U2 "Rattle and Hum" (1988)

Rattle and Hum
release date: Oct. 10, 1988
format: vinyl 2 lp (gatefold - U 27) / digital
[album rate: 3,5 / 5] [3,42]
producer: Jimmy Iovine
label: Island Records - nationality: Ireland

6th studio album by U2 following 1½ years after The Joshua Tree (Mar. 1987) is a double album produced by Jimmy Iovine. This is when U2 conquered USA, or actually, they made way with the previous release but this one really made all of America 'luuuv' U2.
Long story short: I don't like this a lot. I adored their style up until this point. There's too much blues rock and gospel inspiration, Bono is too much, and there's too little U2, and I think there's way too much recycling. Also, the live versions and studio recordings don't mix that well. The best tracks are the singles "Desire", "Silver and Gold" (B-side on "Where the Streets..."), "Heartland", and "All I want Is You". The 17 tracks (and too long) double album could easily have been a mighty fine 4-track ep, thus making it a very good bargain. The rest is really just for people who can't get enough of listening to Bono listening to himself. For me, this is like a band believing too much in the image as the new Rolling Stones conquering the US. Commercially speaking, U2 just kept growing as a brand, but as an artistic project, I think they sold out with this. The music is only so-so and pretentions are sky-high. They simply lost me with this one.
[ allmusic.com, Sputnikmusic 3 / 5, 👍Rolling Stone 3,5 / 5 stars ]

U2 "Desire" (1988) (single)

Desire, 12'' single
release date: Sep. 19, 1988
format: vinyl (611 670)
[single rate: 4 / 5] [3,98]
producer: Jimmy Iovine
label: Island Records - nationality: Ireland

Tracklist: A) 1. "Desire" (4 / 5) - 2. "Hallelujah, Here She Comes" - - B) "Desire (Hollywood Remix)"

Single release by U2 taken from the forthcoming album Rattle and Hum (Oct. 1988) marks a bit of a change as the release isn't produced by the usual two - Daniel Lanois and Brian Eno. Instead the single and upcoming album is produced by American producer Jimmy Iovine, who worked as sound engineer on Springsteen's Darkness on the Edge of Town (1978) but basically has produced for many artists over the past two decades.
I really loved the title track, and the second track is quite good, but the B-side is really just a filler.

U2 "Where the Streets Have No Name" (1987) (single)

Where the Streets Have No Name, 12'' single
release date: Aug. 31, 1987
format: vinyl (609 382)
[single rate: 4 / 5] [3,88]
producer: Daniel Lanois / Brian Eno, U2
label: Island Records - nationality: Ireland

Tracklist: A) "Where the Streets Have No Name" - - B) 1. "Silver and Gold" (4 / 5) - 2. "Sweetest Thing"

Single release by U2 is the band's 3rd out of a total of 5 singles taken from The Joshua Tree.
The A-side track was never a big favourite of mine, but the two tracks on the B-side are really worth the price. I nearly only ever played that side of the single.

U2 "I Still Haven't Found What I'm Looking For" (1987) (single)

I Still Haven't Found What I'm Looking For, 7'' single
release date: May 25, 1987
format: vinyl (109 152)
[single rate: 3,5 / 5] [3,62]
producer: Daniel Lanois / Brian Eno; U2
label: Island Records - nationality: Ireland

Tracklist: A) "I Still Haven't Found What I'm Looking For" - - B) 1. "Spanish Eyes" - 2. "Deep in the Heart" (4 / 5)

Single release by U2 is a single release from The Joshua Tree, which is produced by Lanois / Eno, whereas the two B-side tracks are produced by U2. The best track here is actually the non-album composition "Deep in the Heart". I never really enjoyed the title track that much, which on the other hand gave the band much recognition in the States.

U2 "With or Without You" (1987) (single)

With or Without You, 12'' single
release date: Mar. 16, 1987
format: vinyl (12 IS 319)
[single rate: 3,5 / 5] [3,58]
producer: Lanois / Eno; U2
label: Island Records - nationality: Ireland

Tracklist: A) "With or Without You" (4 / 5) - - B) 1. "Luminous Times (Hold on to Love)" - 2. "Walk to the Water"

Single release by U2 taken from The Joshua Tree. Only the title track is worth the lot on this release, and it's included on the album, so just stick with that.

My Bloody Valentine "Ecstasy and Wine" (1989)

Ecstasy and Wine (compilation)

release date: Feb. 1989

format: cd

[album rate: 3,5 / 5]

producer: My Bloody Valentine

label: Lazy Records - nationality: Ireland

Track highlights: 1. "Strawberry Wine" - 4. "She Loves You No Less" - 6. "I Don't Need You" - 7. "(You're) Safe In Your Sleep (From This Girl)" - 10. "(Please) Lose Yourself In Me"

Compilation album by My Bloody Valentine released by the band's former label Lazy at a time when they were on contract with Creation who had most recently released the band's full-length debut Isn't Anything (Nov. 1988). Furthermore, the album here was released without the band's consent and then it's made up of a the three-track single Strawberry Wine (Nov. 1987) - the first three tracks - and the vinyl-only Mini-album Ecstacy (Nov. 1987) - the final seven tracks. This way, all songs here precede the You Made Me Realise ep and follows after the ep The New Record by My Bloody Valentine (Sep. 1986), and that makes perfectly sense when listening to these 10 songs in a more tempting noise pop, jangle pop, and surf rock-inspired style, which preceded the stronger shoegaze / dreampop mass up. All songs are made with the same (new) line-up with Kevin Shields, Bilinda Butcher, Debbie Googe, and Colm Ó Cíosóig, and it showcases the band's move from 1960s surf rock and psychedelic rock towards a stronger noise pop foundation via jangle pop-influence - say with inspiration from The Smiths and The Jesus and Mary Chain.

