)
[album rate: 4 / 5]
producer: various
label: Reprise / Dominion / K-Tel - nationality: USA

Compilation album by Frank Sinatra containing 18 tracks originally issued on Reprise Records.

Dead Kennedys "Plastic Surgery Disasters" (1982)

Plastic Surgery Disasters
release date: Nov. 1982
format: vinyl (VIRUS 27) / cd
[album rate: 4,5 / 5] [4,38]
producer: East Bay Ray, Thom Wilson
label: Alternative Tentacles / Statik Records - nationality: USA

Tracklist: A) 1. "Government Flu" (4 / 5) - 2. "Terminal Preppie" (5 / 5) - 3. "Trust Your Mechanic" (4 / 5) - 4. "Well Paid Scientist" (4,5 / 5) - 5. "Buzzbomb" (4 / 5) - 6. "Forest Fire" (4 / 5) - 7. "Halloween" (5 / 5) - 8. "Winnebago Warrior" (5 / 5) - - B) 1. "Riot" (4 / 5) - 2. "Bleed for Me" (4,5 / 5) (studio session) - 3. "I Am the Owl" (4 / 5) - 4. "Dead End" (4 / 5) - 5. "Moon Over Marin" (5 / 5)

2nd studio album release by Dead Kennedys, and my favourite album by the band. This is where they told all kind of stories about what goes wrong around the world, and the style is not one-dimensional as on the debut. Overall, it's punk rock, and mostly hardcore punk but elements of surf rock, rockabilly, rock 'n roll, psychedelic rock, and Ennio Morricone western movie soundtrack elements are heard on various tracks. The band's lyrics are not only focused on looking at the present administration or on one hate subject. The vinyl lp has a lovely collages 'scrapbook' (which initiated a tradition to include a scrapbook of some sort with their following two studio albums) with the fascinating art work of Winston Smith (who made art work and front covers for all their studio albums). I loved this album and bought it upon its release in '82, and I spent many hours listening to the album while looking into lyrics and collages. The front cover by photographer Michael Wells is like the music: right in the face: get it, morons?!
[ allmusic.com 4,5 / 5 stars ]
=> needledrop review

1982 Favourite releases: 1. Laurie Anderson Big Science - 2. Dead Kennedys Plastic Surgery Disasters - 3. Elvis Costello & The Attractions Imperial Bedroom

The Crash "Wildlife" (2001)

Wildlife

release date: Sep. 21, 2001
format: digital
[album rate: 3,5 / 5] [3,64]
producer: Teemu Brunila
label: Evidence - nationality: Finland

Track highlights: 1. "Star" (4 / 5) - 2. "Empty" (3 / 5) - 3. "Lauren Caught My Eye" (4 / 5) - 5. "New York" - 7. "Simple Things" - 9. "Phoebe"

2nd studio album release by The Crash following a slightly mediocre 1999 debut with Comfort Deluxe - and what an improvement this is! Musically, they still play indie pop but this time they have much better material, and it's really only a mystery as to why this album wasn't an international hit. Of course, the international music press, and the national radio stations, etc. all know too well that Finland, Denmark, Norway, Belgium, Poland, and many other countries simply do not make great pop music... And what a pity they have such power 'cause this is a gem.
Highly recommended.

The Undertones "All Wrapped Up" (1983)

abridged issue

All Wrapped Up (compilation)
release date: Nov. 1983
format: vinyl 2 lp (ARD 1654283) / digital
[album rate: 4 / 5]
producer: various
label: Ardeck - nationality: Northern Ireland, UK

1st compilation album by The Undertones originally released on EMI sub-label, Ardeck is issued after the disbandment (mid-'83) of The Undertones. The original UK album is a double vinyl album containing 30 tracks. The abridged version of the album is the most common, which was issued in North America, Japan, and for the European market. The abridged version contains many great songs as it's a compilation of the band's A-side singles, but it's really the C- and D-sides on the double album, which also happens to be the singles' B-sides that makes the original issue a 'must-have'. Songs like "True Confessions", "Smarter Than You", "Emergency Cases", "Mars Bars" all have that extra wit and bit that defined this great band of the North, and which ultimately reveals what a great band they were to produce such great material as their B-sides.

org. double album

The Southern Death Cult "The Southern Death Cult" (1983)

The Southern Death Cult (compilation)
release date: 1983
format: vinyl (BEGA 46)
[album rate: 3,5 / 5] [3,36]
producer: various
label: Beggars Banquet - nationality: England, UK

Only album by The Southern Death Cult is a compilation album released after the disbandment. The album consists of a mix of studio recordings, demos, and live recordings. Credited band members on the album are: Ian Robert Astbury on vocals, David 'Buzz' Burroughs on guitars, Barry Jepson on bass and Haq Nawaz 'Aky' Qureshi on drums. After the disbandment, Astbury formed the band The Death Cult with former Theatre of Hate guitarist Billy Duffy - that formation later bacame the more successful band The Cult.

Moby "Everything Is Wrong" (1995)

Everything Is Wrong
release date: Mar. 13, 1995
format: digital
[album rate: 3,5 / 5] [3,52]
producer: Moby
label: Elektra / Mute - nationality: USA

Track highlights: 1. "Hymn" - 2. "Feeling So Real" - 3. "All That I Need Is to Be Loved" - 5. "Everytime You Touch Me" - 6. "Bring Back My Happiness" - 13. "When It's Cold I'd Like to Die"

