Morrissey "Suedehead" (1988) (single)

Suedehead, 12'' single
release date: Feb. 27, 1988
format: vinyl (12POP 1618)
[single rate: 4 / 5] [3,86]
producer: Stephen Street
label: HMV - nationality: England, UK

Tracklist: A) 1. "Suedehead" (4 / 5) - - B) 1. "I Know Very Well How I Got My Name" (3,5 / 5) - 2. "Hairdresser on Fire"

Solo debut single by Morrissey taken from his forthcoming album produced by Stephen Street who also co-wrote the tracks with Morrissey. After leaving Rough Trade Records Morrissey signed with EMI and would have his releases issued by the sub-label of His Master's Voice.
The US version of the debut album also includes the final track from the 12'' single, "Hairdresser on Fire", which wasn't included on the 7'' version nor on the European edition of the album but it found its way to the compilation album Bona Drag (1990). The front cover artwork is seemingly a continued style from the days with The Smiths but the cover isn't a retro photo of a 1960s British or US musician or actor but is instead a fan-photograph of Morrissey taken at a live concert with The Smiths by Geri Caulfield. And yes, it suits him well to resemble his own heroes, like a Dallesandro or Dean.
This, the first solo release by Morrissey was highly anticipated, and I recall purchasing it the first week of its release. I was especially struck by the great guitar work of the title track, and basically found it like the continued sound and style of The Smiths, and as it had been the case with one of the very first singles by The Smiths this one only made me want the forthcoming full-length solo album even more.

Laurie Anderson "Home of the Brave" (OST) (1986) (live)

Home of the Brave (OST) (soundtrack) (live)
release date: Apr. 25, 1986
format: cd
[album rate: 3,5 / 5]
producer: Laurie Anderson and Roma Baran; Nile Rodgers (2 tracks)

Tracklist: 1. "Smoke Rings" (4,5 / 5) - 2. "White Lily" - 3. "Late Show" (4 / 5) - 4. "Talk Normal" (4 / 5) - 5. "Language Is a Virus" (4,5 / 5) - 6. "Radar" - 7. "Sharkey's Night" - 8. "Credit Racket"
[ full movie ]

3rd 'studio' album by Laurie Anderson is also experimenting with format. It's both a live album, a soundtrack, and a studio album. The movie is not entirely live takes but a mix of live recordings and studio mixing. The movie is fascinating, although, it's only a concert movie. "Sharkey's Night" is taken from Mister Heartbreak (1984) but here in a different version, and the track "Language Is a Virus" is taken from her 5 lp live album United States Live (1984). Overall, I think, it's a better release than Mister Heartbrake but not really at the same level as her debut album.
[ allmusic.com 2 / 5 stars ]

Editors "The Back Room" (2005)

The Back Room [debut]
release date: Jul. 25, 2005
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Jim Abbiss
label: Kitchenware - nationality: England, UK

Tracklist: 1. "Lights" - 2. "Munich" (4 / 5) - 3. "Blood" - 4. "Fall" (2,5 / 5) - 5. " All Sparks" (3 / 5) - 6. "Camera" - 7. "Fingers in the Factories" - 8. "Bullets" (4 / 5) - 9. "Someone Says" (3 / 5) - 10. "Open Your Arms" - 11. "Distance" (3 / 5)

Studio album debut by Editors, and the first album I heard with the band. The cover is very much in family with the minimalist art direction by Peter Saville (who made covers for Joy Division and New Order) as well as Interpol's debut album, and the music is likewise a fine combo of the two prominent artists of post-punk. What is very different from the early contributors of the genre is clearly the production side. Also, Editors' musical universe is more symphonic but still simple and clear, and then of course: the music of the post-punk of the 1980s was not commercially intended... according to the artists themselves. I think, this first album is a fine and interesting release among many artists and releases that seek glory in the past.
[ allmusic.com 4,5 / 5, NME 4 / 5, Rolling Stone 3 / 5 stars ]

Lloyd Cole "Don't Get Weird on Me Babe" (1991)

Don't Get Weird on Me Babe
release date: Jan. 21, 1991
format: vinyl / cd
[album rate: 3,5 / 5] [3,52]
producer: Fred Maher, Lloyd Cole, Paul Hardiman
label: Polydor Records - nationality: England, UK

2nd solo studio album by Lloyd Cole is a turn to an even more singer / songwriter founded style compared to his debut. Again, Cole works with Blair Cowan who plays keyboard on the album.
I bought the album upon its release but never really enjoyed it as much as his previous album. I think, I found it too polished and missed the more uptempo jangle pop songs. Today, I consider this a better album. It's simply more of a whole, and the songs are lyrically better compositions.
[ allmusic.com 4 / 5 stars ]

The Pogues "Poguetry in Motion" (1986) (ep)

Poguetry on Motion, ep
release date: Feb. 24, 1986
format: digital
[album rate: 4 / 5]
producer: Elvis Costello
label: Stiff Records - nationality: England, UK

Tracklist: 1. "London Girl" (4 / 5) - 2. "Rainy Night in Soho" (4 / 5) - 3. "The Body of an American" (4 / 5) (live) - 4. "Planxty Noel Hill" (3,5 / 5)

4-track studio ep by The Pogues, released after their breakthrough album Rum Sodomy & The Lash from 1985, and like that these tracks were produced by Elvis Costello. The band has been expanded with guitarist Terry Woods, but it was also the last album to feature founding member Cait O'Riordan who married Costello in may '86. Stylistically, this is close to the two great albums of 85 and 88. A song like "Rainy Night in Soho" sounds much like an early blueprint of the band's famous Christmas song "Fairytale of New York", which would appear on the '86 album. The first three tracks are by MacGowan and the last instrumental track is by banjo-player Jem Finer.