Not among the band's best releases but definitely worth a listen or as a testimony to the band's early stage.

The Blue Nile "Tinseltown in the Rain" (1984) (single)

Tinseltown in the Rain, 12'' single
release date: Aug. 1984
format: vinyl (601 396)
[single rate: 4,5 / 5] [4,38]
producer: Paul Buchanan, Robert Bell
label: Virgin Records - nationality: Scotland, UK

Tracklist: A) 1. "Tinseltown in the Rain" (5 / 5 ) (live on Later) - - B) 1. "Regret" (4 / 5) - 2. "Heatwave" (4 / 5)

12'' single from the studio album debut by The Blue Nile released on Linn Records in the UK and Australia, A&M Records in North America and by Virgin in the EU only.

[ collectors' item - only EU 12'' pressing ]

BEST OF 1970:Creedence Clearwater Revival "Cosmo's Factory" (1970)

Cosmo's Factory
release date: Jul. 25, 1970
format: cd
[album rate: 5 / 5] [4,88]

Tracklist: A) 1. "Ramble Tamble" (5 / 5) - 2. "Before You Accuse Me" - 3. "Travelin' Band" (5 / 5) - 4. "Ooby Dooby" - 5. "Lookin' Out My Back Door" (5 / 5) - 6. "Run Through the Jungle" - - B) 1. "Up Around the Bend" (5 / 5) - 2. "My Baby Left Me" - 3. "Who'll Stop the Rain" - 4. "I Heard It Through the Grapevine" - 5. "Long as I Can See the Light"

5th studio album by Creedence Clearwater Revival released on Fantasy Records and produced by John Fogerty who also wrote 7 of the album's 11 tracks. To me this is the very best of the band who never again would release an album at this level. The two predecessors Willy and the Poor Boys (Nov. 1969) and Green River (Aug. 1969) are both major album as well, but this one is in a league of its own. The album consists of only great tracks, and almost the entire album are made up of songs that today are pure classics. Unfortunately, the band rushed back into the studio after the release, and a sixth studio album Pendulum was already on the shelves Dec. 1970, which basically signaled the end of the band. I think, it's a bit of an achievement if you look at how the band was able to keep to their own trademarks of swamp rock country rock at a time when almost everyone made progressive rock, psychedelic rock or experimental rock. They started out two years and four albums earlier by playing country rock and blues rock like so many other bands did in '68 but these guys are perhaps the only ones who became that famous for sticking to their original style in the long run. John Fogerty was not just the primary songwriter but he was such a gifted musician that he almost tore the band apart as he wrote their songs, sang lead vocals, played lead guitar, and handled saxophone and piano - AND on top of that he also arranged and produced the album. So, it's understandable that they would argue about their musical direction. Maybe it would have been easier for the other members (not to mention his brother Tom) if they had agreed on the name 'John Fogerty & Creedence'. Nevertheless, they play as a unit with Tom Fogerty on rhythm guitar, Stu Cook on bass, and Doug Clifford on drums.
Even today it seems quite natural that the album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Rolling Stone 5 / 5 stars ]

1970 Favourite releases: 1. Creedence Clearwater Revival Cosmo's Factory - 2. Van Morrison Moondance - 3. Neil Young After the Gold Rush

Mathilde Falch "Lad mig gå fri" (2012)

Lad mig gå fri [debut]

release date: Feb. 23, 2012

format: cd

[album rate: 3,5 / 5] [3,28]

producer: Lars Skjærbæk

label: Gateway Music - nationality: Denmark

Track highlights: 1. "Lad mig gå fri" (acoustic live) - 2. "Nætter under stjernerne" - 3. "Væk fra denne virkelighed" - 4. "Sådan er du" - 6. "Du kan ikke sove" - 8. "Tving følelserne frem"

Full-length studio album debut by Mathilde Falch (aka Mathilde Juhl Lyneborg-Falch) following her 4 track EP debut Kom med mig (2010), from which three songs reappear here (tracks #3, #4, and #10). Mathilde is the daughter of Linda Lyneborg and vocalist Michael (Ehlert) Falch of Malurt and with a long career as soloist.

Mathilde follows closely in the footsteps of her father playing a type of pop / rock that owes a great deal to one Mr. Springsteen, although, Mathilde, quite naturally distances herself from the masculin centre of attention. You could add Patti Smith and Lucinda Williams to a long list of presumed influences. I cannot help thinking of both Nena and Gianna Nannini as artists with a similar soundscape - someone who narrates about personal experiences with existentiality, and where insecurity, anxiety, and unhappiness appear to be lurking in the dark.

Lad mig gå fri ['Set me free'] is a fine first album out, which contains a lot of energy and vitality, but also appears like a somewhat grey album in the sense that it doesn't bring much new to the altar. Mathilde Falch is, however, certainly someone to keep ears and eyes for.

Billie Holiday "The Legendary Masters Unissued or Rare 1935-58" (1988)

The Legendary Masters Unissued or Rare 1935-58 (compilation)
release date: 1988
format: 3 lp vinyl box set (RARELP 01/03)
[album rate: 4 / 5]
producer: various
label: Recording Arts Reference Edition - nationality: USA

A 3 lp box set released on Recording Arts Reference Edition (aka RARE) in an Italian print. The box set is a fine collection spanning recordings from more than two decades in various line-ups featuring Teddy Wilson & His Orchestra, Billie Holiday & Her Orchestra, Benny Carter & His All Star Orchestra, Eddie Heywood & His Orchestra, Louis Armstrong & His Hot Six, Stan Getz & His Quartet, and from 1952-58 just Billie Holiday flanked by some of jazz' greatest.
Highly recommended.

