Gangway "Out on the Rebound From Love" (1985) (single)

Out on the Rebound From Love, single
release date: 1985
format: digital
[single rate: 3,5 / 5]

Tracklis: A) 1. "Out on the Rebound From Love" (4 / 5) (live performance at the Danish Live Aid project Music for Africa, 1985) - - B) 1. "Paris, Mexico" (2,5 / 5)

Single release by Gangway originally a 7'' vinyl disc released on Irmgardz and reissued on the compilation album Re-Master Piecies (2002). The A-side was never included on any studio albums, which is really a shame. I recall their fine live version at Danish Live Aid project Music for Africa in 1985 after the international Live Aid show. The live performance has such a strong dynamic sound thanks to Balling's guitar playing. It's quite obvious that The Smiths was an inspiration for the A-side composition, Allan Jensen's phrasing as well as some of the lyrics resemble words by Morrissey, but still, it's an original and very strong song.

Alarm "Spirit of '76" (1985) (single)

Spirit of '76, 7'' single
release date: 1985
format: vinyl (A-6818)
[single rate: 3,5 / 5] [3,34]
producer: Mike Howlett
label: I.R.S. Records - nationality: England, UK

Tracklist: A) "Spirit of '76" - - B) "Where Were You Hiding When the Storm Broke?" (Live)

Single release by Welsh band The Alarm taken from the album Strength (1985).

Neil Young "Trans" (1982)

Trans
release date: Dec. 29, 1982
format: cd (1997 reissue)
[album rate: 2 / 5] [2,04]
producer: Neil Young, Tim Mulligan, David Briggs
label: Geffen Records, Germany - nationality: Canada

12th studio album by Neil Young is a solo release. Now, if the two most recent albums by Neil Young were disappointing, this is... strangely disappointing. If not he had abandoned the drug abuse, one might get the thought that he was seriously under the influence of some drug when deciding to make this styled release. Again, it might be his own expectations and / or necessity to deliver something contemporary and a more up-to-date sound, other than folk rock as it was the case with Re-ac-tor. Anyway, this is an electronic synth release by Neil Young[!]. Now, Rust Never Sleeps (1979) was a major album but the fact is, he hasn't been able to make something remotely close to that in the early 1980s and this is just another example of his experiments with musical influences, and of course one may see it as an evidence of his will to try other ways of expression. From a modern perspective, this is just a music historical artifact showcasing Neil Young's great diversity. Then of course, there's also a long dispute of a contract with Geffen Records that he wanted to get out off. Books and biographies tell the story of how Neil Young felt trapped with a record contract and wanted control of his own songs as well as albums - he wanted artistic freedom, so he subdued to his legal entrapment and released a number of albums - approximately one each year, as the contract prescribed - and not always to satisfy his fans or record company who later sued him for making music that was 'unrepresentative' of himself. The album may also be seen in that light, as an attempt to piss off the company by releasing the unexpected.
Btw: "Computer Age" sounds (almost exactly) as if "Expresso Love" by Dire Straits had been sampled and synthesizers and a vocoder was added, perhaps in collaboration with Jeff Lynne, Jean Michel Jarre and Mike Oldfield, and that doesn't make a great song any near good.
This album is not recommend for others than completists.
[ allmusic.com 2 / 5 stars ]

Frank Zappa "Joe's Garage Act II & III" (1979)

Joe's Garage Act II & III
release date: Nov. 19, 1979
format: digital (2 lp)
[album rate: 2 / 5]

Track highlights: 1. "A Token of My Extreme" - 7. "He Used to Cut the Grass" - 10. "A Little Green Rosetta"

No sooner than two months following Joe's Garage Act I, Zappa released Act II & III as a double vinyl album, and having already released the double lp, Sheik Yerbouti and two albums with 1970s unreleased material ("Orchestral Favorites" and "Sleep Dirt") in the year 1979, he was in his most productive period of his musical lifetime. Having said that, I don't think Joe's Garage is all that great. It has it moments, most of which is jazz rock, and I don't really like this style of his repertoire. In 1987 the three parts were released as a triple album box set, Joe's Garage Act I, II & III.

Elvis Costello & The Attractions "Goodbye Cruel World" (1984)

Goodbye Cruel World
release date: Jun. 18, 1984
format: digital (2004 2 cd remaster)
[album rate: 3 / 5] [2,88]
producer: Clive Langer & Alan Winstanley
label: Rhino Records - nationality: England, UK

Track highlights: 1. "The Only Flame in Town" - 2. "Home Truth" - 3. "Room With No Number" - 6. "Love Field" - 12. "The Deportees Club"

9th studio album released as Elvis Costello & The Attractions following 10 months after Punch the Clock (1983) is like the predecessor produced by the duo Langer / Winstanley. The end result is not as good since Costello apparently wanted to pursue a stronger folk rock sound but the management and the producer-duo sat out for a new pop-styled mix, which ended up with a compromise: songs like "I Wanna Be Loved" [track #7] and "The Only Flame in Town" were pure Langer-Winstanley productions, whereas other songs were made according to Costello's wishes.

The 2004 2cd remaster on Rhino comes with a bonus disc containing 26 additional tracks consisting of demo takes, alternate versions, outtakes, other takes and live recordings - as a collector's item, mostly.

The album is mainstream pop / rock-founded in sheer sophisti-pop-arrangements with bits of pop soul that makes it sound like a close relative to the '83 album - also with the same producer-duo.

To me, it was like witnessing the end of a great comet-career with two lesser albums in a row, and with this like the outtakes to the '83-album being clearly the weakest. Some compositions even sound as well-written songs but with strong use of harmony-vocals, 80s synths and an abundance of shakers and bleeps and bloops songs are turned into a generic... mish-mash.

The album spawned three singles: track #13 "Peace in Our Time", track #7 "I Wanna Be Loved", and track #1 "The Only Flame in Town" peaking at number #48, number #25, and #71 respectively on the UK singles chart list.

Costello had been super-productive from the late 70s and into the early '80s but his artistic level had begun to crumble, or so it appears. For a '95 reissue in the liner notes, Costello even wrote: "Congratulations! You've just purchased our worst album." And that's pretty much how it's widely considered.