Richard Hawley "Truelove's Gutter" (2009)

Truelove's Gutter
release date: Sep. 9, 2009
format: cd
[album rate: 3,5 / 5] [3,44]
producer: Richard Hawley and Colin Elliot
label: Mute Records - nationality. England, UK

Track highlights: 2. "Open Up Your Door" (4 / 5) - 4. "Remorse Code" (4,5 / 5) (live at Melkweg) - 5. "Don't Get Hung Up in Your Soul" - 6. "Soldier On" - 8. "Don't You Cry"

5th solo album release by Richard Hawley. It's not that it's a lesser release but in his list of albums it's not that far from the 2007 release Lady's Bridge. There's not much new in his music, and yes, I'm well aware of the fact that some musicians really don't have to present us the big progression 'cause what they do just sounds perfectly fine as is, and Hawley is one of those artists. "Remorse Code" is a beautiful (almost progressive) long track at 9:50 min, and "Don't You Cry" even surpasses it lasting 10:42 min. Both tracks may be seen as Hawley experimenting with sound and sentiments, and all in all the album is his most quiet and tender album so far. The album won the prize Mojo Record of the Year in 2009.
[ allmusic.com 4,5 / 5, The Guardian, Mojo, Q Magazine 4/ 5, Uncut 3 / 5 stars ]

The Church "The Blurred Crusade" (1982)

The Blurred Crusade
release date: Feb. 22, 1982
format: vinyl (CALS 140) / cd (2010 remaster)
[album rate: 4 / 5] [3,98]
producer: Bob Clearmountain; Chris Gilbey
label: Carrere Records - nationality: Australia

Track highlights: 1. "Almost With You" (4 / 5) (live) - 2. "When You Were Mine" - 3. "Fields of Mars" - 6. "Just for You" (4 / 5) (live) - 8. "To Be in Your Eyes" (4 / 5) - 9. "You Took" (org. video)

2nd studio album by The Church - in Europe the album followed only 1 month after the debut.

Stylistically, the band continues the jangle pop from the predecessor, although it's also clear that this second album is a more coherent release. The Blurred Crusade was for many years one of my favourites by this great Australian band, and what I personally find succeeds here, is the addition of larger and more complex arrangements to an original style, which already here points to a new-found neo-psychedelia, a certain trademark of theirs on all following releases. Apart from that, this album is also better produced.

Without ever being mention, this appears in hindsight as something that could easily be a source of inspiration to a style you would come to hear a few years later in bands like Aztec Camera and The Smiths.

[ allmusic.com 4,5 / 5 stars ]

Annika Aakjær "Lille filantrop" (2008)

Lille filantrop [debut]
release date: May 5, 2008
format: cd (Digipak)
[album rate: 3,5 / 5] [3,46]
producer: Henrik Marstal
label: Playground - nationality: Denmark

Track highlights: 1. "Jeg er stadig smukkere end du nogensinde bli'r" - 2. "Tyk" - 5. "Kjøvenhavner sangen (feat. Ole Thestrup)" - 6. "Drømmenes toilet" (live)

Studio album debut by Annika Aakjær. It's a fine subtle collection of singer / songwriter, folk pop that has been almost completely unnoticed by the public in Denmark. She had little airplay on national radio, and presumably none on local radio stations. Still, she writes some fine and witty lyrics in a gentle and fragile singing voice accompanied by simple orchestration, which suits her music quite well. This is better, more talented and much more profound than e.g. Sys Bjerre.

The song "Tyk", which could be translated to 'fat' is here with reference to the state of having gained weight as the result of being impregnated, and it's a typical and witty self-ironic track in the better end.

Lille filantrop is a fine and promising debut.


Other songs with Annika Aakjær:

"Tre små soldater" (live)

Madness "Keep Moving" (1984)

Keep Moving
release date: Feb. 20, 1984
format: vinyl (GHS 4022) / cd (2010 remaster)
[album rate: 3,5 / 5] [3,64]
producer: Clive Langer, Alan Winstanley
label: Geffen - nationality: England, UK

Track highlights: A) 1. "Keep Moving" - *2. "Wings of a Dove" (4 / 5) - 5. "March of the Gherkins" - 6. "Michael Caine" - - B) 2. "Victoria Gardens" - 4. "One Better Day" (4,5 / 5)
*track only included on the US version

5th studio album by Madness and originally released by Stiff Records is (as usual) produced by Clive Langer & Alan Winstanley. This particular edition of the album is an American issue with a different track listing and the replacement of two songs. The US issue includes the hit single "Wings of a Dove" - released as a stand-alone single in the UK - and "The Sun and the Rain" - these two exclude "Waltz Into Mischief" and "Time for Tea".
The band has slowed a bit down on its release-pace, as it has taken the band 1½ years since the last full studio album. In '83 the band released its second best of album, simply titled Madness and primarily for the American market after experiencing unexpected success with the single "Our House". from The Rise & Fall, which hadn't had a release there.
Keep Moving is once again a little more mainstream-shaped than its predecessor, and at the time of its release I basically regarded it as a clearly lesser release - a bit of a disappointment, really. But it's far from mediocre. It contains several truly fine songs, "One Better Day" being one of the band's absolute best, as I think it more than any contain that specific touch and tone that synthesizes the soul of the band - and then the voice of Graham McPherson is just spot on. In the 80s, I didn't like the broader production sound of the band much - too many additional arrangements and vocal harmonies, the absence of the characteristic ska revival, which altogether made Madness sound like so many other artists at the time. The track "Michael Caine" is another genius gem from an album that contains more than meets the eye.
Founding member Mike Barson took part in the recording sessions for the album but basically had left the band at the time of the album release. He would be replaced by Steve Nieve (Elvis Costello & The Attractions).
The album is not one of the band's best albums, but it doesn't need to be to be better than average.
This is still quite original and also a recommended release of the mid-80s. As I have both the US and the original EU issues, I do think the US version easily wins the battle. Both exchanged singles are better songs, which only increased the value.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Lloyd Cole "Lloyd Cole" (1990)

Lloyd Cole [debut]
release date: Feb. 21, 1990
format: vinyl / digital
[album rate: 3,5 / 5] [3,38]
producer: Lloyd Cole, Paul Hardiman, Fred Maher
label: Polydor Records - nationality: England, UK

Studio solo debut album by Lloyd Cole after the disbandment of Lloyd Cole and The Commotions in '89. Musically, it's not a huge step from Mainstream (1987), but with more personal, introvert and singer / songwriter feel attached to it. After leaving his band behind, Cole also left London and England to live in New York, however, he still works with keyboardist Blair Cowan from The Commotions with whom he has written three of the songs.
At the time of its release I liked this better than the final album with The Commotions, and eventually also found it better the his successive album, a thing I have changed my mind on.
[ allmusic.com 3 / 5 stars ]

Hüsker Dü "Zen Arcade" (1984)

Zen Arcade
release date: Jul. 1984
format: digital
[album rate: 3 / 5] [3,22]
producer: Hüsker Dü, Spot (aka Glen Lockett)
label: SST Records - nationality: USA