3rd studio album release by Moby - or actually, it's only his second intended album release, as his former label Instinct Records in the aftermath of his successful debut album decided to release the album Ambient in August '93 when Moby was in the process of signing a record deal with British independent label, Mute Records - an album of quite different material, as indicated by the title and completely without Moby's knowledge.
Everything Is Wrong is both the natural follow-up to his poignant debut but also something quite different. The album starts off with his techno, downtempo trademark, but with the two tracks "All That I Need Is to Be Loved" and "What Love?" he introduces a fascination for punk rock mixed with a hardcore rave and alt. metal electronic style, which takes the album in a completely different direction; however, other tracks are almost exact opposites with ambient bits and as natural contrasts but also merry soul and funk-styled compositions (e.g. the M People-like "Everytime You Touch Me") scattered across the album serve as counterparts to the fierce angry punk rock attitude.
Overall one could imagine the whole album as way too complex with tracks pointing in all sorts of directions, but with Moby you already here understand that "Everything isn't just wrong" - quite contrary in fact it's here a proven mission accomplished.
Frankly, I missed out this at the time of the release, and today I find it difficult to choose between his first two albums as they both seem essential.
I like it, it's gooood.
[ allmusic.com, Spin 4,5 / 5, Rolling Stone 4 / 5, Q Magazine 3 / 5 stars ]

Robyn "Robyn Is Here" (1995)

Robyn Is Here [debut]
release date: Oct. 14, 1995
format: cd
[album rate: 3 / 5] [3,04]
producer: Ghost [aka Ulf Lindström & Johan Ekhé]
label: BMG - nationality: Sweden

Track highlights: 3. "You've Got That Somethin' " - 4. "Do You Know (What It Takes)" - 6. "Just Another Girlfriend" - 8. "Do You Really Want Me"

Studio album debut by Robyn (aka Robin Miriam Carlsson) with various producers, although Ghost is credited on 7 of the album's 13 tracks.
The album is a dance-pop and typical American contemporary r&b. Not as such, something I would ordinarily listen much to; however, the second single release "Do You Really Want Me" became a major hit and was played everywhere that year (the first single from the album was track #3), and also "Do You Know (What It Takes)", which was released in '96 got much airplay, so everyone knew Robyn had landed.
My only interest in this is due to her later releases, and I picked it up at a second-hand store around 2011 in order to make it a full discography of her studio albums. It's nicely produced and Robyn already here shows what a talented songwriter she is, and she initiates her formula co-writing her songs with selected songwriters / producers. Ulf Lindström and Johan Ekhé are credited as co-writers on the seven tracks they have produced like is the case for Christian Falk, and the producer-duo Anders Bagge and Harry Sommerdahl.
Most of the songs sound like echoes of American pop by Madonna and her followers, which is really not my preferred music. There's much copying and only little originality.
[ allmusic.com 4 / 5 stars ]

Richard Hawley "Lowedges" (2003)

Lowedges
release date: Feb. 10, 2003
format: cd
[album rate: 3,5 / 5] [3,38]
producer: Kevin Bacon, Collin Elliot, Jonathan Quarmby, Richard Hawley
label: V2 Records - nationality: England, UK

Track highlights: 1. "Run for Me" - 2. "Darlin' " - 3. "Oh My Love" - 6. "You Don't Miss Your Water (Till Your River Runs Dry)"

2nd studio album by Richard Hawley (originally issued by Setanta Records) and the follow-up to his acclaimed debut continues the style of gentle crooner chamber pop and Hawley's classic surf-guitar sound. Critics all agreed that the album was up there among the very best of the year, but the vast crowd of record buyers didn't notice the album. But yes, it's very nice and very fine album, once again.
[ allmusic.com, The Guardian, Q Magazine 4 / 5 stars ]

Frank Zappa "Joe's Garage Act I" (1979)

Joe's Garage Act I
release date: Sep. 17, 1979
format: digital
[album rate: 2,5 / 5]

Track highlights: 2. "Joe's Garage" - 3. "Catholic Girls" - 5. "Fembot in a Wet T-Shirt" (live)

A rock opera or maybe better: a conceptual album in 3 parts. I don't think this is his best work. It appears as 'form over matter' - it seems to me that the story, the conceptual idea, and lyrics became too important.

"Rough Trade Records / MNW" (1983)

Rough Trade Records / MNW (compilation)
released: 1983
format: vinyl (MNWX 3)
[album rate: 4 / 5]
producer: various
label: Rough Trade / MNW - nationality: England, UK

Track highlights: A) 1. Aztec Camera "Pillar to Post" - 5. The Gist "Love at First Sight" - - B) 4. The Go-Betweens "Cattle and Cane" - 5. Robert Wyatt "Shipbuilding" (live)

An interesting compilation of various artists by Rough Trade / MNW from the early 1980s showcasing some new tendencies in music styles. The album is a Scandinavian release only and issued with Scandinavian label MNW.
I think, some of the artists and tracks are of little interest but the album really contains fine music, and thanks to this album, I came to know of Aztec Camera and The Go-Betweens. I'm not particularity a big fan of Robert Wyatt but his version of Elvis Costello's wonderful classic is another fine tune [here's the original].

Rum 37 "Mellem Rum" (2012)

Mellem Rum [debut]

release date: Oct. 22, 2012

format: cd (TARGETCD1222)

[album rate: 3 / 5] [2,94]

producer: Stefan Boman

label: Target Records - nationality: Denmark

Track highlights: 1. "De stærke" - 2. "Alle her beundrer dig" - 4. "Sølvstænk"

Full-length studio album by Rum 37 following the ep Rum 37 (Dec. 2011). For this, the quartet has managed to get hold of Kent-producer Stefan Boman, who may also have been there for the ep. Now, he secures a sound than closely follows that of Kent anno 2005 when they released Du & jag döden. Three tracks from the Rum 37 ep are included here, and they don't appear as new recordings, which makes me suspect that Boman also stood behind the 2011 release.

Mellem Rum ["Between Spaces"] doesn't add or subtrack from what we heard on the ep. The band still strikes me as someone who could do very well making tribute concerts for Kent, Love Shop, or Suede, but as an original band with something new to offer they still have to walk other paths.

The album comes with ten tracks and a total running time of 43 minutes but if we subtract the running times of the songs from the ep, they only give us 28 minutes of new material. Another issue is that the songs more or less play on the same matrice one after the other. It's uptempo indie rock with room for guitar and chorus but no song in particular stand out as one to remember. You could say it's quite coherent, though, but that doesn't do it alone. So back on the horse guys, and make something essential.