Paul Simon "Graceland" (1986)

Graceland
release date: Aug. 25, 1986
format: vinyl (92 54471) / cd (2012 remaster - 25th Anniversary Edition)
[album rate: 4,5 / 5] [4,28]
producer: Paul Simon
label: Warner Bros. - nationality: USA

7th solo studio album by Paul Simon following three years after Hearts and Bones. The album is Simon's multi-platinum best-selling album (5 x Platinum in the US, 8 x Platinum in Australia, 7 x Platinum in the UK, and 3 x Platinum in Germany, selling a total of more than 16 mio. copies world-wide). Simon and the album won several prizes and it only received very positive reviews and it's rightfully enlisted in "1001 Albums You Must Hear Before You Die".

[ allmusic.com, Rolling Stone, Blender, The Independent 5 / 5 stars ]

Rammstein "Engel (Fan-Edition)" (1997) (single)

Engel (Fan-Edition), single
release date: May 23, 1997
format: cd
[single rate: 3,5 / 5] [3,62]
producer: Jacob Hellner, Rammstein
label: Motor Music - nationality: Germany

Tracklist: 1. "Engel (Extended Version)" (4 / 5) - 2. "Feuerräder (Live Demo Version 1994)" - 3. "Wilder Wein (Demo Version 1994)" (3,5 / 5) - 4. "Rammstein (Eskimos & Egypt Instrumental)"

Single release by Rammstein taken from the forthcoming second album Sehnsucht. It's a variation from the first issue of Engel and offers an extended version of the album track (it's 12 seconds longer). The single also contains two demo versions and "Rammstein (Eskimos & Egypt Instrumental)", which is also included on the standard single version of Engel.

Rammstein "Engel" (1997) (single)

Engel, single
release date: Apr. 1, 1997
format: cd
[single rate: 3,5 / 5] [3,68]
producer: Jacob Hellner, Rammstein
label: Motor Music - nationality: Germany

Tracklist: 1. "Engel" (4 / 5) - 2. "Sehnsucht" (4 / 5) - 3. "Rammstein (Eskimos & Egypt Radio Edit)" - 4. "Rammstein (Eskimos & Egypt Instrumental)" - 5. "Rammstein (Original)"

Single release by Rammstein taken from the forthcoming second album Sehnsucht. It contains two strong single tracks from the new album and an additional three versions of the album track Rammstein from the debut Herzeleid (1995) which seems like mere fillers.

Deep Purple "Come Taste the Band" (1975)

Come Taste the Band
release date: Oct. 10, 1975
format: vinyl (TPSA 7515) / digital (2010 remaster)
[album rate: 3 / 5] [2,96]
producer: Martin (The Wasp) Birch and Deep Purple
label: Purple Records - nationality: England, UK

Track highlights: A) 1. "Comin' Home" - 2. "Lady Luck" - 5. "I Need Love" - - B) 1. "Drifter"

10th studio album by Deep Purple released on Purple Records and produced by Martin Birch and Deep Purple. Stylistically, the band continues with a mix of hard rock, funk, soul elements and more mainstream pop / rock as was the case on Burn (1974). The album features the band's new guitarist Tommy Bolin who had replaced one of the band's central composers, Ritchie Blackmore, but it remains the only album with Bolin as guitarist. In early '76 the band was on an Asian tour and Bolin who was a drug addict often failed to play guitar properly and the band broke up Mar. '76 - Bolin died of a heroin overdose Dec. 1976. Deep Purple was, however, rejoined in 1984 with the original "Mark II" members, Ian Gillan, Ritchie Blackmore, Jon Lord, Roger Glover and Ian Paice. The band still lives on, although, the members list have changed since the reunion but Ian Gillan, Roger Glover and Ian Paice are still together as Deep Purple. This is my newest album with the band. I have listened to a few of their more recent albums, including their "reunion" album Perfect Strangers (1984), which became the band's biggest commercial success, but I have failed to find anything interesting in their following releases and simply see the band as one connected to the early 1970s.
[ allmusic.com 3,5 / 5 stars, Sputnik Music calls it "very poor" and hands it 1,5 / 5 stars ]

Gang of Four "The Peel Sessions" (1986)

The Peel Sessions, ep
release date: 1986
format: vinyl (SFPS008) / cd (1990)
[album rate: 3 / 5] [3,18]
producer: Bob Sargeant
label: Strange Fruit - nationality: England, UK

Ep by Gang of Four in the The Peel Sessions series by Strange Fruit Records. The original vinyl ep contains four tracks - in 1990 the album was issued as a digitally remastered cd issue, which basically is a different album containing eleven tracks.
Recorded: Jan. 9, 1979.
First Transmission: Jan. 18, 1979.