Track highlights: 1. "Something I Learned Today" - 3. "Never Talking to You Again" - 8. "Beyond the Threshold" - 11. "The Biggest Lie" - 15. "Somewhere" - 17. "Pink Turns to Blue" - 20. "Whatever" - 22. "Turn on the News"

2nd studio album by Hüsker Dü continues where Everything Falls Apart (1983) ended, although, there's a clear introduction to something pointing to a stylistic change away from the British hardcore punk sound and to what should later be referred to as alt. rock. After the studio debut the band released the 7 track ep Metal Circus in '83, which was more as its predecessor. Despite clearly punk rock-fused on Zen Arcade, the speed has slowed down and the tracks consists of something one may describe as post hardcore. The track lengths may not reveal the general impression of compositions that have been slowed down - and some are definitely not without high energy - but the overall focus is somewhere else than just hurling away at maximum speed. There are elements of art punk and noise rock, more evidently than on the predecessor, but there are also tracks of acoustic folk rock and neo-psychedelia. The original issue was a double vinyl album with a total of 23 tracks. Where Bob Mould took responsibility of the songs on the debut, this one still has his signature on 18 of the tracks (12 exclusively written by Mould alone) - this offers more space for songs written entirely by drummer, vocalist and pianist, Grant Hart and / or all three together. Hart is credited four tracks without Mould or Norton (the latter being cowriter on four).
I never fell for the style on this - not back in the 80s - nor when I rediscovered the band's early stuff in the 90s, but I have to admit that it's quite original - and dated, Yes! But with a very sharp and highly original style that is anything but 'just' noise. It's dark, angry and sinister but there are multiple layers to sink into. I can't really say that it's bettering the debut, as it in a way restarts the mission of the band, pointing to many paths to walk after this, but having grunge rock nearly a decade further up the road, this is at least a source it all leads back to.
Note: track #23 has a running time close to 14 min, which exceeds the remaining tracks (except 1) by more than 11 min.
[ allmusic.com 5 / 5, Rolling Stone 4 / 5 stars ]

Underworld "A Hundred Days Off" (2002)

A Hundred Days Off
release date: Sep. 16, 2002
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Karl Hyde and Rick Smith
label V2 Records - nationality: England, UK

Tracklist: 1. "Mo Move" (3,5 / 5) - 2. "Two Months Off" (5 / 5) (shorter official video) - 3. "Twist" - 4. "Sola Sistim" (4 / 5) - 5. "Little Speaker" - 6. "Trim" - 7. "Ess Gee" - 8. "Dinosaur Adventure 3D" - 9. "Ballet Lane" - 10. "Luetin" (3,5 / 5)

6th studio album by Underworld who has now again become the original duo without Darren Emerson. After the great Beaucoup Fish (1999) the trio released its first live album Everything, Everything in 2000, and in 2001 the band was reduced to a duo, as Darren Emerson left the band, now leaving it all up to Karl Hyde and Rick Smith to continue on their own as they had started out.
The album is still a fine progressive house release, although, it doesn't quite reach the same level as the '99 album.
"Two Months Off", however, is a brilliant track and one of their absolute best, and where the album didn't open up as immediate as the biggest success, this has a more long-lasting impact and functions more as a whole and may require more willed spins on your preferred player to fully sink in.
[ allmusic.com 2 / 5, The Guardian, Rolling Stone 3 / 5, Mojo 3,5 / 5, NME 4 / 5 stars ]

Bloc Party "Bloc Party" (2004) (ep)

Bloc Party, ep
release date: May 24, 2004
format: cd
[album rate: 3,5 / 5] [3,67]
producer: Bloc Party
label: V2 / Wichita - nationality: England, UK

Tracklist: 1. "Banquet" (5 / 5) (live on KCRW) - 2. "Staying Fat" - 3. "She's Hearing Voices" - 4. "The Marshals Are Dead" - 5. "The Answer" (4 / 5) - 6. "Banquet (Phones Disco Edit)" (3,5 / 5)

6-track studio debut ep by Bloc Party. This only made the waiting time for the actual debut album seems even longer. The style is unpolished post-punk revival and indie rock.

US cover

Everything but the Girl "Missing (The Full Remix EP)" (1994) (ep)

Missing (The Full Remix EP), ep
release date: Nov. 15, 1994
format: digital
[album rate: 3,5 / 5] [3,42]
producer: Ben Watt, Tracey Thorn, John Coxon (org. pro.)
label: Blanco Y Negro - nationality: England, UK

Tracklist: 1. "Missing (Album Mix)" - 2. "Missing (Lite Mix) [Remix by Todd Terry]" - 3. "Missing (Todd Terry Club Mix)" - 4. "Missing (Chris & James Full On Club Mix)" - 5. "Missing (Ultramarine Mix)" - 6. "Missing (The Little Joey Remix)" - 7. "Missing (Tee's Beat) [Remix by Todd Terry]"

Ep with 7 different versions of "Missing" from the album Amplified Heart. Track #1, the album version, and track #3, which are found on most edition of the album are by far the two best tracks.
The title track was released in various editions - from a "normal" single version with just two tracks through various 12'' maxi singles to this The Full Remix EP, which also includes the "Missing (The Live EP)".

Everything but the Girl "Missing - The Live EP" (1994) (ep) (live)

Missing - The Live EP, ep (live)
release date: Aug. 8, 1994
format: cd
[album rate: 4 / 5] [3,92]
producer: John Coxon, Tracey Thorn, Ben Watt
label: Warner Music - nationality: England, UK

Tracklist: 1. "Missing (Album Version)" - 2. "Each and Every One (Live)" - 3. "I Don't Want to Talk About It (Live)" - 4. "These Days (Live)"

Ep release with the title track taken from the album Amplified Heart, and with 3 live tracks drawn from the band's tour of small clubs in the UK in May 1994. "Missing" became an immediate an unpredictable success, which eventually set a new stylistic course for the duo.
Although, a fine and great single the title track seems like the only track off here, as the three live songs stress the greatness of the duo's past with songs focusing on simplicity, and modern jazz pop that links back to Thorn's background in The Marine Girls. Track #2 is found on the band's debut album from 1984, track #4 "These Days" is a cover originally written and performed by Jackson Browne and track #3 "I Don't Want to Talk About It" is perhaps the strongest cover of that fine song, despite being covered by so many. It's a song written by Danny Whitten from Neil Young's backing band Crazy Horse, and here, Thorn and Watt really makes it their. They made another fine studio cover of the track on the album Idlewild from 1988.