Alex Turner "Submarine" (2011) (ep)

Submarine, ep (soundtrack)
release date: Mar. 14, 2011
format: digital
[album rate: 3 / 5] [2,92]
producer: James Ford
label: Domino Recording Company - nationality: England, UK

Track highlights: 2. "Hiding Tonight" (3 / 5) - 3. "Glass in the Park" (3 / 5) - 5. "Stuck on the Puzzle" (3,5 / 5) - 6. "Piledriver Waltz"

Solo album debut by Arctic Monkeys' lead singer and guitarist Alex Turner is a 6-track ep with songs for the movie "Submarine" by Richard Ayoade. The songs are singer / songwriter material mainly only with Turner on vocals and acoustic guitar. A few tracks feature drums, keyboards, bass and strings, but still shaped as singer / songwriter material. Both "Hiding Tonight" and "Glass in the Park" are fine quiet songs but they do really make me think of Richard Hawley, whom Turner apparently said had made the album-of-the-year when Arctic Monkeys was handed the Mercury Prize in 2006 for its debut album - something I agree on.
[ allmusic.com, Independent 3 / 5 stars ]

Madness "The Rise & Fall" (1982)

The Rise & Fall
release date: Nov. 1982
format: vinyl (SEEZ 46) / cd (2010 remaster)
[album rate: 4 / 5] [3,92]
producer: Clive Langer, Alan Winstanley
label: Stiff Records - nationality: England, UK

Track highlights: 1. "Rise and Fall" - 2. "Tomorrow's (Just Another Day)" - 3. "Blue Skinned Beast" (5 / 5) - 4. "Primrose Hill" - 6. "" - 7. "Our House" (5 / 5) - 10. "That Face" - 11. "Calling Cards" - 12. "Are You Coming (With Me)" - 13. "Madness (It's All in the Mind)"

4th studio album by Madness is like all of their former studio albums produced by Clive Langer & Alan Winstanley. While recording the songs for the album, Stiff released the band's first best of album Complete Madness (Apr. '82), which nicely covers the band's first three albums, and truly is a nice bargain for someone looking for their best songs.
The Rise & Fall reflects the progression throughout the bands move towards a consistently stronger mainstream sound in a consistent manner. First and foremost it's a pop / rock release with clear bonds to ska revival, British pub rock, and to 1960s mod (as typified especially by The Kinks).
The album is by many considered the band's peak moment, although, it only reached #10 on the national album charts list, but as something contrary it fared very well in other countries, especially around Europe. Same thing happened to the two singles "Our House", which along the way has found almost monumental status 'only' made it to number #5 in the UK, but making better on the continent and in Ireland - also seen with "Tomorrow's (Just Another Day)" reaching number #8 at home but peaking as number #2 in Ireland.
The album is the only Madness album to be enlisted in "1001 Albums You Must Hear Before You Die".
In 2010 the album was released in a 2 disc remastered Deluxe Edition on Salvo. This is a mighty fine issue with a Bonus disc consisting of an additional 17 tracks and 4 promotional videos. Four tracks are taken from the David Kid Jensen show on BBC Radio 1 (recorded 24/6-82 and first transmitted 26/7-82), and the remaining 13 tracks is a fine blend of extended mixes and alternate takes including one fine "Ship Building"-version of track #2 with Elvis Costello, which all in all makes it a very nice bargain.
Highly recommendable.
[ allmusic.com 4,5 / 5, Rolling Stone 3,5 / 5 stars ]

Moby "Moby" (1992)

Moby [debut]
release date: Jul. 1992
format: cd (1993)
[album rate: 3,5 / 5] [3,56]
producer: Moby
label: Rough Trade - nationality: USA

Track highlights: 1. "Everything" - 3. "Electricity" - 6. "Go" - 7. "Help Me to Believe" - 8. "Have You Seen My Baby?" - 9. "Ah Ah" - 10. "Slight Return"

Studio album debut by Moby [birth name Richard Melville Hall] aka Barracuda, aka Brainstorm, aka The Brotherhood, Lopez, Voodoo Child [etc.] originally released on Instinct Records and released by Rough Trade in Europe in 1993 with a slightly alternate tracklisting where the first track "Drop a Beat" had been exchanged for "Thousand" (track #12, not on the original '92 release) meaning that the original second track "Everything" was put as first track followed by the remainders, so that the European version also consisted of twelve tracks.
Stylistically, this was referred to as rave-techno - today it would probably be seen as a combo of more traditional American techno with inspiration from EBM [Electronic Body Music] and newer European hardcore with elements of downtempo and breakbeat making it a bit of a melting pot of electronic styles.
I didn't know of the album or the genres involved at the time of its release. In fact, I didn't listen to Moby until after his great Play (1999) album and after having discovered the British artists of the electronic scene. To my knowledge, it was British artists like Underworld, Prodigy, Chemical Brothers and Fatboy Slim who were the most poignant electronic acts of the early-mid 1990s electronic scene; however, in retrospect I have come to understand the development of the scene as a result of artists on both sides of the Atlantic, and Moby as the perhaps most important American source.
Moby is a difficult listen, as you have to digest it in retrospect - putting aside your conceptions of styles and genres around as you try to absorb it as a fresh 'new'. Initially, I found it tedious and a bit boring, but it has grown on me over time, and I understand its significance, although, it still sounds dated. Fact is, there's not a huge stylistic difference from this and the (better) debut album by The Prodigy, Experience, released another two months later that year.
[ allmusic.com 5 / 5, Q 4 / 5, Rolling Stone 3 / 5 stars ]

"The Kids Are United" (1983)

The Kids Are United (compilation)
release date: 1983
format: vinyl (MFN 4)
[album rate: 3,5 / 5]
producer: various
label: Music For Nations - nationality: England, UK

Compilation album issued by British label Music For Nations (and manufactured in France) is a collection of compositions by UK punk rock bands of the late 1970's and early '80s. The album consists of 15 tracks and has taken its title from the first track by Sham 69 "If the Kids Are United". Several bands appear with two songs: Sham 69, Cockney Rejects, Angelic Upstarts, The Exploited, and Toy Dolls.