In retrospect it doesn't really shine much, and looking at Costello's long-lasting career this very album seems like an absolute wrong turn down a dead-end street without a clear direction, which he luckily understood quite soon. The album may suffer from the fact that Costello and The Attractions experienced inner conflicts, which apparently had Costello suggest it was to be his last with the backing band [also hinted at in the title] and that he found himself in the midst of a divorce from his first wife Mary as well as in a romantic restart of his relationship with (American) Bebe Buell. In this respect, many of the songs deal with starting and ending relationships.

Already as the album was in the making, Costello had made plans of solo concerts in the US without his normal backing band, and these concerts gave him the freedom he needed.

Given various ideas of musical direction, inner conflicts between band members, the album is an incoherent whole, and it stands out as a strong contender to Costello's biggest miss. Overall, it's an album that cannot be recommended.

[ allmusic.com, Mojo, Blender, Rolling Stone 2 / 5, Uncut, Q Magazine 4 / 5 stars ]

New Order "The Peel Sessions: New Order" (1986) (ep)

The Peel Sessions: New Order, ep
release date: Sep. 27, 1986
format: vinyl (SFPS001) / digital
[album rate: 3,5 / 5] [3,63]
producer: New Order
label: Strange Fruit - nationality: England, UK

Tracklist: A) 1. "Turn the Heater On" (4 / 5) - 2. "We All Stand" (4 / 5) - - B) 1. "Too Late" (3 / 5) - 2. "5-8-6" (3,5 / 5)

2nd ep by New Order. This was actually the second recording for BBC Radio 1's John Peel Show, as the first recording session was later released as SFPS 039 in '87. This ep is released with the catalog number SFPS 001, which indicates that it was the very first release by Strange Fruit Records, the record company co-founded by John Peel, primarily to release the many radio transmitted broadcasts of live studio sessions. These four tracks were all recorded Jun. 1982, and track #A2 and #B4 were later released on Power, Corruption & Lies (1983). The other tracks were only played on this occasion. Turn the Heater On is a rare track as it's a cover version of a reggae song (by Keith Hudson, apparently, played as a tribute to Ian Curtis who supposedly was very happy with the song). New Order hardly ever played cover songs except from their own Joy Division tracks and first from around 2000. I enjoy this ep as it shows the band in the transition period with a lot of post-punk and Joy Division trademarks, and with especially 5-8-6 the sound they move towards within synthpop.

The Style Council "Café Bleu" (1984)

Café Bleu [debut]
release date: Mar. 1, 1984
format: vinyl (TSCLP1) / cd
[album rate: 3,5 / 5] [3,56]
producer: Paul Weller, Peter Wilson
label: Polydor Records - nationality: England. UK

Track highlights: 2. "The Whole Point of No Return" (4 / 5) - 4. "Blue Cafe" - 5. "The Paris Match" (3,5 / 5) - 6. "My Ever Changing Moods" (4 / 5) - 10. "You're the Best Thing" (5 / 5) - 11. "Here's One That Got Away" (3,5 / 5) - 12. "Headstart for Happiness" (4 / 5)

Studio debut album by The Style Council. The album is a stylistic mix of pop soul and sophisti-pop with bits and pieces of jazz. It's pretty good, and frankly, it's the best by this band who, despite the bold pop expression, holds tight to a lust for experimentation. The best tracks are the ones solely composed by Paul Weller. Whenever Mick Talbot is credited as composer it becomes too jazz-fueled and it loses everything connected with soul. Tracey Thorn and Ben Watt (aka Everything But The Girl) feature on "The Paris Match" and Weller's future wife Dee C. Lee sings backing vocals on "Strength of Your Nature" and "Headstart for Hapiness".
The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4,5 / 5 stars ]

They Might Be Giants "Lincoln" (1988)

Lincoln
release Sep. 25, 1988
format: cd
[album rate: 3,5 / 5] [3,72]
producer: Bill Krauss
label: Elektra - nationality: USA

Track highlights: 1. "Ana Ng" (4,5 / 5) - 4. "Purple Toupee" - 5. "Cage & Aquarium" - 7. "Piece of Dirt" - 8. "Mr. Me" - 11. "I've Got a Match" - 12. "Santa's Beard" - 14. "They'll Need a Crane" (live on Letterman) - 15. "Shoehorn With Teeth" (live) - 17. "Snowball in Hell" (live)
[ full album ]

2nd studio album release by They Might Be Giants. This was the first album I heard and bought with the Boston-based duo, consisting of John Flansburgh (vocals, guitars) and John Linnell (vocals, accordion, saxophone, clarinet, keyboards).
Their style is indie pop and definitely alternative. Some tracks like "Ana Ng" - the first I heard on MTV back in '88, are punk rock / indie rock-styled, whereas others are more jazz influenced, but all their compositions often play with their special type of absurd humour, which may seem more European than traditional American and putting them close to creations by Monty Python, but also to earlier artists like The Goons and Spike Jones.
The album remains my absolute favourite by TMBG.
[ allmusic.com 4,5 / 5 stars ]

Jan Garbarek "Paths, Prints" (1982)

Paths, Prints
release date: Sep. 6, 1982
format: cd (ECM 1223)
[album rate: 4 / 5] [4,08]
producer: Manfred Eicher
label: ECM Records - nationality: Norway

Track highlights: 1. "The Path" (4 / 5) - 2. "Footprints" (4 / 5) - 3. "Kite Dance" (5 / 5) - 4. "To B.E." (4 / 5) - 5. "The Move" (4 / 5) - 8. "Still"

Studio album by Jan Garbarek with Bill Frisell on guitar, Eberhard Weber on bass, and with Jon Christensen on drums and percussion.
Working together with the jazz fusion and modern classical guitar icon, Bill Frisell, could easily have led the music astray but Garbarek is ever-present in a dominating part with drums, percussion, bass and guitar as the subtle backbone. Of course it helps that Garbarek is credited as composer of all tracks, but the album is really one of my favourite Garbarek albums. He's famous for his incorporation of folklore and / or (old) traditional Norwegian folk spliced with modern jazz fusion. His instruments are the soprano and alto sax (he also plays tenor and other instruments as clarinet and percussion); however the instrument, his playing style is original and far from traditional jazz instrumentalists, and in that sense he has much in common with Danish trumpeter Palle Mikkelborg and his Nordic and ambient jazz sound. Frisell together with Weber, Christensen and especially Frisell is a wonderful cocktail.
Highly recommendable.
[ allmusic.com, Rolling Stone 3 / 5, Penguin Guide to Jazz Recordings 3 / 4 stars ]