Frankie Valli and the Four Seasons "Anthology" (1988)

Anthology (compilation)
release date: Sep. 28, 1988
format: cd
[album rate: 4 / 5]

Tracklist: 1. "Sherry" (5 / 5) - 2. "Big Girls Don't Cry" - 3. "Walk Like a Man" - 4. "Candy Girl" - 5. "Marlena" - 6. "Dawn (Go Away)" - 7. "Stay" - 8. "Ronnie" - 9. "Rag Doll" - 10. "Silence Is Golden" - 11. "Save It for Me" - 12. "Big Man in Town" - 13. "Bye, Bye, Baby (Baby Goodbye)" - 14. "Girl, Come Running" - 15. "Let's Hang On" - 16. "Don't Think Twice (performed as 'The Wonder Who?')" - 17. "Working My Way Back to You" - 18. "Opus 17 (Don't You Worry 'Bout Me)" - 19. "I've Got You Under My Skin" - 20. "Tell It to The Rain" - 21. "Beggin' " - 22. "Can't Take My Eyes Off You" (relased by Frankie Valli) - 23. "C'mon Marianne" - 24. "Will You Love Me Tomorrow?" - 25. "Who Loves You" - 26. "December, 1963 (Oh, What a Night)"

This is a great compilation album if you don't want a lot of albums with minor tracks. Normally, I would prefer to dig into the whole discography of an artist that I like, and one day I might just try to get hold of everything I can by this fantastic vocal act. I'm really not a huge fan of doo-wop or 1960s vocal groups, except for maybe soul-related artists, but this is classic, memorable, and very original stuff. The falsetto of Frankie Valli is legendary, and I guess most people know it from their biggest hit "Sherry" but also, very often people have no idea of who did it and / or what else they made, 'cause fact is they made many other great songs, and a lot of them happen to be on this Anthology.

New Order "Get Ready" (2001)

Get Ready
release date: Aug. 21, 2001
format: cd
[album rate: 3,5 / 5] [3,45]
producer: Steve Osborne
label: London Records - nationality: England, UK

Track highlights: 1. "Crystal" - 2. "60 Miles an Hour" - 3. "Turn My Way" - 5. "Primitive Notion" - 8. "Someone Like You" - 9. "Close Range" (live at Finsbury Park) - 10. "Run Wild"

7th studio album by New Order released on London Records is the first in a long series of New Order releases not to be produced by the band. Steve Osborne has produced all tracks except track #7 ("Rock the Shack"), which is produced by New Order and Flood (aka Mark Ellis) and track #10, co-produced by Bernard Sumner and Osborne. The band had not released a studio album for 8 years with the predecessor being Republic (1993), and the album was a bit of a surprise to many people who had buried the band. Stylistically, this is somewhere between the style of Low-Life (1985) and the two most recent albums. It's more simple and raw, and there has been made room for the inclusion of acoustic instruments (e.g. "Run Wild"), which is a bit of a contrast compared to the more complex dance-pop compositions of Republic.

I think, it's a decent release, although, I like Twisted Tenderness from 1999 by the collaboration project Electronic (consisting of Sumner and Johnny Marr) better. Unfortunately, it should prove to be their final album together.

Get Ready is the so far last New Order album to feature Gillian Gilbert, who had been in the band since its formation, and it may not be among their best but is definitely worth a spin or more.

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

Laurie Anderson "Life on a String" (2001)

Life on a String
release date: Aug. 21, 2001
format: digital
[album rate: 2,5 / 5]

6th studio album release by Laurie Anderson. Once again, she releases an album after several years concentrating on art performances and live concerts, and this time, I really think, the result is disappointing. Of all her albums, this is perhaps her least interesting release. Stylistically, she dwells on her many spoken-word performances over the years adding strings and chamber music to her special lyrics. LA is not just about music, and perhaps this should be rated in the light of being a multi-mdeia performance artist, but I stick to the musical aspect.

Van Morrison "Avalon Sunset" (1989)

Avalon Sunset
release date: May 19, 1989
format: vinyl (839 262-1) / cd (2008 remaster)
[album rate: 3,5 / 5] [3,72]
producer: Ivan Morrison
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "Whenever God Shines His Light" -  2. "Contacting My Angel" - 3. "I'd Love to Write Another Song" - 4. "Have I Told You Lately?" (5 / 5) - 5. "Coney Island" - 7. "When Will I Ever Learn to Live in God?" - 8. "Orangefield" - 10. "These Are the Days"

19th studio album by Van Morrison released 11 months following Irish Heartbeat, which was an album of Celtic and Irish folk music, and in that regard this may appear as a big turnover. Stylistically, this is perhaps one of Morrison's most evident attempts within a mainstream pop / rock musical sphere, although, also the successor Enlightenment (1990) is a contender with appeal to a broader crowd.
Avalon Sunset also shows strong influences of chamber pop with bold use of string and brass arrangements, and then it's undeservedly best known for the collaboration work with one Mr. Cliff Richard, who takes part of "Whenever God Shines His Light". Well, 'collaboration' may be an exaggerated expression as Morrison wrote the song and Richard only features as duet vocalist. The rest of the album isn't really all that mainstream, but somehow that sticking label hangs on to an album, which is more than just fine. The beautiful love song "Have I Told You Lately?" may also be a resulting factor why it has been looked upon as his pure pop / rock album more than any other, but if you detract these two songs from the rest of the album, the end result is really an album with strong inner perspective and classic songwriting on the basis of rhythm & blues, soul, in combination with an ever-present celtic tone, and in that regard the album doesn't fall far from his modern classic: Into the Music (1979).
Fine and enjoyable.
[ allmusic.com 3,5 / 5, Rolling Stone 4 / 5 stars ]

Tom Waits "Franks Wild Years" (1987)

Franks Wild Years
release date: Aug. 17, 1987
format: cd (1989 reissue)
[album rate: 4 / 5] [4,08]
producer: Tom Waits
label: Island Records - nationality: USA

Track highlights: 1. "Hang on St. Christopher" - 2. "Straight to the Top (Rhumba)" - 4. "Temptation" (4 / 5) - 5. "Innocent When You Dream (Barroom)" (5 / 5) - 6. "I'll Be Gone" (4 / 5) - 7. "Yesterday Is Here" - 9. "Frank's Theme" - 11. "Way Down in the Whole" (4 / 5) - 14. "Telephone Call from Istanbul" - 15. "Cold Call Ground" (4,5 / 5) - 16. "Train Song" (4 / 5)

10th studio album by Tom Waits following two years after Rain Dogs carry the subtitle "Un Operachi Romantico in Two Acts" and it's Waits' music for his & wife Kathleen Brennan's stage show performed by the Steppenwolf Theatre Company and directed by Gary Sinise in Chicago, where the show was staged over a two-month period with Waits in the role of Frank during the Summer of 1986.
This was actually the first Tom Waits album I acquired sometime in '89. I purchased the album upon hearing the song "Innocent When You Dream", which I first thought was a remake of an old classic but later found out was Tom's own composition. I had been thinking for some time about getting hold of some Waits' albums but I simply had no idea where to start.