Imperiet "Synd" (1986)

Synd
release date: Mar. 1986
format: vinyl (MLR-55) / cd (1997 reissue)
[album rate: 4 / 5] [3,86]
producer: Stefan Glaumann, Imperiet
label: Mistlur - nationality: Sweden

Track highlights: 1. "Österns röda ros" (4 / 5) - 2. "Cosmopolite" - 3. "D-D-D-D (Dum-Dum-Dollar-Djungel)" - 4. "Saker som hon gör" (4 / 5) - 5. "Vykort" - 6. "Tennsoldat och eldvakt" - 7. "Bibel" - 9. "Innan himlen faller ner" - *10. "Märk hur vår skugga (Epistel 81)"
*Bonus track on 1997 cd reissue

3rd full-length studio album by Imperiet and almost as usual with Stefan Glaumann as co-producer. The 1997 reissue is expanded with two bonus tracks. The band has always been on the move experimenting with styles and on this album, the band has now progressed into a more orchestrated sound with the use of strings, organs, harmonica, and more synths. The album has a concept dealing with 'Sin' ['Synd' is Swedish for 'Sin'], and all tracks deal with different aspects of sin and sinners.
My initial feelings were that it was an album containing some fine songs but also with several compositions with too much focus on Per Hägglund's keyboards. However, that impression didn't stay for more than another decade. I have always seen this as the last really good album by Imperiet, but perhaps it's actually their finest hour. Fact is, I have come to appreciate this album much more over the years and not just hear Hägglund's synths. It contains many strong tracks, and when you listen to later Thåström albums, there's definitely links to what appears to be industrial rock bits and pieces on this. It's tight and it appears as the band's most coherent album.
After this they released the English versioned album Imperiet (1987) (not to be confused with their homonymous Mini-LP, 1984), which in a way is a compilation album as it consists of English versions of older songs.

Vangelis "Blade Runner" (OST) (1994)

Blade Runner (OST) (soundtrack)
release date: 1994
format: cd (2013 remaster)
[album rate: 4 / 5] [4,02]
producer: Vangelis
label: Audio Fidelity - nationality: Greece

Original soundtrack by Vangelis for the film "Blade Runner" (1982) by Ridley Scott. An orchestral adaptation of the soundtrack by New American Orchestra was the only official soundtrack released alongside the film premiere and Vangelis was unable / not allowed to release his score until '94.
Although, new age and Vangelis is really not my preferred kind of music, I admit that this is so much better than the official soundtrack from '82. In fact, this is like listening to something otherworldly and entirely different. I also recall my huge disappointment after purchasing what I thought was the soundtrack to "Blade Runner" back in the early '80's, but somehow I still accepted that it was the music from the film, despite the fact that my experience and recollection from the movie theatre had left me with quite a different sensation. Vangelis didn't have the rights to release an album with his original music used in the film until '94 because Warner Bros. owned the rights, and the company was entitled to decide in what form the music should be released. The 1994 album by Vangelis is in sync with the imagery and universe of the film, although, some tracks are not included in the actual film but had been composed by Vangelis for the film.
Highly recommended.

Radiohead "The Bends" (1995)

The Bends
release date: Mar. 13, 1995
format: cd
[album rate: 3,5 / 5] [3,55]
producer: John Leckie
label: EMI Japan - nationality: England, UK

Track highlights: 1. "Planet Telex" - 2. "The Bends" - 3. "High and Dry" (4 / 5) - 8. "My Iron Lung" - 9. "Bullet Proof..I Wish I Was" - 12. "Street Spirit (Fade Out)"

2nd studio album by British britpop and alt. rock band Radiohead (originally released on Parlophone / Capitol Records) introducing a style and sound, which may be seen as a move from what was primarily britpop to a stronger alt. rock, but what is more striking with this, compared to the weaker debut, is clearly the much more obvious original material. Also, the band comes out as something other than the ordinary, a strong unit of skilled instrumentalists. The album doesn't include evident hit singles but it's more the whole album and the complex compositions as such, which makes this a much stronger release than the debut.

I never saw myself as a big Radiohead fan and must admit that I have never listened much to this particular album, although, it's definitely 'interesting'. In retrospect the album has been lauded as a source of inspiration for many subsequent artists of [especially] softer predominantly British alt. rock and indie pop artists like Coldplay, James Blunt, Keane and contemporaries like Pulp, Oasis, Manic Street Preachers, and Travis. The album is included in "1001 Albums You Must Hear Before You Die".

[ allmusic.com, Blender, Record Collector 5 / 5, Rolling Stone 3,5 / 5, Rolling Stone (retrospect) 4 / 5, Spin 2,5 / 5 stars ]

Peter Gabriel "Peter Gabriel" (2) (1978)

Peter Gabriel (2)

release date: Jun. 3, 1978

format: digital (2007 remaster)

[album rate: 3,5 / 5] [3,42]

producer: Robert Fripp

label: Virgin / Charisma / Real World - nationality: England, UK

Track highlights: 1. "On the Air" (live '78) - 2. "D.I.Y." - 3. "Mother of Violence" - 7. "Animal Magic" - 10. "Perspective" - 11. "Home Sweet Home"

2nd studio album by Peter Gabriel following his like-wise self-titled '77 debut album has Robert Fripp in the producer seat. All 11 compositions are credited Gabriel, of which two are made as collaborative works. Track #3 is co-written by Gabriel's wife Jill Gabriel and track #8 is co-composed by Robert Fripp, who is also credited on guitar (and 'Frippertronics'), as was the case on Gabriel's debut. Also American guitarist Sid McGinnis is credited on an album with two other re-appearing artists: bassist Tony Levin and keyboardist Larry Fast. Then also Springsteen (E-Street Band) stable keyboardist Roy Bittan contributes, and the album feature drummer Jerry Marotta as part of the backing band for his first of many albums for Gabriel. Some issues were titled "Peter Gabriel II", or simply "2" (especially 2002-issues), and it's often referred to as 'Scratch' with reference to the cover.