Imperiet "Studio / Live" (1988) (live)

Studio / Live (compilation) (live)
release date: Nov. 1988
format: 2 cd
[album rate: 3,5 / 5]
producer: Stefan Glaumann, Imperiet
label: Mistlur Records - nationality: Sweden

Track highlights: Disc 1, Live: 1. "Rock'n Roll e' död" - 4. "...som eld" - 7. "Jag är en idiot" - 11. "Bibel" - - Disc 2, Studio: 1. "Alltid rött, alltid rätt" - 2. "Kriget med mig själv" - 4. "Rasera" - 6. "Höghus, låghus, dårhus (Version)" - 10. "Cosmopolite" - 11. "Kom ihåg" - 12. "Saker som hon gör" - 13. "Märk hur var skugga (Epistel 81)"

Compilation album by Imperiet released after its disbandment. Disc 1 is a collection of live recordings, and much like the studio collection on disc 2, the tracks are a selection of songs comprising the band's entire lifespan from 1983 - 1988. Actually, the span is not long, but the music is still quite varied. The live recordings (recorded and mixed by Stefan Glaumann) are from the band's farewell tour ('avskedsturné') recorded live Aug. 29-31, 1988 at Sardines in Oslo, Norway.
I recall thinking somewhat lukewarm about the release back in '88. Mostly, because there isn't much new on these two discs. Of course a live disc should provide us with another aspect of the band's repertoire, but given the album 2:a augusti 1985 from '85 provides us with live material, and if you happen to know all the band's five studio albums is hard not to see this as a commercial stunt.
If, on the other hand, you don't owe any albums by Imperiet, I think this could be a fine choice.

Lou Reed "Growing Up in Public" (1980)

Growing Up in Public
release date: Apr. 1980
format: vinyl (cut-out record - AL 9522) / digital
[album rate: 3 / 5] [2,92]
producer: Michael Fonfara, Lou Reed
label: Arista Records - nationality: USA

Track highlights: 1. "How Do You Speak to an Angel?" - 2. "My Old Man" - 3. "Keep Away" - 8. "The Power of Positive Drinking" - 10. "Think It Over" (3,5 / 5)

10th studio album by Lou Reed is another pop / rock release somewhere in the middle of the road. All tracks are written in a collaboration with keyboardist (and guitarist) Michael Fonfara. The album has some of the same characteristics as the predecessor, The Bells (1979), although, he here has chosen not to work with neither disco nor funk, which really is on the positive side. It's not up there with Street Hassle (1978) but it has much more potential. The album, however, wasn't met with the most positive reviews, and it's by many considered a low point in his career. I think, it's clearly above mediocre without being really great, but it also indicates and may be seen as a bit of a blue print to the same stylistic shape as found on his much lauded New York (1989).
[ allmusic.com 2,5 / 5 stars ]

Richard Hawley "Coles Corner" (2005)

Coles Corner
release date: Sep. 5, 2005
format: cd / vinyl (2019 reissue LTD. amber vinyl)
[album rate: 4,5 / 5] [4,26]
producer: Richard Hawley, Colin Elliot, Mike Timm
label: Mute Records / Setanta Records - nationality: England, UK

Track highlights: 1. "Coles Corner" (5 / 5) (live at Glastonbury 2010) - 2. "Just Like the Rain" (4 / 5) - 3. "Hotel Room" (4 / 5) (live in Brussels 2010) - 5. "The Ocean" (5 / 5) - 6. "Born Under a Bad Sign" (4 / 5) - 7. "I Sleep Alone" - 8. "Tonight" (4 / 5) - 11. "Last Orders" (4 / 5)

3rd studio album release by Richard Hawley and the album that really brought him fame and critical acclaim. The album was nominated the 2006 Mercury Music Prize for Best Album (a prize that went to Arctic Monkeys). This was the first album that I ever heard with Hawley, and it completely blew me over. I had no idea that it existed! The style is more or less the same, as his two previous albums, although, I find this more dynamic, or just more well-orchestrated and -produced, and with more... tension. Yes, he still sings his haunting love songs with his crooning dark voice accompanied by his jangle pop surf rock guitar but the songwriting is just sublime. And even though, I'm really really fond of this album, I simply cannot find room for it on this years top 3 list. Ali Farka Touré and Toumani Diabeté's In the Heart of the Moon tops my list (I can't have any album be rated higher than that), with Sigur Rós and Kent in the next two places with top albums from their hands, but I guarantee that this album is already a modern classic, and I probably listen more to this than any of its contesters.
Highly recommendable.

EDIT Sep. 2019:
I have just received the 2019 reissue on coloured 'amber' ('orange' look) vinyl issued on Setanta Records. Great to own a vinyl copy of this genuine masterpiece.

[ allmusic.com, The Guardian, Mojo, Q Magazine, Uncut 4 / 5 stars ]

Cocteau Twins "Sunburst and Snowblind" (1983) (ep)

Sunburst and Snowblind (ep)

release date: Nov. 7, 1983

format: digital

[album rate: 3,5 / 5] [3,34]

producer: Cocteau Twins, John Fryer

label: 4AD Records - nationality: Scotland, UK

Tracklist: 1. "Sugar Hiccup (12'' Version)" - 2. "From the Flagtstones" - 3. "Hitherto" - 4. "Because of Whirl-Jack"

4-track ep by Cocteau Twins following only two months after the album Head Over Heels (Oct. '83) marks a change of style. Yes, the best track "Sugar Hiccup" is taken from the most recent album but where it sounded misplaced on the album, it's in company of other dream pop-shaped compositions here. On "From the Flagstones" Elizabeth Fraser sounds like on This Mortail Coil's most memorable tune "Song to the Siren", which should be released a full year later. It's not all dream pop, however, as the last two compositions points more to the music of Siouxsie and the Banshees than to the future sound of Cocteau Twins.