For a start, I didn't fully appreciate the album the way I later came to. I thought it was fine, but also a little... too strange, since I only knew bits of his albums from the 70s but at the same time, the album also made me curious about the man and his music. Soon after, I came across Swordfishtrombones (1983) at my local music dealer. I noticed that it contained several songs that I knew, so I purchased it on the spot and was completely overwhelmed and intrigued and I just knew I had to dive into his back catalog from start to finish. The title Frank's Wild Years is a track from Swordfishtrombones and is in reference to his father, Frank, who, in addition to teaching Spanish, was widely known as a drunkard who abandoned his family during Tom's childhood.

Highly recommended.

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

David Sylvian & Holger Czukay "Plight & Premonition" (1988)

Plight & Premonition
release date: Mar. 1, 1988
format: digital
[album rate: 2,5 / 5] [2,65]
producer: David Sylvian, Holger Czukay
label: Venture / Virgin Records - nationality: England, UK

Tracklist: 1. "Plight (The Spiralling of Winter Ghosts)" - 2. "Premonition (Giant Empty Iron Vessel)"

1st collaboration album by David Sylvian & Holger Czukay. The album is Sylvian's first after his highly successful album Secrets of the Beehive (1987) but this has only little in common with that as it's an instrumental release consisting of two tracks: "Plight" (of more than 18 minutes) and "Premonition" (more than 16 minutes), both composed by Sylvian and Czukay. Holger Czukay is a German artist who played guitar and bass in the German (primarily 1970s) experimental, krautrock and psychedelic rock band Can. There's nothing of those styles involved in this except from experimental, and neither is there Sylvian's usual sophisti-pop, art pop nor jazz fusion to it, but it's more of an ambient album with the addition of sound collages, which isn't really my favourite. The release only demonstrates Sylvian's broad stylistic approach but also his reluctance to popular mainstream music. As his former band, Japan found itself on the verge of an international commercial breakthrough, the band split, and Sylvian took up his long and wide-embracing solo career. His 1984 and '87 solo albums only gained positive feedback from (almost) everyone in the music business but he sought other values than fame and glory with his music, which this basically serves to demonstrate. It's brave, it's honest to the bone, yes, but really not for the broader masses. Czukay is credited for playing organ, piano, shortwave radio, and for... "treatments", and Sylvian for playing electric guitar, keyboards, piano, vibraphone, and harmonium. Aside from the two main artists, also Can-drummer Jaki Liebezeit is credited for handling "infra sound", and Karl Lippegaus for "radio tuning".
I basically find this a difficult listen and don't enjoy the album that much, but with Sylvian there's always "something" to it, which almost never makes it a lesser release. After all, it might be brilliant for meditating, and my experiences with his music always has me letting a door open to it, 'cause I may find myself in a certain mood one day where his music makes sense upon returning to some of his more experimental music.
[ allmusic.com 4 / 5 stars ]

Danny Brown "XXX" (2011)

XXX
release date: Aug. 15, 2011
format: digital
[album rate: 3 / 5] [3,12]
producer: Skywlkr (and others)
label: Fool's Gold Records - nationality: USA

Track highlights: 1. "XXX" - 2. "Die Like a Rockstar" - 3. "Pac Blood" - 6. "I Will" - 13. "DNA" - 15. "Party All the Time" - 16. "EWNESW"

3rd studio album by Detroit rapper Danny Brown [aka Daniel Dewan Sewell] is an original hardcore hip hop and slightly experimental hip hop album. DB doesn't add much new to the genre as he raps 'bout his lifestyle, the negative stuff, drugs, ODs, and girls. That's pretty much within the frame of hip hop, right`? But Brown has his flow, a strict (almost industrial) production, and a nice touch with experimental influences, which are quite secondary here but they contribute to his style. With Brown it's not about making single hits with sing-along chorus and nice hooks as much as presenting his sonic style.
[ allmusic.com, Q Magazine, URB 4 / 5 stars ]

Peaches "Fatherfucker" (2003)

Fatherfucker
release date: Sep. 15, 2003
format: digital
[album rate: 3 / 5] [3,18]
producer: Peaches
label: XL Recordings - nationality: Canada

Track highlights: 1. "I Don't Give A ..." - 2. "I'm the Kinda" - 4. "Kick It" (feat. Iggy Pop) - 5. "Operate" - 7. "Shake Yer Dix" (feat. Mignon) (live)

2nd studio album by Peaches, again produced by herself, is bettering her 2000 album The Teaches of Peaches by being better produced and having better and more original material. Also, I like the stronger electroclash and dance-punk style on this.
[ allmusic.com 3,5 / 5, Rolling Stone 3 / 5 stars - Album of the Year 74/100 % ]

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US alt. cover

Crystal Castles "Crystal Castles" (II) (2010)

Crystal Castles
release date: May 24, 2010
format: digital
[album rate: 3,5 / 5] [3,40]
producer: Ethan Kath, Jacknife Lee, Paul Epworth, Alex Bonenfant
label: Fiction Records - nationality: Canada