Like his 77-album this is another chapter in progressive rock / art rock territory with influences from typical contemporary glam rock (as embodied in Lou Reed, David Bowie, Roxy Music), and it does sound somewhat like leftovers from his fine debut, ultimately making it less interesting but also taking a position as the typical difficult sophomore follow-up, simply by being a more inconsistent collection of songs, where especially the first three compositions make promises of something better.

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

Neil Young & Crazy Horse "Re-ac-tor" (1981)

Re-ac-tor
release date: Nov. 9, 1981
format: cd (2003 hdcd reissue)
[album rate: 2 / 5] [2,12]
producer: Neil Young, Tim Mulligan, David Briggs, Jerry Napier
label Reprise Records, Germany - nationality: Canada

Track highlights: 1. "Op-er-a Star" - 3. "T-Bone" - 6. "Mo-tor Cit-y" - 7. "Rap-id Tran-sit"

Released as Neil Young & Crazy Horse in a time of ever-changing styles with punk rock, post-punk new wave gothic rock synth pop and art pop / art rock, Neil seems caught in confusion of what to do. And once again the result is not one of his best albums. This is his perhaps first real hard rock release, and as such not really great, unless that's what you love. And no, it's not entirely hard rock - had it only been that, and it may have been worthwhile, but Young wants to have his say with new wave, and that's really a shame. The album opener "Op-er-a Star" is a pretty good rock song - my only complaint is that it sounds like another version (and with different lyrics) of "Welfare Mothers" from Rust Never Sleeps. Unfortunately, the album is not his only blunder in the 80s.
This album is not recommended for other than completists.
[ allmusic.com 2 / 5 stars ]

The Cure "The Walk" (1983) (single)

FICS 18

The Walk, 7'' single
release date: Jun. 27, 1983
format: vinyl (FICS 18)
[single rate: 3,5 / 5] [3,42]
producer: Steve Nye
label: Fiction Records - nationality: England, UK

Tracklist: A) "The Walk" - - B) "The Dream"

7'' single by The Cure. It's obvious that the band is in a period of transition, and the group is now reduced to a duo consisting of Robert Smith and Laurence Tolhurst. The music has become more electronically-driven and the post-punk element is hardly present, and synth pop and alt. dance now seems the most fitting labels.

Orchestral Manoeuvres in the Dark "Architecture & Morality" (1981)

Architecture & Morality
release date: Nov. 8, 1981
format: cd
[album rate: 4 / 5] [4,02]
producer: OMD, Richard Manwaring and Mike Howlett
label: DinDisc - nationality: England, UK

Tracklist: 1. "The New Stone Age" - 2. "She’s Leaving" (4 / 5) - 3. "Souvenir" - 4. "Sealand" - 5. "Joan of Arc" (4,5 / 5) - 6. "Joan of Arc (Maid of Orleans)" (5 / 5) - 7. "Architecture & Morality" - 8. "Georgia" - 9. "The Beginning and the End"

3rd studio album by Orchestral Manoeuvres in the Dark making this the band's third studio album release in less than two years, which really says a lot about their productivity level, and when one looks at the reception the albums met, it's clear for even the blind that this band has much to offer. At this point they make experimental art pop, synth pop but at the same time great and much more mainstream pop music, which could turn out as a conflict of interests but they keep to their own style and sound without getting trapped between a commercial and artistic output, or so it seems, 'cause later on they ended up finding it difficult to navigate in this spectrum. Anyway, this is one of their best reviewed albums ever, and it is today included on many 'best of' album lists. Most of the songs were written by the band's two founders, Andy McCluskey and Paul Humphreys but as with most of their cleanest pop songs and single hits throughout their career, it was McCluskey who wrote these compositions, and that include "Joan of Arc" and "Joan of Arc (Maid of Orleans)" on this album. It's also the band's best selling album in the UK, reaching number #3 on the albums hit list, which only Sugar Tax (1991) equaled, and the compilation album The best of OMD (1988) beat by reaching number #2. The album is the only by the band to be enlisted in "1001 Albums You Must Her Before You Die".
[ allmusic.com 4,5 / 5, Records Collector, Q Magazine 5 / 5 stars ]

Grace Jones "Living My Life" (1982)

Living My Life
release date: Nov. 7, 1982
format: vinyl (ILPS 9722) / cd (1987 reissue)
[album rate: 3,5 / 5] [3,62]
producer: Alex Sadkin, Chris Blackwell
label: Island Records - nationality: Jamaica

5th studio album by Jamaican-born, American model and vocalist Grace Jones.

Dalis Car "The Judgement Is the Mirror (1984) (single)

The Judgement Is the Mirror, single
release date: 1984
format: digital
[album rate: 3 / 5]

Tracklist: 1. "The Judgement Is the Mirror" - 2. "High Places" - 3. "Lifelong Moment"

Single release by Dalis Car. Only the title track is included on the album The Waking Hour.