The Crash "Pony Ride" (2006)

Pony Ride

release date: Sep. 27, 2006
format: digital
[album rate: 3,5 / 5] [3,52]
producer: The Crash
label: Suomen Musiikki - nationality: Finland

Track highlights: 1. "Pony Ride" - 2. "Big Ass Love" - 3. "Grace" - 4. "Stay" - 5. "Thorn in My Side" - 9. "Reasons to Sing"

4th and final studio album release by The Crash following three years after Melodrama (Oct. 2003). Much to the usual procedure all songs are credited frontman Teemu Brunila.
The Crash still produce melodic indie pop and synth pop. Despite being a much better album, it basically lacks great and original material throughout; however, the first half is really promising and contains some fine songs which remind me of their best effort Wildlife (2001) but the quality somewhat lowers on the last five making it a fine but not overwhelming final chapter.

Imperiet "Tiggarens tal" (1988)

Tiggarens tal
release date: May 1988
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Imperiet & Stefan Glaumann
label: Mistlur Records - nationality: Sweden

Track highlights: 1. "Jag är en idiot" - 3. "Party" - 5. "Ballad om en amerikansk officer" - 6. "...som eld" - 7. "I hennes sovrum" - 9. "Tiggarens tal (jag vill ha allt)"

4th and final full-length studio album by Imperiet, who is reduced to a trio as keyboardist Per Hägglund has left the band (he is credited for synths on #3) after recording the English-versioned album Imperiet from '87. As additional studio keyboardist, Stefan Blomqvist plays synths and piano on most tracks.
Musically, the band has made a small U-turn by playing more as heard on Blå himlen blues from 1985, which means with much less focus on synths and keyboards.
I recall my disappointment upon listening to the album back in '88, and comparing with the previous albums, I still find that this may be regarded as the band's least coherent studio album. All tracks could almost have been included on either of the band's previous and quite different three studio albums, but they mostly sound like a bunch of unreleased songs put together to make up one final album - but I also find that it's a better album in retrospect than I found back then.
It's no way near a poor album, but it may not be the right place to start if you wanna check out this band.
Thåström decided to disband Imperiet during the Summer of '88 but the band kept playing its scheduled national live concerts until September and played two more live concerts in Nicaragua and a final one in Costa Rica in December. Also in the Autumn of '88, Imperiet released a final 2 disc compilation and live album. Thåström initiated a solo career where he kept playing songs by Imperiet and usually with Hägglund as keyboardist, as he did on Thåström's first solo album Thåström (1989).

Ideal "Bi Nuu" (1982)

Bi Nuu

release date: Nov. 1982

format: cd

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

producer: Micki Meuser, Gareth Jones, Ideal

label: Eitel Imperial / WEA - nationality: Germany

Track highlights: 1. "Keine Heimat" - 2. "Ask Mark Ve Ölüm" - 3. "Tränen am Hafen" - 4. "Schöne Frau mit Geld" - 6. "Wir zerstören unser Glück (Tu' mir weh)" - 10. "Müde"

3rd and final studio album by Ideal following one year after Der Ernst des Lebens introduces a new production sound aided by British sound engineer / producer Gareth Jones and German producer Micki Meuser.

Stylistically, the band has made its biggest move towards a more general pop / rock universe. The arrangements have both become more complex, the sound more slick almost without the new wave characteristics, but at the same time the album is their so far most experimental. A few songs stand out: "Keine Heimat", "Schöne Frau mit Geld" and "Wir zerstören unser Glück (Tu' mir weh)". Some would probably argue that the first composition (only lead single) is the only with actual hit-potential as traditionally structured rock-song. As was the case on the predecessor, most songs are credited the whole band, while Annette Humpe remains the band's songwriter with a variation of Humpe as lead vocalist and male vocals. The overall impression is bound to much incoherency. Ideal is obviously influenced by many stylistic variations, with several members having previously played experimental jazz-fusion, and that style emerges here and there in combo with other styles - not as something extra, but more as a sudden style-shift and often in combo with krautrock-inspiration but also with bits pointing towards more electronic music, e.g. Kraftwerk. A song is in Turkish language, some are schlager-like and other songs like contrasts - there's simply too much happening, too many directions in one huge pot.

Saleswise, the album didn't fare as well as their previous albums. Bi Nuu peaked at number #20 in Germany, where the two predecessors made it to number #2 and #3 respectively. Apparently, both label and band took this as a stronger rejection than it may actually have been. Nonetheless, a planned tour was cancelled and the band simply split in 1983.

The album is by no means a poor one - it's full of good ideas and several fine compositions, it's more the fact that the songs hardly speak to one another, as if the band tries too hard to show us how well they master all stylistic aspects and posibilities of Neue Deutsche Welle - they are renewers and pioneers who contain it all and, unfortunately, they try it all at once. Following the disbandment, Annette Humpe joined her sister in the duo Humpe Humpe (or: Inga & Anete Humpe) aka Swimming with Sharks and Bamby, and she later released the solo album, Solo (1990). From 2004 she has been one half of the more lasting duo Ich + Ich with Adel Tawil.

Recommended.

Peter Gabriel "Peter Gabriel" (3) (1980)

Peter Gabriel (3)

release date: May 23, 1980

format: digital (2003 reissue)

[album rate: 4 / 5] [3,90]

producer: Steve Lillywhite

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

Track highlights: 1. "Intruder" - 2. "No Self Control" - 4. "I Don't Remember" (4 / 5) (official video) - 5. "Family Snapshot" - 6. "And Through the Wire" - 7. "Games Without Frontiers" (official video) - 8. "Not One of Us" - 10. "Biko" (4,5 / 5) (official video)

3rd studio album by Peter Gabriel and his third of four consecutive albums to be self-titled follows two years after his '78-album and is made with upcoming new wave-producer Steve Lillywhite, who would later in the year (and forwardly) be associated with the sound of U2. The album was also released as "Peter Gabriel 3" / "Peter Gabriel III", and is also referred to as 'Melt' with reference to its cover. Stable backing band musicians like drummer Jerry Marotta, keyboardist Larry Fast and guitarist David Rhodes contribute on most tracks, Phil Collins plays drums on three tracks, guitarist Robert Fripp is credited on three. The album also features Kate Bush, who sings backing vocals on tracks #2 and #7, XTC-guitarist Dave Gregory features on tracks #4 and #5, and The Jam-frontfigure Paul Weller is credited as guitarist on track #6.