The Prodigy "The Fat of the Land" (1997)

The Fat of the Land
release date: Jun. 30, 1997
format: cd
[album rate: 4,5 / 5] [4,26]
producer: Liam Howlett
label: XL Recordings - nationality: England, UK

Tracklist: 1. "Smack My Bitch Up" - 2. "Breathe" (4 / 5) - 3. "Diesel Power" (feat. K. Thornton) - 4. "Funky Shit" - 5. "Serial Thrilla" - 6. "Mindfields" (3,5 / 5) - 7. "Narayan" (3,5 / 5) - 8. "Firestarter" (5 / 5) - 9. "Climbatize" - 10. "Fuel My Fire"

3rd studio album by The Prodigy. If Music for the Jilted Generation was their musical high and their real international breakthrough, this one was their biggest commercial success, putting the album as number 1 not only nationally but world-wide. Actually, it entered the Guinness World Records in '99 for being the fastest selling UK album to date. The music has changed in respect to the previous release. It's still hardcore breakbeat and big beat but the presence of samples of others artists' works have become more dominant, and a "new" style has been adopted: industrial hip hop. Both "Breathe" and "Firestarter" were monster selling single tracks, and "Smack My Bitch Up" became more of an issue of sex debate as The National Organization for Women (NOW), among others, criticised the song for being offensive, to advocate for violence against women, and for depicting (the video) heroin sale in a positive way. The Swedish music director, Jonas Åkerlund, made the highly controversial music video that was banned in many countries including the UK (UTube link). The track "Serial Thrilla" features a sample of a riff from "Selling Jesus" by English alt. rock band Skunk Anansie. The album has been included on many official list of essential albums including "1001 Albums You Must Hear Before You Die", Q Magazine's "100 Greatest British Albums Ever", Rolling Stone's "Essential Recordings of the 90s", I don't really agree, though. It's great but not on par with the predecessor, imho.
[ allmusic.com 4,5 / 5, Rolling Stone 3,5 / 5, Q Magazine, Sputnikmusic 5 / 5 stars ]

<  2012 cover >

2012 expanded reissue

Frank Sinatra "The Collection" (1985)

The Collection (compilation)
release date: 1985
format: vinyl 2 lp (CCSLP 122)
[album rate: 4 / 5]
producer: various
label: Castle Communications - nationality: USA

Double vinyl compilation album by Frank Sinatra containing 30 songs.

Serge Gainsbourg "Histoire de Melody Nelson" (1971)

Histoire de Melody Nelson
release date:  Mar. 24, 1971
format: digital
[album rate: 3 / 5]
producer: Jean-Claude Desmarty
label: Philips Records - nationality: France

Concept album by Serge Gainsbourg. The album is by many regarded his best album and one of the very best ever of French pop /rock. It's enlisted in "1001 Albums You Must Hear Before You Die", and many contemporary artists including Neil Hannon (The Divine Comedy), Jarvis Cocker (Pulp), Barry Adamson (Magazine), Tricky, Portishead, Michael Stipe (R.E.M.), Beck, and Stereolab are heavily influenced by Gainsbourg's narrating compositions. I find it interesting but am not a fan.
[ allmusic.com 4,5 / 5 stars ]

Everything but the Girl "Amplified Heart" (1994)

Amplified Heart
release date: Jul. 19, 1994
format: cd (1995 reissue)
[album rate: 4 / 5] [4,26]
producer: EBTG (co-produced by John Coxon - 3 tracks)
label: Bianco y Negro - nationality: England, UK

Tracklist: 1. "Rollercoaster" (4 / 5) - 2. "Troubled Mind" (4 / 5) - 3. "I Don't Understand Anything" - 4. "Walking to You" (4,5 / 5) - 5. "Get Me" (5 / 5) - 6. "Missing" (5 / 5) - 7. "Two Star" - 8. "We Walk the Same Line" (4 / 5) - 9. "25th December" - 10. "Disenchanted" (4 / 5) - *11. "Missing (Todd Terry club mix)" (5 / 5) (live on Later)
*bonus track on reissue

8th studio album by Everything but the Girl. This is primarily sophisti-pop and jangle pop. This is a rather typical album by EBTG, although, the songs and compositions are really top-notch from start to finish. As additional personnel the album feature several praised musicians, e.g. Danny Thompson (of The Pentangle) on bass, Dave Mattacks (of Fairport Convention) on drums, Kate St. John (of The Dream Academy) on backing vocals (track #7), Richard Thompson on lead guitar (track #9) and Peter King (studio musician) on sax (track #10).
I think, I bought the album right after hearing the Todd Terry Remix of "Missing" and just wanted that album. The rest of the songs are not in the same electronic style but I never felt that as a disappointment because of its stylistic bonds to my favourite release by the couple, Love Not Money (1985). The songs are great but another fine thing is how Ben and Tracey both share lead vocals on specific songs, although, I really prefer Tracey's vocal, Ben does more than well.
It has taken two years in the making, but it really is a big improvement and clearly their best album in almost a decade. I regard the album as one of the duo's three best albums ever.
Highly recommendable.
[ allmusic.com 4,5 / 5 stars ]

1994 Favourite releases: 1. The Prodigy Music for the Jilted Generation - 2. Everything but the Girl Amplified Heart - 3. C.V. Jørgensen Sjælland

Neil Young "Old Ways" (1985)

Old Ways
release date: Aug. 12, 1985
format: cd (2000 reissue)
[album rate: 2,5 / 5] [2,27]
producer: Neil Young, David Briggs, Ben Keith and Elliot Mazer
label: Geffen Records, USA - nationality: Canada

Track highlight(s): 5. "Misfits"

14th studio album by Neil Young and two years since the most recent Young album, which is almost a rare thing. The lawsuit conflict of 1984 with Geffen was a troublesome issue, and now, with that behind him Young releases an album the record label couldn't claim not characteristic for a Neil Young release. Both Waylon Jennings and Willie Nelson feature on several tracks, and this is mostly sheer country but... and there is a 'but' 'cause this is not as one might have hoped for with the presence of classic Neil Young singer / songwriter folk rock. This is simply country only - meaning no rock. At least he has written almost all songs again, but really, I think Jennings and Nelson are better in the traditional Hank Williams genre when it comes to genuine country, and I don't think that's where Neil Young performs the best. So, enough violins, fiddles, lap steel guitars, banjos and vocal harmonies. This is just another minor work by Neil Young, and a continued low profile in the 1980s. I don't really enjoy this album and basically find it below mediocre.
This album is not recommended.
[ allmusic.com 3 / 5 stars ]

Alanis Morissette "Alanis"

Alanis [debut]
release date: Apr. 6, 1991
format: cd
[album rate: 2 / 5] [2,20]
producer: Leslie Howe
label: MCA Records - nationality: Canada

Track highlights: 1. "Feel Your Love" - 2. "Too Hot" - 4. "Walk Away"

Studio album debut by Alanis Morissette - her first and only album to be released as Alanis (only).