R.E.M. "Automatic for the People" (1992)

Automatic for the People
release date: Oct. 6, 1992
format: vinyl / digital (12 x File, MP3) (2012 remaster)
[album rate: 4 / 5] [3,76]
producer: Scott Litt and R.E.M.
label: Warner Bros. - nationality: USA

Tracklist: A) 1. "Drive" - 2. "Try Not to Breathe" - 3. "The Sidewinder Sleeps Tonite" (4 / 5) - 4. "Everybody Hurts" (5 / 5) - 5. "New Orleans Instrumental No. 1" - 6. "Sweetness Follows"
B) 1. "Monty Got a Raw Deal" (2,5 / 5) - 2. "Ignoreland" - 3. "Star Me Kitten" - 4. "Man on the Moon" (5 / 5) - 5. "Nightswimming" (4 / 5) - 6. "Find the River"

8th studio album release by R.E.M. and the band's 3rd studio album for Warner and once again co-produced by Scott Litt. The A-side on the vinyl issue is labelled 'Drive' and the B-side 'Ride'.
Artistically, the album was a huge step forward compared to Out of Time (1991), although, it's obvious that the band has found a new playground with a more mainstream sound but they still prove to be an alt. rock band with strong bonds to folk rock. The album is a lesser polished and highly original release with several outstanding tracks eg. "The Sidewinder Sleeps Tonite", "Man on the Moon", "Nightswimming", and "Everybody Hurts", the latter being one of the band's best ever compositions (the official music video is likewise brilliant). I really enjoyed this more introspective style of theirs compared to the more straight-forward pop / rock album Out of Time, and I generally found it much more in sync with the storyline of R.E.M.
Nowadays, looking back at the time, it strikes me how this album is like a perfect clone of the mainstream pop / rock on the predecessor and what they played up until that. In that sense, Automatic... is like a rework on Out of Time or it's what they should have done when recording their biggest selling album ever instead of "going full mainstream" - but then again: most people saw Out of Time as the band's most brilliant album, so in that sense it couldn't be better.
Music critics promptly lauded Automatic... as one of the best of contemporary pop / rock in a decade and saw the album as the band's best effort ever - like the successful embodiment of a natural progression towards... maturity.
In retrospect, the album has stood it's time well - and perhaps even better than most of their albums, which is why I regard it as a strong contender to my top 3 best-loved R.E.M. albums. I think, it's really hard to choose between Document, Monster and Automatic... The only nag about this album, which ultimately is the reason why I put it in pos. 5 on my personal top-5 list of R.E.M. studio albums, is that a few of the songs simply do not work that well. The instrumental track, "New Orleans Instrumental No. 1", and tracks 7 and 9, "Monty Got a Raw Deal" and "Star Me Kitten" are [according to my ears] nothing but fillers. Document doesn't have 3 fillers, which sorts my top 3 list out, but Monster does and it is hard to pin out the exact reason as to why the grunge rock album tops this one, but in my mind, it does. Still, Automatic for the People is a highly recommendable album, and if one is looking for the top 5 R.E.M. studio releases I think it has to be on that list.
[ allmusic.com, Blender, Rolling Stone 5 / 5 stars ]

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...

~ ~ ~
"Everybody Hurts"

"When your day is long
And the night, the night is yours alone
When you're sure you've had enough
Of this life, well hang on

Don't let yourself go
'Cause everybody cries
And everybody hurts sometimes

Sometimes everything is wrong
Now it's time to sing along
When your day is night alone (Hold on, hold on)
If you feel like letting go (Hold on)
If you think you've had too much
Of this life, well hang on

'Cause everybody hurts
Take comfort in your friends
Everybody hurts
Don't throw your hand, oh no

Don't throw your hand
If you feel like you're alone
No, no, no, you are not alone

If you're on your own in this life
The days and nights are long
When you think you've had too much of this life
To hang on

Well, everybody hurts sometimes
Everybody cries
Everybody hurts
Sometimes
And everybody hurts
Sometimes

:: So hold on, hold on
Everybody hurts"

~ ~ ~

Siouxsie and the Banshees "A Kiss in the Dreamhouse" (1982)

A Kiss in the Dreamhouse
release date: Nov. 5, 1982
format: cd (2009 remaster)
[album rate 4 / 5] [4,18]
producer: Siouxsie and the Banshees
label: Polydor Records - nationality: England, UK

Tracklist: 1. "Cascade" (4,5 / 5) - 2. "Green Fingers" (4,5 / 5) - 3. "Obsession" (4 / 5) - 4. "She's a Carnival" - 5. "Circle" - 6. "Melt!" (4,5 / 5) - 7. "Painted Bird" - 8. "Cocoon" - 9. "Slowdive"

5th studio album by Siouxsie and the Banshees following Juju (1981) released on Polydor is the first to be produced exclusively by the band. As on the two previous releases, the band consists of Siouxsie Sioux on vocals, John McGeoch on guitar and keyboards, Steven Severin on bass, and Budgie on drums and percussion - the perhaps finest line-up of all the various incarnations of the band.
The album reveals an even stronger turn towards more experimentally driven compositions with a daring inclusion of strings and more varied instrumentation. At the same time it's still kept straight and narrow in the sense that each track has a clear and unique expression but also a unique sound keeping it all together as one coherent whole.
A Kiss in the Dreamhouse is one of my absolute favourites by the band, although it took me some time to fully appreciate it. The first couple of years, I was fascinated but not really hooked, but it shows and reflects a fascinating approach of playing with stylistic influences in order to be able to produce a highly original style of their own. The previous albums always contained one or more single tracks with a catchy chorus or guitar signature - the obvious single hit. This is their first album without an attempt to produce obvious single releases. However "Slowdive" was released (Oct. 4, '82) as the first of two singles - followed by "Melt!" (Nov. 26, '82). Instead of glaring singles, it's the entire album that really draws your attention with this release.
The album is the last to feature guitarist John McGeoch who left the band shortly after this and after having collapsed on stage - he was subsequently replaced by Robert Smith of The Cure. McGeoch continued as music producer and was co-founder of the band, The Armoury Show in '83.

Imho, this is one of the strongest and most mesmerising releases of the early 80's as well as one of the two best studio albums by Siouxsie and the Banshees.

Highly recommendable.
[ allmusic.com 3 / 5, Record Mirror 4 / 5 stars ]

Culture Club "Victims" (1983) (single)

Victims, 7'' single
release date: Nov. 1983
format: vinyl
[single rate: 3,5 / 5] [3,58]
producer: Steve Levine
label: Virgin Records - nationality: England, UK

Tracklist: A) "Victims" - - B) "Colour by Numbers"

Single release by Culture Club and the band's third single , and the first to succeed the album Colour by Numbers released in October.