Musically, the album introduces a new move towards a more original blend of art pop (with some influences from Bowie and Eno) and new wave, but it's also Gabriel's first album to showcase his inspiration and admiration for African music and / or world music in general - especially heard on "Biko" but also on track #9.

The album was met by fine reviews, and over the years, the album has only gained strong status for its mix of styles as well as its original sound. It's also Gabriel's first of two albums to top the albums chart list in the UK. Atlantic Records, who had distributed Gabriel's two first albums, dismissed the album, which then found its way to Mercury; however, the album also performed better in the US than his previous albums by reaching position #22 on the US Billboard 200. "Biko" and "I Don't Remember" were selected for single releases with the former peaking at number #38 on the singles chart, and the latter has no registrations except for a position as number #107 on the US Billboard Hot 100 [107 in 100 positions?]; however, both eventually gained status as classic signature tracks for Gabriel. The album is the second of two albums by Gabriel to be enlisted in "1001 Albums You Must Hear Before You Die".

Despite being released in the midst of / at beginning of other stylistic strongholds like new wave, post-punk, new romantic and synth-pop, Gabriel's third album, which is none of that, is simply an album not to overlook. It's simply one of his absolute best and highly recommended.

[ allmusic.com, Mojo, 5 / 5, Uncut 4,5 / 5, Q Magazine, Rolling Stone 4 / 5 stars ]

The Style Council "My Ever Changing Moods" (1984) (single)

My Ever Changing Moods, 12'' single
release date: Feb. 1984
format: vinyl (817 450-1)
[single rate: 3,5 / 5] [3,68]
producer: Peter Wilson and Paul Weller
label: Polydor Records - nationality: England. UK

Tracklist: A) "My Ever Changing Moods" (long version) (4 / 5) - - B) 1. "Spring, Summer, Autumn" (4 / 5) - 2. "Mick's Company"

Single release by The Style Council with a track from the forthcoming debut album. Track #1 is credited to Paul Weller; track #2 to Jake Fluckery (aka Paul Weller); and track #3 is credited Mick Talbot. Weller and Talbot are The Style Council. Hon councillors are: Steve White (drums), Pete Wilson (bass synth), Barbara Snow (trumpet), and Hillary Seabrook (saxophone).

The Residents "The King and Eye" (1989)

The King and Eye
release date: 1989
format: digital
[album rate: 2,5 / 5]

Track highlights: 1. "Blue Suede Shoes" - 2. "The Baby King Part 1" - 3. "Don't Be Cruel" - 5. "All Shook Up" - 9. "Devil in Disguise" - 13. "The Baby King Part 3" - 14. "Little Sister" - 18. "The Baby King Part 4" - 20. "The Baby King Part 5"

A studio album by the American experimental art rock performance band The Residents. The album is made up of Elvis Presley songs, thus the title "The King and Eye" (with 'Eye' as both referring to 'I' and 'eye', with reference to the eye-symbol of The Residents). I believe, I found this on the library as I just wanted to check out the band. My initial thoughts were that it was way too bizarre, but then I somehow got caught by the satire of the stories in between songs titled "The Baby King" (Part 1-5), and then some of the tracks, despite the strangeness, felt interesting. According to wikipedia the album is narrated "Through the perspective of a father telling his children fables about a long dead king and his songs, and a poignant string of narrative interludes - "The Baby King" - the work hints at a darker side of the Elvis mystique and questions the spiritual nature of his reign. The album "incisively portrays Elvis's life and work as a misguided abandonment of innocence in favor of a sad yet comedic Oedipal journey," writes Jim Green". Apparently, this album is the last in a trilogy with each album investigating a specific period of time in American musical history. (link, in Italian)
[ allmusic.com 2,5 / 5, Rolling Stone 4 / 5 stars ]

Peter Sommer "Alt forladt" (2013)

Alt forladt
release date: Jan. 28, 2013
format: cd
[album rate: 2,5 / 5]

Tracklist: 1. "Pænt goddag, pænt farvel" (3,5 / 5) - 2. "Tvivlen er i huset (del 1)" (3 / 5) - 3. "Alt forladt" (3 / 5) - 4. "Hvorfor løb vi" (3,5 / 5) - 5. "Lamineret" (3 / 5) - 6. "Hvor langt skal vi ud" - 7. " 'For evigt' " (3,5 / 5) - 8. "Beruset" - 9. "Tvivlen er i huset (del 2)" - 10. "Mod nye højder"

Most recent singer / songwriter release by talented Peter Sommer. An album, I don't consider among his best. Actually, I really don't enjoy it that much. The lyrics are, as usual, really nice - strong poesy, nice wordplay, and personal / private deliverance. And maybe too much of the private stuff, though. The divorce from artist Lise Westzynthius is ever present on the album and makes it a mere private argument. Also, in hindsight, it comes close to nothing but his answer / remark to her album release Tæt på en kold favn (2012), which was her public diary and emotional detour due to their split. Alt forladt is his darkest release, and I come to think of Nick Cave, or Søren Huss, placing this in a neighborhood close to their with pain and suffering as a center point or driving force. The single release "Hvorfor løb vi" is nice but it quickly becomes annoyingly simple and too repetitious, a label that really fits several songs on the album. Maybe he should've released the songs as poems instead... 'cause I don't think the music is all that great. Normally, I don't mind simplistic compositions, and I enjoy Kraftwerk and the minimalism of Laurie Anderson, Philip Glass, or Ryuichi Sakamoto, but the music on this album is not interesting, or near any sun beams. However, the lyrics seem important and could easily live on their own. It's really not his best, and actually, in my mind, his least interesting album. The best thing about it is almost the card-box package. It's a really fine cover design with b/w photos by Joachim Ladefoged and with all lyrics reproduced in the booklet.