Now, the only reason I ever came across this was because of her international giant breakthrough and also her third full-length album, Jagged Little Pill from 1995.

Alanis is something else - in fact, it's something completely different than what I believe most people associate with her name. The debut is primarily dance-pop, and that fact alone should make people realise that Morissette started out on with a different mission and in another ballgame. Some critics pointed out that this sounded a bit like Paula Abdul, and I do concede to that perspective.

Musically and artistically, this isn't all bad, it's just dance-pop of the early '90s sounding much like something else from the mid-80s, and frankly, I don't like it.

Otis Redding "The Best Of" (1984)

The Best of Otis Redding (compilation)
release date: 1984
format: vinyl
[album rate: 4 / 5]
producer: various
label: Atlantic Records - nationality: USA

Best of compilation album by Otis Redding with 12 of his great songs, and containing just one record, it still seems rather inadequate, but the songs that are given are great as they are.

Mikkelborg / Knudsen / NHØP "Heart to Heart" (1986)

Heart to Heart
release date: Jan. 1, 1986
format: vinyl (SLP 4114)
[album rate: 4 / 5] [3,86]
producer: Mikkelborg, Knudsen, NHØP
label: Storyville Records - nationality: Denmark

Collaboration album credited Mikkelborg / Knudsen / NHØP, which means former band members trumpeter Palle Mikkelborg and keyboardist Kenneth Knudsen of the jazz fusion band Entrance together with bassist Niels-Henning Ørsted Pedersen. The album consists of seven compositions of which Knudsen is credited three (tracks A1, A3, A4), Mikkelborg two (tracks (A2, B2), NHØP one (track B3), and one cover song "Imagine" by John Lennon (track B1).

Stylistically, it's jazz fusion, fusion rock, and free improvisation, and as a whole, the album comes out as a fine coherent release. Some compositions are melody-based and pop-oriented with a sense for song structure with recurring themes, whereas others are more complex in style, composition, and in arrangements - this is also made clear by running times. Five of the seven tracks have running times under 5 minutes, but two tracks (A2 & B2) are considerably longer with B2 running nearly 11 minutes.
Imho, the album is wonderful with bonds to the heydays of Entrance as well as Mikkelborg and NHØP's later solo works.

Psyched Up Janis "Swell" (1994)

Swell [debut]
release date: 1994
format: cd
[album rate: 4 / 5] [3,80]
producer: Craig Leon
label: Replay Records - nationality: Denmark

Track highlights: 1. "Vanity" (4 / 5) - 2. "I Died in My Teens" (5 / 5) - 3. "Shudder" (4 / 5) - 4. "Modest Us" (4 / 5) - 5. "Reddening Star" - 6. "Swirl Like You" - 7. "Chandelier" - 10. "New 5" - 11. "They"

Studio debut album by the Danish grunge rock trio Psyched Up Janis (founded in Sønderborg '89) released on Replay and produced by American musician and producer Craig Leon. The band consists of lead vocalist, guitarist and songwriter Sune Rose Wagner, bassist Jakob Jørgensen and drummer Martin Bjerregaard. Wagner and Jørgensen were old school friends playing in various bands before founding Psyched Up Janis. Initially, the drummer was Lars Meyer, but after relocating to Copenhagen, Bjerregaard became the band's drummer and they recorded their full-length debut.
The album was well-received by national critics but the release was unfortunately largely overshadowed by the debut albums by two other bands battling in being the most popular alt. rock band: Dizzy Mizz Lizzy and Kashmir. Both of which, I consider minor to Psyched Up Janis, who simply did not take part in much of the promotional part of selling their music. However, PUJ was my kind of a band, and their music was mistakenly unwelcomed by the public and the radio stations. This album consisting The album consists of 12 blazing compositions - of which I find 9 are actual highlights - and this was their masterpiece. They would go on to release another three studio albums before disbanding, and none of them were poor or mediocre by any standards but they simply failed to attract much attention. They were unfortunate to remain in a vacuum by the aforementioned bands and the Seattle-wave they had much more in common with.

Pink Project "Hypnotized" (1983) (single)

Hypnotized, 7'' single
release date: 1983
format: vinyl (BR 50307)
[single rate: 2,5 / 5] [2,38]
producer: Salvatore Annunziata
label: Baby Records - nationality: Italy

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

Single release by Italian duo Pink Project consisting of Luciano Ninzatti and Stefano Pulga. The title track is taken from its second mini-album Split (1983).

Maui Wowie "Kugleskør / Sort - Hvid" (1982) (single)

'own scan'

Kugleskør / Sort - Hvid, 7'' single
release date: 1982
format: vinyl (Gens 1007)
[single rate: 3,5 / 5] [3,56]
producer: Karsten Sommer and Maui Wowie
label: Genlyd - nationality: Denmark

Tracklist: A) "Kugleskør" - - B) "Sort - Hvid"

Single release by Danish reggae-band Maui Wowie is the band's first and only single. The album back cover reads: "side A: Kugleskør - side B: Sort - Hvid." But on the record, the side featuring "Kugleskør" is labelled "A.side. 1007-1" whilst the other side reads: "1.side. 1007-A" - both indicating a 'side one'. This is further complicated on the matrix etched code, which reads "GENS 1007-Ӂ" [stressed-out letter] and "GENS 1007-A" respectively... Basically, implying they just wanted to release a single with two songs. The band consists of 9 [!] members all credited on the back cover, which depicts a blurred image of nine persons. Although, Maui Wowie didn't release that many albums and singles, they were a quite familiar band in the early '80s, and together with another Danish 'roots reggae'-band, Tredie Tilstand, they represented 'reggae' as inspired by Marley and British UB40, and its original sound.
The band released its first and only album Maui Wowie in '83 without any of these two tracks, and they played at the largest festivals (Roskilde and Midtfyn) in '83 and '84. An inspirational journey to Africa in '84 had them change their style to 'afro-funk', and without releasing any further new material the band split in '88.