Track highlights: 1. "Fainting Spells" - 2. "Celestica" (4 / 5) - 4. "Baptism" - 5. "Year Of Silence" - 11. "Pap Smear" - 12. "Not in Love" (4 / 5)

2nd studio album by Crystal Castles. The album marks a shift of style and is the duo's best effort as well as its most homogeneous and mainstream sounding album. It's still electroclash but I find that the experimental side is less dominant and the individual songs are generally more melodic. A few tracks scattered throughout the album are like electro-punk flashes in between beautiful compositions, and makes the whole experience more exciting. The track "Not in Love" is a cover of a song by the Canadian band Platinum Blonde, which was originally released on the debut album Standing in the Dark (1983). The track was later that year remixed featuring Robert Smith of The Cure featuring on vocals, which was Crystal Castles' biggest single hit.
[ allmusic.com, Spin, PopMatters 4 / 5 stars ]

Bill Frisell "In Line" (1983)

In Line (debut)

release date: 1983

format: cd

[album rate: 3,5 / 5] [3,34]

producer: Manfreid Eicher

label: ECM - nationality: USA

Track highlights: 1. "Start" - 2. "Throughout" - 4. "Shorts" - 5. "Smile on You" - 7. "In Line"

Studio album debut by American guitarist Bill Frisell [William Richard Frisell]. The album follows shortly after ECM apperances as collaborative or featuring guitarist: on Psalm (1982) by Paul Motian Band (led by drummer Paul Motian) on Paths, Prints (1982) by Norwegian alto-saxophonst Jan Garbarek, and also from '82: A Molde Concert by Norwegian bassist Arild Andersen, but his first appearance on an album appears to be with the album Good Buddies (1978), a jazz-fusion album credited Michel Herr, Bill Frisell, Vinton Johnson, and Kermit Driscoll released on EMI Belgium.

In Line is a quiet album touching on ambient minimalism, and it consists of nine compositions by Frisell and basically only feature Frisell on electric and acoustic guitars with Arild Andersen contributing on bass on five tracks. Frisell had often been praised his guitar-work on other albums, so it really makes sense have him star as instrumental virtouso.

In Line is a fine first album despite the absence of other instrumentation. In that regard it's a solid and subtle start of a long and shining career, though I wouldn't recommend to start here.

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

The Stranglers "Black and White" (1978)

l-r: JJ Burnel, Hugh Cornwell
Jet Black, Dave Greenfield

Black and White

release date: May 12, 1978

format: vinyl (Greek issue) / cd (2014 remaster)

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

producer: Martin Rushent

label: United Artists Records - nationality: England, UK

Track highlights: A) 1. "Tank" - 2. "Nice 'N Sleazy" (TOTP appearance)- 3. "Outside Tokyo" - 4. "Sweden (All Quiet on the Eastern Front)" - 5. "Hey! (Rise of the Robots)" - 6. "Toiler on the Sea" - - B) 1. "Curfew" - 4. "Death and Night and Blood (Yukio)" - 5. "Enough Time"

3rd studio album by The Stranglers following 8 months after No More Heroes (Sep. 1977) is the band's third and final to be produced by Rushent.

This album is one of the first examples of a post-punk album. Some tracks are held in a 'traditional' Stranglers punk rock tone, whereas about half of the songs introduce a much more experimental approack to their usual song structures with experimental use of percussion and synths. The album opener "Tank" is a razor-sharp punk track but already "Nice'N'Sleazy" is something different with a epic bass-line and bold use of synths. This is followed by a melancholic ballad with off-beat drums, and then back to what appears as blazing punk rock on track #4 but half way through it turns into a new stylistic mix and then ending as it started. Also track #5 is both punk rock and then experimental - is it ska revival on steroids, or rock fusion, pub rock, or garage rock revival?? "Toiler on the Sea" is mostly punk rock with a twist, and then "Curfew" is like the strong second track a new addictive blend of their own. "Threatened" is experimental punk rock with strong bass and keyboard, and then "In the Shadows" is one of the strongest experimental tracks on this album with a new set of tones and what sounds like an influence from jazz. "Do You Wanna" is the other obvious almost improvisitional track, which leads directly on to one of the band's new staples: "Death and Night and Blood (Yukio)", which is a highly original compositions build on an easy-to-remember chorus-line and minimalist bass and drums, but again, with an addition of organ and guitar solos that can only be The Stranglers. The end-track "Enough Time": "Have You Got Enough Time, Have You Got Enough Time, Have You Got Enough Time, Have You Got Enough Time..." is both tight, dark and angry, and then it's also punk, synth-pop and jazz-influenced. The album is anything but a strong coherent whole but thanks to the band's original soundscape and their will to experiment and leave the safe spot of their fans' mindset, this is just one their better works, and an album to appreciate.

Highly recommended.