~ ~ ~

"Nok legen hund efter pind
Nok være bakkende ud i det blå
Her har jeg sat foden ned
Og her har jeg valgt at lade smilet stå
Nær aldrig kommet hertil
Palmerne var til at overse
Nu er det mit mindste problem"

[ "Mod nye højder" ]

Everything but the Girl "Acoustic" (1992)

Acoustic
release date: Jun. 2, 1992
format: cd
[album rate: 3,5 / 5] [3,56]
producer: EBTG
label: Blanco y Negro - nationality: England, UK

Track highlights: 2. "Tougher Than the Rest" (Springsteen) - 4. "Alison" (Costello) - 5. "Downtown Train" (Waits) - 6. "Driving" (Watt) - 9. "Me and Bobby D" - 11. "Fascination" (Live)

7th studio album by Everything but the Girl is something else as half of the songs are cover-versions, the other half either written together or solely by Watt or Thorn, and for being - as the title suggest - a collection of acoustic-arranged songs played with minimal instrumentation. Furthermore, the album contains two songs recorded live.
The album is truly something else than Worldwide from 1991. What comes to mind when presented with a new album release by EBTG is that it's most likely nothing else than their most recent album, and you end up thinking that they seem very unfocused / uncertain of which direction to turn, or: Are they in fact just releasing the songs in the styles they feel like - despite what critics or fans may expect? This is something new, and as such something that older fans will appreciate more than fans of their (big band) sophisti-pop releases.
I like it, 'cause I enjoy their music when it's most simple and you're able to feel the sensations and sincerity of Thorn and Watt.
[ allmusic.com 2,5 / 5 stars ]

Underworld "Beaucoup Fish" (1999)

Beaucoup Fish
release date: Mar. 1, 1999
format: cd
[album rate: 4 / 5] [4,32]
producer: Underworld
label: JBO - nationality: England, UK

Tracklist: 1. "Cups" - 2. "Push Upstairs" - 3. "Jumbo" (5 / 5) - 4. "Shudder / King Of Snake" (4 / 5) - 5. "Winjer" (4 / 5) - 6. "Skym" - 7. "Bruce Lee" - 8. "Kittens" (4 / 5) - 9. "Push Downstairs" (4 / 5) - 10. "Something Like a Mama" (4 / 5) - 11. "Moaner" (4,5 / 5)

5th studio album by Underworld and to me this the absolute best album by the trio. Although, they have taken a move away from breakbeat, I think this is a masterpiece of progressive house. I have listened to this album a thousand times and I still enjoy it. It's also my first acquisition with the band.
As one of the best albums of the year it's highly recommendable.
[ allmusic.com, NME 4 / 5, Mixmag 5 / 5 stars ]

1999 Favourite releases: 1. The Chemical Brothers Surrender - 2. Underworld Beaucoup Fish - 3. Everything but the Girl Temperamental

TV-2 "Beat" (1983)

Beat
release date: 1983
format: vinyl (25689) / digital
[album rate: 4 / 5] [3,84]
producer: TV-2
label: CBS Records - nationality: Denmark

3rd studio album by TV-2 - this time produced by the band only marks a considerable change of style, which should have a lasting impact on the band's career. The first two albums out were shaped as new wave releases, and both linked somewhat with the quirkiness of American band Devo and British XTC; however, this is much more originally founded in a Danish pop / rock tradition paired with TV-2's own lyrical force.
The album became the band's so far biggest success and both the audience and critics loved it.

Culture Club "It's a Miracle" (1984) (single)

It's a Miracle, 7'' single
release date: Mar. 12, 1984
format: vinyl
[single rate: 3,5 / 5] [3,44]
producer: Steve Levine (A-side); Jon Moss (B-side)
label: Virgin Records - nationality: England, UK

Tracklist: A) "It's a Miracle" - - B) "Love Twist"

Single release by Culture Club and the band's fifth and final single taken from the album Colour by Numbers (Oct. '83).

The Cure "Japanese Whispers" (1983)

FIXM 8

Japanese Whispers (compilation)
release date: Dec. 12, 1983
format: vinyl (FIXM 8) / digital
[album rate: 3 / 5] [3,18]
producer: various
label: Fiction Records - nationality: England, UK

Compilation album by The Cure. The album is sub-titled "The Cure Singles Nov 82: Nov 83" and hence a collection of single releases in the aftermath of Pornography (1982). The tracks are all synth pop-styled, some more dance-oriented than others.

Laurie Anderson "Mister Heartbreak" (1984)

Mister Heartbreak

release date: Jun. 12, 1984

format: cd (1990 reissue)

[album rate: 4 / 5] [3,78]

producer: Laurie Anderson

label: Warner Bros. - nationality: USA

Track highlights: 1. "Sharkey's Day" (4,5 / 5) - 2. "Langue d'amour" - 4. "Kokoku" - 5. "Excellent Birds" (feat. Peter Gabriel) (official video) - 7. "Sharkey's Night" (feat. William S. Burroughs)

2nd studio album by Laurie Anderson following two years after her acclaimed debut Big Science is co-produced with Bill Laswell (three tracks), Roma Baran (two tracks) and Peter Gabriel (track #5). It continues some of her experiments from the debut but the album is much more straight-forward in terms of touching on traditional pop / rock patterns, which I think is a bit on the down-side. But then again, how could she follow the astonishing debut otherwise? Had she followed too closely on the music structure and stylistic originality, she would have failed to demonstrate a natural artistic progression. Co-starring Peter Gabriel is not malplaced here - his own take on world music in an original art rock style tends to imply some of the same inputs of untraditional rhythm patterns from krautrock and / or African popular music. The album certainly places Anderson in a more traditional sphere of contemporary art rock as opposed to her more avant-gardist debut, which managed to stay true to an electronic experimental stand. Here, she embraces and expands the mainstream culture with her ideas of pop. Personally, I'm more into her stronger experimental stuff and sees "Sharkey's Day" and her collaboration with William S. Burroughs (track #7) as highlights on the album, whereas attempts with more traditional melody-structure drowns somewhat in heavy arrangements we've met elsewhere. The song "Excellent Birds", co-written with Peter Gabriel also ended up two years later on Gabriel's hit album So (1986) only titled "This Is the Picture (Excellent Birds)".

Mister Heartbreak may not be up there with the iconic debut, but it's definitely among the more interesting releases of the year.

Recommended.