[ collectors' item ]

The Smiths "Last Night I Dreamt That Somebody Loved Me" (1987) (single)

Last Night I Dreamt That Somebody Loved Me, 12'' single
release date: Dec. 7, 1987
format: vinyl (CBS Pressing - RTT 200)
[single rate: 4 / 5] [3,84]
producer: Johnny Marr, Morrissey, Stephen Street
label: Rough Trade Records - nationality: England, UK

Tracklist: A) 1. "Last Night I Dreamt That Somebody Loved Me" (4,5 / 5) - - B) 1. "Rusholme Ruffians" - 2. "Nowhere Fast"

Single track from the 1987 album. Usually, Smiths' single releases were interesting 'cause they usually came with songs that weren't included on the normal studio releases, however, aside from the A-side (which was included on the most recent album), the B-side consists of 2 great tracks, but music taken from the band's '85 album, thus making it less interesting.

[ collectors' item - from ~ €37,- ]

Simple Minds "Sparkle in the Rain" (1984)

Sparkle in the Rain
release date: Feb. 6, 1984
format: cd (2003 remaster)
[album rate: 3,5 / 5] [3,42]
producer: Steve Lillywhite
label: Virgin Records - nationality: Scotland, UK

Track highlights: 1. "Up on the Catwalk" - 3. "Speed Your Love to Me" - 4. "Waterfront" - 6. "Street Hassle" - 7. "White Hot Day"

6th studio album by Simple Minds follows the band's so far biggest album success, New Gold Dream (81-82-83-84) and it's the first and only album with producer Steve Lillywhite.
The album follows the same stylistic recipe as its predecessor, and it became the band's first to top the UK albums chart list - it also topped the list in New Zealand, scored high in the Scandinavian countries but peaked at number #64 on Billboard 200 in the US. The album spawned three singles with the first, "Waterfront" faring best, peaking just outside top-10 on the singles chart list; however, it became the band's first #1 single hit as it topped the charts in New Zealand. On previous albums, Jim Kerr was credited exclusively as lyricist and the band as composer of the music, but here all tracks, except a cover by Lou Reed (#6), are credited the band.
The album became an even greater success than New Gold Dream by its stronger mainstream appeal. Imho, the album isn't the strong original release but more of a 'safe' album that doesn't stir up anything, and despite containing several fine songs, it doesn't really contain true greatness. It's solid workmanship and nicely produced, but it's not one of my favourites.

Peter Gabriel "Peter Gabriel" (4) (1982)

Peter Gabriel (4) 

release date: Sep. 6, 1982

format: digital (2003 reissue)

[album rate: 3,5 / 5] [3,52]

producer: David Lord & Peter Gabriel

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

Track highlights: 1. "The Rhythm of the Heat" - 3. "I Have the Touch" - 5. "Shock the Monkey" (4 / 5) (official video) - 6. "Lay Your Hands on Me" - 7. "Wallflower" - 8. "Kiss of Life"

4th studio album by Peter Gabriel released 2½ years after Peter Gabriel (1980) is his last self-titled album and the first to be co-produced by Gabriel. This time he has teamed up with classical composer but also fairly inexperienced music-producer David Lord. Much as usual, the album is made with a handful of stable backing band musicians, which include guitarist David Rhodes, bassist Tony Levin, keyboardist Larry Fast and drummer Jerry Marotta. To distinguish this from the former three studio albums, also titled "Peter Gabriel", this is also found as "Peter Gabriel 4" or: "Peter Gabriel IV", and it's commonly referred to as 'Security' referencing the front cover - this title has also been used for American releases.

The album lands somewhere in-between his last two albums - not really being up there with his fine third album, but nevertheless bettering his second album out, which by no means makes it on par with his debut 'cause they're so very different albums. Musically, it's not as straight-forward as his acclaimed 1980-album but it still contains some fine songs. There's a stronger presence of 'world music' in the rhythm sections but also a more experimental compositional approach with 'progressive pop' influence. Three tracks #3, #5 and #7 were selected for single release with "Shock the Monkey" as the album's clearly best-faring single and one Gabriel's best-charting singles to date. It topped as a decent number #58 in the UK but made three top-10 charts: number #10 in Canada, number #3 in Italy, and top of the charts in the US on the Mainstream Rock list (number #29 on the Billboard Hot 100) as one of a total of four singles by Gabriel ever to reach that position in the US.

The album may be his most incoherent album, but still contains great ideas - especially his incorporation of African rhythm sections occasionally shines through but comes better out on his following albums.

Not essential.

[ allmusic.com 3 / 5, Q Magazine, Uncut 4 / 5 stars ]

Editors "Munich" (2005) (single)

Munich, single
release date: Apr. 18, 2005
format: digital
[single rate: 4 / 5] [3,75]

Tracklist: 1. "Munich" (4 / 5) - 2. "Release" (3,5 / 5)

Single release by Editors from the band's forthcoming debut album. The second track only appears on a special bonus disc edition of the debut.

New Order "The Peel Sessions" (1987) (ep)

Limited Edition

The Peel Sessions, ep
release date: Dec. 5, 1987
format: vinyl (LTD. metallic finish - SFPS039) / digital
[album rate: 4 / 5] [4,05]
producer: Tony Wilson
label: Strange Fruit - nationality: England, UK

Tracklist: A) 1. "Truth" - 2. "Senses" (4 / 5) - - B) 1. "I.C.B." (4 / 5) - 2. "Dreams Never End" (4,5 / 5)

3rd ep by New Order in a Special Metallic Finish Limited Edition Sleeve. This was the first recording for BBC Radio 1's John Peel Show, but it was only released as the second Peel Sessions by New Order and the 39th overall album by Strange Fruit Records. These four tracks were all recorded in Jan. 1981 at a point where the band had so far only released two singles, and they all appear on the debut album Movement (1981), but the recording sessions for the John Peel Radio Show were made before the final versions for the debut album. It's really only a mystery as to why Strange Fruit Records (and John Peel) didn't release this session as the first with New Order. Maybe, Factory Records had a say because all songs appear on their release with the band? Anyway, this is a fine album showing the band with strong bonds to the post-punk sound of Joy Division.