Debbie Harry "Kookoo" (1981)

Kookoo [debut]
release date: Aug. 8, 1981
format: vinyl (CHR 1347) / digital
[album rate: 2,5 / 5] [2,72]
producer: Nile Rodgers, Bernard Edwards
label: Chrysalis - nationality: USA

Track highlights: 1. "Jump Jump" - 2. "The Jam Was Moving" - 3. "Chrome" - 4. "Surrender" - 6. "Backfired"

Studio album debut by Blondie vocalist Deborah Ann Harry released under her stage moniker Debbie Harry. The style is rather different from what one might expect. The simplistic uptempo new wave has been exchanged with a more funky form carried out by the three prominent members of the American disco band Chic, songwriter / guitarist and producer Nile Rodgers and songwriter / bassist and producer Bernard Edwards and drummer Tony Thompson. The guest trio contributes with a disco and dance pop style and Rodgers and Edwards are the primary songwriters on four of the albums ten tracks and they are co-writers on two. The remaining four songs are written by Harry and Chris Stein with whom she mostly writes material for Blondie and who also contribute as guitarist on the album. Two of the songs (tracks #8 and #10) are credited all four main songwriters.
The two Chic songwriters are credited a vast number of classics within the world of disco, and they later on contributed with their [magic] qualities on Diana (e.g. "I'm Coming Out") by Diana Ross, "Let's Dance" (title song) by David Bowie and Madonna's Like a Virgin album - all that is part of the highs of modern popular music, but here the result is not good. Harry and Stein's punchy new wave style, their admiration for reggae and funk in a simplistic form collide with the much more orchestrated and varied sounds and shapes of disco. Or: that's how it sounds like 'cause what really lacks here is a bunch a good songs. In fact, there's hardly any. The production sound is fine, though, and initial parts of songs are truly far from bad, but the overall picture is bland and it leaves me kinda thinking "was that it?"
The best thing about the album, which puts it on the shelve among classic albums, is actually the front cover artwork made by Swiss artist H.R. Giger.
I acquired the album at some point in the mid-80s just because it was a solo album by Harry but never played it much, as I soon found it lesser album with little connection to the music by Blondie.
[ allmusic.com 1,5 / 5 Rolling Stone 2 / 5 stars ]

Billy Joel "An Innocent Man" (1983)

An Innocent Man
release date: Aug. 8, 1983
format: vinyl (CBS 25554) / cd
[album rate: 4 / 5] [3,78]
producer: Phil Ramone
label: CBS Records - nationality: USA

9th studio album by Billy Joel is his fifth consecutive album to be produced by Phil Ramone.

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

Chumbawamba "Never Mind the Ballots" (1987)

Never Mind the Ballots
release date: 1987
format: digital (1994 reissue)
[album rate: 3 / 5] [2,78]
producer: Chumbawamba
label: One Little Indian - nationality: England, UK

Track highlights: 2. "Come on Baby (Let's Do the Revolution)" - 3. "The Wasteland" - 6. "Mr. Heseltine Meets His Public" - 8. "...Here's the Rest of Your Life"

2nd studio album by Chumbawamba originally self-released on the band's own label Agit Prop and in '92 reissued on cd as a double disc compilation with the band's debut album as The First 2.
Never Mind the Ballots is a comment to modern politicians. The whole album is structured as two opposing politicians proposing their different stands but at the end of the album they are revealed as both basically wanting the same: they want weapon to either conquer others or defend themselves but in essence they want control over others. I like the story, the satire and the way its structured. It's definitely not an album for dancing, nor cosy small talk. It's... an interesting social and political comment, not unlike a theatrical radio-play. As music, however, it's not the most compelling treat, and when you examine the plot and the message, it becomes a wee bit naively exaggerated as always, when people become too one-eyed.

Lykke Li - Du är den ende (2014), single

"Du är den ende", single
release date: Mar. 12, 2014
[single rate: 3,5 / 5]

A single track release from "Tommy", a film by Swedish film director Tarik Saleh featuring Lykke Li in a supporting role.

Tindersticks "Simple Pleasure" (1999)

Simple Pleasure
release date: Sep. 6, 1999
format: cd
[album rate: 4,5 / 5] [4,28]
producer: Stuart A. Staples
label: Island Records - nationality: England, UK

Tracklist: 1. "Can We Start Again?" (4 / 5) - 2. "If You're Looking for a Way Out" (4,5 / 5) - 3. "Pretty Words" - 4. "From the Inside" [instrumental] - 5. "If She's Torn" - 6. "Before You Close Your Eyes" - 7. "(You Take) This Heart of Mine" (5 / 5) - 8. "I Know That Loving" - 9. "CF GF" (4 / 5)

4th studio album by Tindersticks released on Island Records is their first album to be produced exclusively by lead vocalist and songwriter, Stuart A. Staples. All songs except track #7 co-written by Hinchliffe are credited Staples with all music credits shared by the trio of Staples, David Boulter, and Dickon Hinchliffe, with drummer Al(asdair) Macauley as co-composer on tracks #5 and #8 - except track #4 credited Tindersticks - and then track #2, which is a song by Sandy Linzer and Ralph Kotkov, originally a song for New York vocal-trio Odyssey taken from its 1980 album Hang Together.
Despite a lukewarm reception, the album is in my top-3 of Tindersticks albums. Well, the fact is the band never really was among the best-selling bands, and their biggest success in terms of albums sold, the second album went as high as to number #13 on the albums chart list in the UK, whereas the debut only reached number #56, and the third album peaked at position #37. This one peaked as number #36 on the list, and in that perspective, it's actually the second highest ranked Tindersticks' album, which both respond to the reception part as well as on the band's status, generally speaking. The album is perhaps their most significant pop soul-shaped album, imho. The previous release Curtains (1997) has the same chamber pop and special Tindersticks melancholic feel to it as this one, and although the debut Tindersticks (1993) is already a modern classic, it doesn't have the same accurate stylistic and tight message as Simple Pleasure. All of their albums contain great songs but I don't find any other Tindersticks release without fillers - this simply has none, which makes it so brilliant.
The front cover is a Polaroid taken by Staples of wife Suzanne Osborne when carrying their son Stanley.

Show lyrics <- click...