Lise Westzynthius "Tæt på en kold favn" (2012)

Tæt på en kold favn

release date: Mar. 5, 2012

format: cd

[album rate: 3,5 / 5] [3,54]

producer: Søren Bigum; Henrik Balling

label: A:larm / Universal Music Group - nationality: Denmark

Track highlights: 1. "Tæt på en kold favn" - 2. "Lukker mig om dig" - 3. "Den eneste løgn" - 4. "Sangen om langfart" - 6. "Alt hvad du gør" - 7. "(Når du vil) la mig elske dig" - 8. "Jeg glæder mig (til at slå dig ihjel)" - 10. "Malurten i mit blod"

4th studio album by Lise Westzynthius follows more than four years after Siberian Mission (Nov. 2007). The album is her first with lyrics entirely in Danish, and it's also stylistically different from her previous albums. Søren Bigum played guitar on her 2007 album and here he works as multi-instrumentalist and as producer on five tracks. Henrik Balling is a recurring artist who plays on and is exclusive producer on three tracks. Nikolaj Nørlund appears on one song, "Sangen om langfart", a song he also produces, which also introduces a duet with Sebastian on his classic song - Westzynthius has previously supported Sebastian on live occassions, and she also participated on the 2009 tribute album En hyldest til Sebastian. Westzynthius is credited as songwriter and co-producer of the song "Den eneste løgn" with Solveig Sandnes (from Lovebites), who is credited as composer and additional vocalist. The album also includes lyrics by Lone Hørslev for one song (track #6). Hørslev is btw. one half of the duo-project Er De Sjældne, which also features vocalist Solveig Sandnes. In 2009, Sandnes started the world musical project KonoKone, which ended up featuring 21 artists and musicians from Mali and Denmark including Westzynthius, and together they released the ep Hvorfor græder nattens fugle? (2010).

Tæt på en kold favn doesn't yell electronica nor synth pop and basically doesn't shout that much as it's more personal and introspective than her previous albums. Only "Jeg glæder mig (til at slå dig ihjel)" (translates to "I'm looking forward to killing you") (!) is an uptempo electronic song, which in a way sums up what the album thematically is about. Around 2010 Westzynthius divorced Peter Sommer with whom she has a son, and many of the songs here are about the break-up. The title of album and title song translates to "Close to a cold embrace", and several other songs are about the implications of lost love, about lies and betrayal. Once again, Westzynthius isn't an artist who produces hits, nor traditional sing-a-long pop songs, but still, the album simply turns out as her so far second-best. At first, I found it too grey, too anonymous, but after some spins, it sort of invited me in, and frankly it sounds like a fine coherent album, which makes it one of her most succesful releases. One year following this album, Peter Sommer released the album Alt forladt (Jan. 2013), which in many ways is his reaction to the same break-up. Unlike that, however, Tæt på en kold favn is actually a fine album.

Recommended.

Simple Minds "Waterfront" (1983) (single)

Waterfront, 12'' single
release date: Nov. 4, 1983
format: vinyl (601 064-213)
[single rate: 4 / 5] [3,86]
producer: Steve Lillywhite
label: Virgin Records - nationality: Scotland, UK

Tracklist: A) "On the Waterfront" - - B) "Hunter and the Hunted" (Live)

Single release by Simple Minds is the first of three single releases from the forthcoming album Sparkle in the Rain (Feb. '84). The A-side is an extended version running at 5:50 mins, whereas the 7'' single runs at 4:40 mins, thus the change of song title (the album version is simply titled 'Waterfront' as the single's title). The live track is recorded at the City Hall, Newcastle, Nov. 20, 1982. "Waterfront" was the best faring single from the album, peaking at number #13 on the UK singles chart list (but topping the charts in New Zealand).

Everything but the Girl "Worldwide" (1991)

Worldwide
release date: Sep. 24, 1991
format: cd
[album rate: 3 / 5] [3,22]
producer: Everything but the Girl
label: Blanco y Negro - nationality: England, UK

Track highlights: 3. "You Lift Me Up" - 4. "Talk to Me Like the Sea" - 5. "British Summertime" - 8. "One Place" - 9. "Politics Aside" - 12. "Love Is Strange"

6th studio album by Everything but the Girl is the first to be entirely produced by the duo. As with most of their releases they write 4-5 tracks together, and write a few on their own respectively. It seems they have learned from their American experience with The Language of Life from 1990 and taken much of the same production sound back to record this. It's not over-produced, which I sometimes felt the 1990 album was, it's lighter and also appears to have been recorded and mixed with lesser recorded tracks. And that suits their sound. They still make use of keyboards, synths and horn sections to create a spacial sound, but it has become more focused on the compositions alone.
As much as I think the sound has improved on this, I don't find that it contains any great tracks, and stays much on the same unfulfilled level, and it makes me wish they would put aside all the synths, keyboards, the reverbs and echoing effects and just record something lesser spacious like their great Love Not Money album. All in all, it betters their 1990 album but not with a large margin.
To me, EBTG is a great band that seems caught on the wrong foot in regards to what means to arrange their music.
[ allmusic.com 3 / 5 stars ]

Laura Marling "Alas I Cannot Swim" (2008)

Alas I Cannot Swim [debut]
release date: Oct. 12, 2008
format: digital
[album rate: 3 / 5]

Track highlights: 1. "Ghosts" (4 / 5) - 3. "Tap at My Window" (4,5 / 5) - 12. "Your Only Doll (Dora)"

Studio debut album by English folk, singer / songwriter Laura Marling. The album was nominated the 2008 Mercury Music Prize. Marling was formerly member of the indie, folk rock band Noah and the Whale but left to follow a solo career. All songs are written and composed by Marling, and the album was generally well-received. The music is quiet, simple, and sincere folk, and a few tracks are absolutely great whereas others are less interesting. However, Marling really shows her skills, both as story-teller, songwriter, and vocalist.
[ allmusic.com 3,5 / 5, The Guardian, The Times 4 / 5 stars ]