[ collectors' item - 'metallic finish', ltd. edition sleeve - from ~ €40,- ]

Bruce Springsteen & the E Street Band "Live / 1975-85" (1986) (live)

Live / 1975-85 (live)
release date: Nov. 10, 1986
format: vinyl 5 lp (box set - CBS 450227 1) / digital (3 disc)
[album rate: 4 / 5]
producer: Jon Landau, Chuck Plotkin, Bruce Springsteen
label: Columbia Records - nationality: USA

Live box set by Bruce Springsteen is a 5 vinyl lp box set released as Bruce Springsteen & the E Street Band. The album was simply a must-have, and I wasn't disappointed. Not many artists are capable of releasing that many songs without leaving an impression of fillers but here are none.
[ allmusic.com 4,5 / 5 stars ]

Angélique Kidjo "Oyaya!" (2004)

Oyaya!
release date: 2004
format: digital
[album rate: 3 / 5] [3,05]
producer: Alberto Salas, Steve Berlin
label: Columbia Records - nationality: Benin

Track highlights: 1. "Seyin Djro"

9th studio album by Angélique Kidjo is a another combo of fon music - African pop and vocal jazz, just without the truly fine tracks one will find on her 2002 album.

Editors

~ ~ ~

Editors was formed in 2002 in Birmingham, England, UK. Members: Tom Smith (aka Thomas Michael Henry Smith [birth name], vocals, guitar, piano), Russell Leetch (bass & synths), Ed Lay (drums & percussion), Chris Urbanowicz (guitar & synths, 2002-12), Justin Lockey (lead guitar, 2012-present), Elliott Williams (keyboards, synths, guitar & backing vocals, 2012-present). Editors was one of many neo-post-punk or post-punk revival bands to emerge in the late 1990s and in the new millennium on both sides of the Atlantic. In the US the dominating artists were Interpol, The Killers, The National, The Rapture and from the UK: Bloc Party, Art Brut, Franz Ferdinand and Editors, the latter being the most recent contributors of the new revival, and as such they have understood to combine the sound of the American style as well as the original British post-punk artists. The band play a distinct post-punk on their first two albums on which you'll find inspiration in the musical universe of the original post-punk bands as well as the earliest revivalists - both in content and form. Later on, the band has progressed into synth pop indie pop as well as alt. rock territory, and the band underwent a major change in line-up in 2012. Tom Smith is the band's lead vocalist, songwriter and dominating front figure, and I first heard of the band when the song "Munich" was played in a national radio program.

~ ~ ~

Elvis Costello "King of America" (1986)

King of America
release date: Feb. 4, 1986
format: vinyl (RCLP 20369) / digital (2013 remaster)
[album rate: 4 / 5] [3,92]
producer: The Coward Brothers ['T-Bone' Burnett, Elvis Costello]
label: RCA Victor - nationality: England, UK

10th studio album by Elvis Costello, credited the Costello Show, following close to two years after Goodbye Cruel World (Jun. '84) marks a new direction in a more substantial way than has usually been the case. Costello has always sought new ways of expression and challenged his fans from album to album but never to the extent he end up showcasing here. Around '84 he had found himself in various deep conflicts - be it privately, between two women, which ended with his first wife Mary [Burgoyne] filing for divorce and Costello then rejecting his American girlfriend, and the ongoing and increased tensions with The Attractions had him considering firing the band. He sought relief on an American solo tour where he played with 'T-Bone' Burnett [aka Joseph Henry Burnett III] and in him found a soul, with whom things seemed to work out for the better. Alledgedly, Burnett helped Costello in finding the essense of his songs and skip the superfluous arrangements he had recently become accustomed to. Together the two played covers from a long range of songwriters in a refreshing new style, and this appears to be the first step to this album. Initially, Costello invited The Attractions to the States because he still thought they should back him on the album, but after listening to what they produced together, he simply rejected the idea of a full involvement from his old backing band and completed most songs with the studio musicians that Burnett suggested - and with whom Costello found a new free form that was impossible for him to imitate together with The Attractions (they all play on two songs; keyboardist Steve Nieve on three). All but two covers are written and composed by Costello who was so determined to come up with something new that he also skipped his name; or rather: he returned to his birthname, so all songs are credited Declan MacManus and the producer-duo (T-Bone Burnett & Costello) are simple credited The Coward Brothers.
But he had also found a new love in Cait O'Riordan. He had been introduced to The Pogues and immediately fell for the band's bassist, and he then managed to hire the band as warm-up on a tour in Britain and not long after, he was hired as the band's producer for Rum, Sodomy & The Lash (1985) and during the recordings he soon began acquainting O'Riordan, and in Dec. '85 the two informally married [since Costello wasn't yet officially divorced] - seemingly, they married officially in May '86; however, Cait much later admitted - in 2004 when the two parted ways - that there never was an official marriage. The album then both deals with old flames, a broken marriage and a newfound love.
King of America is in many ways the rebirth of the artist. He tries hard to dissociate his new self with the image he had tired from, but it's not an easy task, when everyone knows who you are anyway. But with new musical friendships, new backing musicians and songs that have been stripped from the pretentiousness of his recent releases, Costello succeeds - again. His songwriting talent makes it a sheer tour de force of emotions and the sound is far from anything he has done before. He has included two covers: "Don't Let Me Be Misunderstood" by Bennie Benjamin, Sol Marcus, and Gloria Caldwell (originally written for Nina Simone in '64 and covered by many artists over the years) and "Eisenhower Blues" by J. B. Lenoir - probably to pay tribute to the very song catalogue that had inspired him to make the album, and perhaps also to show in what context he basically wanted his new songs to hint at.
I recall, purchasing the album upon its release - simply because it had been rumoured to be something completely different from his recent albums, and I simply wished he would live up to his name. Iinitially, I was slightly bewildered but the songs and the stripped down arrangements were so good that I embraced it as his best in years.
The 2013 remaster is released by Mobile Fidelity Sound Lab.
The album is Costello's first of two full-length albums to be issued in '86, and King of America is simply a cornerstone in an already long and remarkable career.
A must.
[ allmusic.com 4,5 / 5, Blender, Q Magazine 5 / 5, Rolling Stone 4 / 5 stars ]

XTC "English Settlement" (1982)

English Settlement
release date: Feb. 12, 1982
format: vinyl 2 lp (embossed cover - V2223) / cd (2001 remaster)
[album rate: 4 / 5] [4,06]
producer: Hugh Padgham & XTC
label: Virgin Records - nationality: England, UK

Track highlights: A) 1. "Runaways" - 2. "Ball and Chain" (4 / 5) - 3. "Senses Working Overtime" (4,5 / 5) - 4. "Jason and the Argonauts" - - B) 1. "No Thugs in Our House" (4 / 5) - 7. "All of a Sudden (It's Too Late)" - - C) 1. "Melt the Guns" - 3. "It's Nearly Africa" - - D) 1. "Fly on the Wall" (4 / 5) - 2. "Down in the Cockpit" - 3. "English Roundabout" (4 / 5) - 4. "Snowman"