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

Moby "Play" (1999)

Play
release date: May 17, 1999
format: cd (CDStumm172)
[album rate: 4 / 5] [3,82]
producer: Moby
label: Mute Records - nationality: USA

Track highlights: 1. "Honey" - 2. "Find My Baby" - 3. "Porcelain" - 5. "South Side" - 6. "Rushing" - 7. "Bodyrock" - 8. "Natural Blues" - 9. "Machete" - 11. "Run On" - 15. "Inside"

5th studio album by Moby [aka Richard Melville Hall] sees him return to the electronic genre after his 'detour' into hardcore punk rock on the album Animal Rights (1996), which almost had him stop making music. With Play he investigates the genre of downtempo house with a combo of progressive ambient and a strong use of sampling.
The album is regarded as a corner-stone of modern electronica and it's his perhaps most lauded album, although, it didn't sell all too well - at first. Its prominent status has been achieved over a span of several years. Stylistically, it's an electronic dance pop and electronic house album where Moby blends all sorts of styles and cleverly makes use of sampling to produce one of the most positive feel-good dance pop albums of the decade. The album also feature several guest artists, including Bessie Jones (track #1) and Gwen Stefani (track #5).
To me, Moby is America's answer to Fatboy Slim. Sometimes his music is exactly like that of Slim's, sometimes it's more like The Chemical Brothers, at other times it's more like The Orb, and then at other times it's just so unique.
The first three tracks are simply stunningly great, and despite some minor fillers among the total of 18 tracks, the album is deservedly enlisted in "1001 Albums You Must Hear Before You Die".
Overall I would have rated it higher if the second half was half as good as the first half.
Highly recommendable.
[ allmusic.com 4,5 / 5, Rolling Stone, Q Magazine 4 / 5 stars ]

The Chemical Brothers "Loops of Fury" (1996) (ep)

Loops of Fury, ep
release date: Jan. 15, 1996
format: cd
[album rate: 4 / 5] [3,82]

Tracklist: 1. "Loops of Fury" (4,5 / 5) - 2. "(The Best Part Of) Breaking Up" (4 / 5) - 3. "Get Up on It Like This" - 4. "Chemical Beats (Dave Clarke Remix)" (3,5 / 5)

A fantastic big beat ep, actually pointing in direction of the forthcoming album. Loops of Fury yeah, at least I've had it playing in loops many many many many many many times.

New Order "World (The Price of Love)" (1993) (single)

World (The Price of Love), cd single
release date: Aug. 1, 1993
format: cd
[album rate: 3,5 / 5]
producer: New Order, Stephen Hague
label: Qwest / Warner Bros. - nationality: England

4 track single release from the album Republic released May '93. All tracks are alternate versions of the track included on the album. Two tracks are shorter version, one is the album version, and the last track is an almost 3 mins longer "Perfecto Mix" version [a mix by Paul Oakenfold (who founded Perfecto Records) and Steve Osborn].

Radiohead "OK Computer" (1997)

OK Computer
release date: Jun. 16, 1997
format: digital
[album rate: 3,5 / 5] [3,62]
producer: Radiohead, Nigel Godrich
label: Parlophone - nationality: England, UK

Track highlights: 1. "Airbag" - 2. "Paranoid Android" - 6. "Karma Police" - 10. "No Surprises" (4 / 5) - 1. "Lucky"

3rd studio album by Radiohead introducing a long-time relationship with producer Nigel Godrich, who helped shaping the band's stylistic profile in the aftermath of britpop. It's still alt. rock but comparing this to The Bends (1995) the band takes on a more atmospheric and melancholic style, which could be described as art rock. At the time of the release the style was referred to as post-britpop, which basically signalled a move away from simpler guitar- and chorus-based songs to more complex compositions.
The album became the band's so far biggest success, and the appraisal of the album seemed endless. Years later it's a natural element on countless best of lists and quite often found among the top 3 most important albums of all time [!].
It's the second Radiohead album to be enlisted in "1001 Albums You Must Hear Before You Die", and it was the band's first #1 album in the UK.
Nowadays, I acknowledge its qualities, and the originality of both album and band but it just doesn't (and never did) appeal a great deal to me, and in many years I found it more than difficult to accept as more than another so-so soft rock album. One day I may even find it truly good, but for now I like it, although, I don't consider it the band's best nor an album I often listen to.
[ allmusic.com, Q Magazine, NME 5 / 5, Rolling Stone, The Guardian, Spin 4 / 5 stars ]

Van Morrison "A Sense of Wonder" (1984)

A Sense of Wonder
release date: Dec. 1984
format: cd (2008 remaster)
[album rate: 3,5 / 5] [3,66]
producer: Van Morrison
label: Exile / Polydor - nationality: Northern Ireland, UK

Track highlights: 1. "Tore Down a la Rimbaud" - 2. "Ancient of Days" - 3. "Evening Meditation" - 5. "What Would I Do" - 6. "Sense of Wonder" - 8. "If You Only Knew" - 10. "A New Kind of Man"

15th studio album by Van Morrison originally released by Mercury is released 1½ years following Inarticulate Speech of the Heart. Here he returns to his formula of combining soul, rhythm & blues, celtic folk in a singer / songwriter fusion arranged using a traditional backing band and incorporating Hammond organ and brass.
It may contain the 'usual' spiritual song titles like "The Master's Eye", "Evening Meditation", as well as the title track itself, but the overall impression here is not with a search of religious belief in mind as much as a selection of nicely arranged and well-orchestrated songs. Van is well-known for writing everything on his own, but here he has made room for a song by Ray Charles, one by Mose Allison and a song credited William Blake, Adrian Mitchell, and Mike Westbrook.
The album is definitely a step up compared to the new age style of the predecessor, and without being a classic top-album from The Man, it's a rather well-arranged album with several fine compositions and he his vocal performance shines as always.
[ allmusic.com 3,5 / 5 stars ]

Angélique Kidjo "Black Ivory Soul" (2002)

Black Ivory Soul
release date: Mar. 19, 2002
format: digital
[album rate: 3,5 / 5] [3,28]
producer: Bill Laswell
label: Columbia Records - nationality: Benin

Track highlights: 1. "Refavela" - 2. "Tumba" - 3. "Les enfants perdus" - 6. "Iemanja" - 7. "Afirika" - 13. "Iwoya" (feat. Dave Matthews) (live)

8th studio album by Angélique Kidjo who continues her fon music, which has become less orchestrated (except from on the title track) or perhaps less pop-minded, at least seen from a Western perspective. This has a nice warm vocal jazz feel to it, and I I generally like this more than her Ayé dance-pop, which tended to be a little over the top - production-wise.