The Durutti Column "The Return of The Durutti Column" (1980)

The Return of The Durutti Column [debut]
release date: Feb. 1980
format: cd (fact 14)
[album rate: 4 / 5] [4,05]
producer: Martin Hannett
label: Factory Records - nationality: England, UK

Tracklist: 1. "Sketch for Summer" (5 / 5) - 2. "Requiem for a Father" - 3. "Katharine" - 4. "Conduct" (5 / 5) - 5. "Beginning" (4 / 5) - 6. "Jazz" - 7. "Sketch for Winter" (4 / 5) - 8. "Collette" (4 / 5) - 9. "In 'D' "
[ full album ]

Studio debut album by The Durutti Column released on Factory Records and produced by Martin Hannett. The strange title The Return of the Durutti Column, which suggest a former release, is actually the debut album by this band / artist. Originally, The Durutti Column was a band consisting of several members at the time of formation in 1978 but in reality it is and became a one-man project only, as the guitarist, composer (and almost only musician on the debut except for producer Martin Hannett), Vini Reilly was the only member remaining after only two years in 1980. Although, he was the only remaining member of the band, as he got recording sessions, he decided to keep the band name, and maybe therefore one may speak of a 'return', i.e. 'The return of the band called The Durutti Column' whom you thought were long gone...' which explains the title.
I listened to this release in the early '80s but didn't really appreciate it until about a decade later. It's music for a mature listener's ear but once you find the beauty, it's unlike anything else and you just want more of the same. The album was released by Factory Records as all his albums were up until the early 1990s. The debut album includes two of his masterpieces "Sketch for Summer" and "Conduct" - I never grow tired of listening to those two. This release has been re-issued as a remastered 1996 bonus tracks edition but I really only recommend the original release, or at least the original track list. The bonus tracks are 'outtakes' from the original sessions but I find it somewhat hard to appreciate something that was found superfluous then. Also, the additional tracks appear to be producer Martin Hannett's experiments with samplers and synthesizers more than Reilly's own compositions.
[ allmusic.com 4,5 / 5 stars ]

1980 Original  sandpaper cover		1996 Remastered Bonus Tracks Edition

The Durutti Column / Vini Reilly

Vini Reilly photographed by Mark Warner (1988)

The Durutti Column / Vini Reilly. The Durutti Column is a project for British guitarist, pianist, and composer Vini Reilly (aka Vincent Gerard Reilly [birth name] born Aug. 4, 1953 in Higher Blackley, Manchester, UK). Vini Reilly has worked with various artists during The DC's lifetime. The formation of the project was initially a band name for drummer Chris Joyce and guitarist Dave Rowbotham in the beginning of 1978. Shortly after (still in Jan.), Vini Reilly, who was by then a former guitarist for a local punk rock band Ed Banger and The Nosebleeds, joined the two. Few weeks later vocalist Phil Rainford and bassist Tony Bowers joined the band, and only four months later Rainford was replaced by a new vocalist, Colin Sharp. The only recordings with this formation is two tracks featuring on A Factory Sample, an ep released Dec. '78 together with Joy Division, John Dowie and Cabaret Voltaire to promote the newly founded Factory Records. Actually, The Durutti Column was the first band to sign with the record label. Still as of '78, the band split with band members leaving to join other bands, and Reilly was then the only member to continue the 'band', which he did, encouraged by manager Tony Wilson, who gave Reilly studio recording time with producer Martin Hannett, which eventually resulted in the debut album The Return of The Durutti Column (1980). The jazz percussionist Bruce Mitchell began working (as drummer and co-manager with Tony Wilson) with Reilly on the project around 1981. Vini Reilly wrote and composed music for the project, and in time, various artists, drummers, percussionists, pianists, etc. have played with Reilly to help releasing new material, and the most persisting collaborator is drummer Bruce Mitchell. The Durutti Column has released about 50 albums (including at least 3 live albums) over the past three decades, some of which have been released as limited rarities, as Reilly has worked in many parts of the world. He has never experienced huge sales or big nominations but he is an internationally respected instrumentalist and composer. The studio debut album was indeed far from what was released at the time, but Reilly was never part of mainstream trends but kept to his original expression. His classical musical background is a foundation that flows in all compositions, and his musical style is mostly of an ambient neo-classical jazz compound. Some critics would claim his compositions are repetitious as well as albums but you could suggest the same thing about Beethoven, Mozart or Philip Glass, all composers he may have more in common with than contemporary modern pop artists, and that may very likely be a reason for his narrow crowd of followers. Personally, Vini Reilly is one of my absolute favourite musicians, and I have collected some 20 albums (so far, including 1 live album) from his hands. They are all original releases and several are true modern masterpieces. He is a musical genius but is most likely not to be recognised as such until... a near future, or after his death. He has stayed with small recording companies and seems like a very shy and private person who could never survive with a stardom he ironically deserves. He was the musical and compositional force behind Morrissey's debut album Viva Hate (1988) but didn't tour with Morrissey and once again he decided to work on his own, as he obviously prefers the quiet and unnoticed life in private.
Unfortunately, his health hasn't been strong - having struggled with anorexia for years - and in 2010 (at 57) he suffered two minor strokes, which caused some numbness in his left hand and the loss of control in his legs. A third stroke followed in 2011, which for some time left him completely unable to play the guitar and has left him declared disabled. [ 2013 article ].

Here's just a few of my favourite albums with The Durutti Column:

(4 / 5) The Return of... (1980) [cd]	(4 / 5) LC (1981) [cd]	(4 / 5) Without Mercy (1984) [vinyl]	(3,5 / 5) The Guitar and Other Machines (1987) [vinyl]	(4 / 5) Vini Reilly (1989) [vinyl]

[ official site: thedurutticolumn.com - biography ]