5th studio album by XTC produced by Hugh Padgham and the band is XTC's critically acclaimed conceptual double album.
Commercially, the band never succeeded like contemporaries like U2 and The Jam, but they were the critics' and other bands' darlings, and with this, Partridge / Moulding was a duo in the songwriters' super-league. At this point their music had changed from fast energetic new wave outbursts, and experimental art pop, to more lyrics-based tracks in an art pop, pop / rock style, and it had become more jangle pop. The album was soon seen as a cornerstone of new stylistic progression on the contemporary European pop / rock scene because undoubtedly, they played perfectly unnoticed by the broad American audience.
Personally, the music didn't sink in until some years after but it's one of Britain's musical jewels of the early 1980s. I find that it's one of those rare albums that keep adding new dimensions to "its shape". Actually, it doesn't even sound dated, and that's a huge accomplishment, and I think it has to do with the band's unique original sound. In a sense it's rather homogeneously crafted, but it's also extremely varied and ambitious - and in a way, opposite the tightness of Black Sea. To me, this is their absolute best and it's a highly recommendable listen.
[ allmusic.com, Q Magazine 4 / 5 stars, Pitchfork 100 / 100 ]

[ collectors' item - 1st issue with embossed cover ]

Van Morrison "No Guru, No Method, No Teacher" (1986)

No Guru, No Method, No Teacher
release date: Jul. 1986
format: vinyl / cd (2008 remaster)
[album rate: 4,5 / 5] [4,28]
producer: Van Morrison
label: Mercury / Exile, Polydor - nationality: Northern Ireland, UK

Track highlights: 1. "Got to Go Back" (4 / 5) - 2. "Oh the Warm Feeling" - 3. "Foreign Window" (4 / 5) - 4. "A Town Called Paradise" - 5. "In the Garden" (5 / 5) (live - live 2017) - 7. "Here Comes the Knight" - 8. "Thanks for the Information" (4 / 5) - 9. "One Irish Rover" (4,5 / 5) - 10. "Ivory Tower" - *12. "Lonely at the Top"

* Bonus track on CD remaster

16th studio album by Van Morrison following 1½ years after A Sense of Wonder (1984).

The front cover is a photo collage with Van on the left and what appears to be the photograph of a sculpture of Chinese philosopher Confucius on the right. The title of the album is with reference to Indian philosopher Jiddu Krishnamurti, who said "[It all] depends on you, and not someone else, because in this there is no teacher, no pupil; there is no leader; there is no guru; there is no Master, no Saviour. You yourself are the teacher and the pupil; you are the Master; you are the guru; you are the leader; you are everything" (1966). With this, Van continues his open spiritual search, but with that new statement that he is not part of the Jehovas Witnesses, the Scientology movement or any other specific belief - only underlining that he has come to an understanding of the importance of the individual's own choices.

In retrospect, the album has come to be regarded as a bit of a cornerstone in his long career. From this, he really produces a series of some of his most acclaimed works. During the 80s, he is said to have suffered from writers' block, which had him rethink his artistic role and to even consider a complete retirement from the music business.

As Nick Coleman of the Independent puts it (here): "The four great Van albums are ‘Astral Weeks’, ‘Moondance’, ‘Veedon Fleece’ and … this one." - I do understand what he means, though I would add at least another two or three studio albums, but there's a strong common link to the potency of Van Morrison to all these (quite) different albums but they all share the powers of one man's songwriting and especially the unique force of his soulful vocal. He didn't participate in the gospel choirs growing up in Northern Ireland but he sings as if he was raised on nothing but Northern soul. On the fabulous "In the Garden" he sings "No Guru, No Method, No Teacher - Just you and I and nature - And the Father and the son and the holy ghost - In the garden". Does this reveal that Van is hanging on to an idea of the almighty Christian father figure, despite references to Krishnamurti? 'Cause the Indian philosopher also said: "I maintain that Truth is a pathless land, and you cannot approach it by any path whatsoever, by any religion, by any sect" (jiddu-krishnamurti.net), which doesn't coincide with a belief in the holy ghost, Van. [If you really are a true believer, you will find reason in all statements by Newton and Darwin to our current times of Victor Stenger and Richard Dawkins]. And it seems Van has landed a new understanding of the meaning of... everything. In some songs you'll find references to a belief in higher spirits, and then in others he claims to have come to realise it was all a hoax, as in "Thanks for the Information" when he sings: "Thanks for the invitation - I know I must be on to something big - Every time, I take two steps forward - I end up having to take three back [...] Thanks for the information - Thanks for the memory." Meaning: he's now over searching new truths about a higher understanding? And in that regard you can take almost any song on the album and find words and bits about a disbelief and what seems like a new confirmation that it's Okay not be in search of the light of truth, or a new water hole to drink from together with other believers but in fact be on your own in your understanding - regardless what that is.

And regardless belief, truth and 'truth' this very album contains some truly fine soulful compositions with a solid backing band and a balanced maturity in his vocal performance, which is the beautiful narration and the finest instrument.

Highly recommendable.

[ allmusic.com 4 / 5, Hot Press 11 / 12 stars ]

Nick Cave and The Bad Seeds "The Firstborn Is Dead" (1985)

The Firstborn Is Dead
release date: Jun. 4, 1985
format: cd (1996 Japan reissue)
album rate: 3 / 5] [3,08]
producer:  Nick Cave & The Bad Seeds, Flood
label: Mute Records - nationality: Australia

Track highlights: 1. "Tupelo" (4 / 5) - 2. "Say Goodbye to the Little Girl Tree" (3 / 5) - 4. "Black Crow King" - 6. "Wanted Man"

2nd studio album by Nick Cave & The Bad Seeds originally released on Mute Records follows one year after the debut From Her to Eternity.

Compared to the debut album, this is a more melodic album, and it signals a final goodbye to no wave. The line-up here is Nick Cave on vocals and harmonica, Blixa Bargeld on guitar, slide guitar, piano and backing vocals, and with both Barry Adamson and Mick Harvey on bass, drums, guitar, organ and backing vocals. This is in fact an early example of music in the genre of alt. rock, which initially was made up of reminiscences of post-punk and art rock, but here with a certain amount of blues rock influences, although, it still displays obvious experimental and post-punk traits.
[ allmusic.com, Rolling Stone Album Guide 4 / 5 stars ]