Ella Fitzgerald "Legendary Singers: Ella Fitzgerald" (1985)

Legendary Singers: Ella Fitzgerald (compilation)
release date: 1985
format: vinyl 2 lp (box set)
[album rate: 4 / 5]
producer: various
label: Time Life Music - nationality: USA

A 2 lp box set released on Time Life Music. This was my first acquisition with Ella, and it's really fine. It's the third in the series of 'Legendary Singers', and it contain some great vocal jazz performances.

BEST OF 2012:Marie Key "De her dage" (2012)

De her dage
release date: Oct. 29, 2012
format: cd
[album rate: 4,5 / 5] [4,12]
producer: Andreas 'Maskinen' Sommer
label: Genlyd / Sony Music - nationality: Denmark

Track highlights: 1. "Landet" (4 / 5) - 4. "Festens bedste gæst" - 5. "Uden forsvar" (5 / 5) (live) - 6. "Uopnåelig" (4 / 5) (live on 'Go' Morgen Danmark') - 7. "Let som en fjer" (4 / 5) - 9. "Et aftalt spil" (5 / 5) - 11. "De her dage"

2nd studio solo album by Marie Key is indeed a nice refreshing Danish singer / songwriter release with an electronic hint. Marie Key ['cay] shines above most other Danish artists at the moment. Only Søren Huss, Love Shop, Turboweekend, Efterklang, and Mellemblond are able to produce noteworthy albums at a time where international trends seem too inspiring for the majority of Danish artists. Keys' debut album [earlier she has released two albums with Marie Key Band] I byen igen (2011) was not bad at all but this one is even better, as it appears to be more of a whole, she simply comes out a head above everyone else, and her new electronica touch makes it a fine electronic singer / songwriter release, so far only seen with the works of Mikael Simpson in Denmark.

Best release in 2012, so rare to hand that to a Danish album.

2012 Favourite releases: 1. Marie Key De her dage - 2. Paul Banks Banks - 3. Alabama Shakes Boys & Girls

The Crash "Melodrama" (2003)

Melodrama
release date: Oct. 17, 2003
format: digital
[album rate: 2,5 / 5] [2,72]
producer: The Crash
label: Evidence - nationality: Finland

Track highlights: 2. "Still Alive" (3 / 5) - 6. "It's Contagious" (3 / 5) - 8. "What If I Meet you" (3 / 5)

3rd studio album release by The Crash. The music remains unchanged, but is a clear step back from their fine Wildlife (2001). In that regard it's much like the debut, indie pop without any noteworthy songs. The above highlighted songs all have a certain quality, which makes me think of a band trying too hard to copy other songs and artists, and that's a pity 'cause they really got something going on their 2001 album.

Fine Young Cannibals "Fine Young Cannibals" (1985)

Fine Young Cannibals [debut]
release date: Dec. 2, 1985
format: vinyl (LONLP 16) / cd (1986 reissue)
[album rate: 4 / 5] [3,78]
producer: Robin Millar
label: London Records / I.R.S. Records - nationality: England, UK

Track highlights: 1. "Johnny Come Home" - 2. "Couldn't Care More" - 4. "Funny How Love Is" (4 / 5) - 5. "Suspicious Minds" (4 / 5) - 6. "Blue" (4 / 5) - 7. "Move to Work" - 8. "On a Promise" - 9. "Time Isn't Kind" - 10. "Like a Stranger" - *11. "Johnny Come Home (Extended Mix)" - *12. "Suspicious Minds (Suspicious Mix)"
*Bonus tracks on '86 cd reissue.

Studio debut album by Fine Young Cannibals [ name origin ] consisting of vocalist Roland Gift (formerly vocalist & saxophonist in ska revival band Akrylykz) and the two ex-members of (ska revival band) The Beat, guitarist Andy Cox and bassist David Steele.
For the recordings Martin Perry plays drums and Saxa (aka Lionel Augustus Martin - also ex-member of The Beat) plays saxophone on track #4 and Graeme Hamilton as additional musician plays piano and trumpet on tracks #1 and #9. All compositions are credited Gift, Cox and Steele except track #5, a cover of a song originally written and recorded by Mark James (1968) (made famous in '69 by one E. Presley).
Lots of bands played pop soul at this time but I guess no one did it with this finesse. FYC really was a blow of fresh air and an example of great musicianship. Listening to the album today, I only wonder why I didn't like it more at the time. Then I thought it was merely Okay, nothing great, though. Roland Gift has such a unique and brilliant voice, and the album is loaded with great tracks.
Recommended.
[ allmusic.com 4 / 5, Sounds 4,5 / 5 stars ]

Astrud Gilberto "The Astrud Gilberto Album" (1965)

The Astrud Gilberto Album [debut]
release date: May 1965
format: cd
[album rate: 3 / 5]

Tracklist: 1. "Once I Loved" - 2. "Água de Beber" (feat. Antonio Carlos Jobim) - 3. "Meditation (I Will Wait for You)" - 4. "And Roses and Roses" - 5. "O Morro (Não tem Vez)" - 6. "How Insensitive" - 7. "Dindi" - 8. "Photograph" - 9. "Dreamer" - 10. "Só tinha de ser com você" - 11. "All That's Left Is to Say Goodbye"

Studio debut album by Astrud Gilberto, who had become worldwide famous for her fragile latin English on the great Getz / Gilberto (1963) album featuring Stan Getz and Astrud's husband, João Gilberto for her participation on especially "The Girl from Ipanema", although, she was never part of the ensemble that stood behind the perhaps most important and best known album of bossa nova [Stan, well he just wouldn't have that...].
This is a strong debut thanks to Astrud but also Antonio Carlos Jobim. The style is very much the same as on the famous Getz / Gilberto album, which means bossa nova. Here just without the beauty of Stan's sax.
[ allmusic.com 4,5 / 5 stars ]