~ ~ ~
"(You Take) This Heart of Mine"

"I've been watching you play
Getting caught
And when you turn your face your eyes are about
To take this heart of mine
And when you stop and stare long
They're so blind and I can't understand
You take this heart of mine
Hey little boy
Do you want the same thing as me
Cos I just feel
A little lonely

I've been wandering round again
Getting lost
It's not safe to be near those eyes
Are enough
To take this heart of mine
And when you stop and stare long
Well I could run if there wasn't a chance
You take this heart of mine
Hey little boy
Do you want the same thing as me
Cos I just feel
A little lonely

It's never going anywhere
It's just running away
Just a step outside of our love
Where's it now
To bring it all back again

There's a certain sound you know
Well I could run if there wasn't a chance

You take this heart of mine
Hey little boy
Do you want the same thing as me
Cos I just feel
A little lonely"

~ ~ ~

Paul Young "Other Voices" (1990)

Other Voices
release date: Jun. 4, 1990
format: cd
[album rate: 3,5 / 5] [3,28]
producer: various; Paul Young (exe. producer)
label: Columbia Records - nationality: England, UK

Track highlights: 1. "Heaven Can Wait" - 4. "A Little Bit of Love" - 7. "Softly Whispering I Love You" - 10. "Calling You"

4th studio album by Paul Young is less pop-oriented in respect to the predecessor Between Two Fires (1986). The album is generally put together by a much bigger staff of technical personnel, as well as studio musicians. Again, the album contains several covers, and generally that simply raises the quality of the songs. There are a number of songs with a clear jazz feel, which perhaps was in an attempt to make a follow-up to his acclaimed '85 album. The album reached number #4 on the national album charts list but it didn't provide Young with a top-ten single. It comes in various versions with at least two different covers and with different track listing. The album is clearly bettering his '86 album, but it's not up with his two first albums, although, it's by no means a mediocre album.
[ allmusic.com 3 / 5 stars ]

alt. cover

Siouxsie and the Banshees "Through the Looking Glass" (1987)

2014 cover

Through the Looking Glass

release date: Mar. 2, 1987

format: cd (2014 remaster)

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

producer: Mike Hedges, Siouxsie and the Banshees

label: Polydor Records - nationality: England, UK

Track highlights: 1. "This Town Ain't Big Enough for Both of Us" (Sparks) - 2. "Hall of Mirrors" (Kraftwerk) - 4. "This Wheel's on Fire" (The Band) - 5. "Strange Fruit" (Billie Holiday) - 7. "The Passenger" (Iggy Pop)

8th studio album by Siouxsie and the Banshees (stylised: Siouxsie & The Banshees) following Tinderbox (Apr. 1986) is produced in collaboration with Mike Hedges, who has worked on/off with the band since A Kiss in the Dreamhouse (1982), where he worked as sound engineer. This new collection consists of cover songs exclusively, and it's only the band's second but also already its final with (new) guitarist John Valentine Carruthers.

After having spent a relatively long time writing, composing and recording the '86 album, the band wanted an easier and more spontaneous approach to the studio work, and they therefore selected a collection of tracks of other artists they have played live or just felt like honouring for being musical inspirations. The title of the album is taken from Lewis Carroll's novel with the same title, which btw. is the continuation of "Alice in Wonderland" - that very title was previously inspiration to the band's own label, which is simply named Wonderland.

Stylistically, the album falls somewhat outside of what usually characterises the band's music, much to the same extent as was the case with the single "Dear Prudence" (1983) - a Beatles cover, which resulted in positive feedback from reviewers and fans. At first listen the album may turn out a bit of a disappointment, but The Banshees' versions of very diverse songs have an original quality that extents the scope of each song in that they are still recognisable classics - there is an original cut left - and on the other hand they have been adapted to the band's soundscape. It may take several listens to sense how tracks with such different origins nevertheless have a common basic tone. One of the more recent changes to band's output is a greater musical complexity, which is partly conveyed by the presence of strings - something which admittedly was also used on Tinderbox. British composer Jocelyn Pook features on viola and multi-instrumentalist Martin McCarrick, who is yet to be a future band member, effectively from the successor Peepshow (1988), he is credited all string arranegements and also plays cello and keyboards.

Siouxsie Sioux and Steven Severin are the only two remaining members from the formative years, while drummer Budgie has been a regular since the band's third album Kaleidoscope (1980). However, it's far from a band secret that over the years they have had more than ordinary difficulty in holding on to their changing guitarists for a longer period, and after this, the band's newest guitarist, John Carruthers, was released from the band, who then decided to continue as a trio - without a stable guitarist.

The 2014 edition comes with four bonus tracks, two of which are remix versions of tracks #4 and #7.

This is a fine and different work from the band.

[ allmusic.com 3 / 5 stars ]

My Bloody Valentine "Isn't Anything" (1988)

Isn't Anything [debut]
release date: Nov. 21, 1988
format: cd / cd (2012 remaster)
[album rate: 3,5 / 5] [3,66]
producer: My Bloody Valentine
label: Creation Records / Sony Music - nationality: Ireland

Track highlights: 1. "Soft As Snow (But Warm Inside)" - 2. "Lose My Breath" - 3. "Cupid Come" - 4. "(When You Wake) You're Still in a Dream" - 6. "All I Need" - 7. "Feed Me With Your Kiss" (4 / 5) - 8. "Sueisfine" - 10. "You Never Should" - 12. "I Can See It (But I Can't Feel It)"

Full-length studio album debut by My Bloody Valentine and the band's first on Creation.
The album was the second that I heard with the band after listening to their epic Loveless (1991). Despite being officially an Irish band, American Kevin Shields (guitarist, vocalist, composer) is the band's mastermind. He created most of the material on this album, either alone (six tracks) or with help from drummer Colm Ó Cíosóig or together with vocalist & guitarist Bilinda Butcher, and in retrospect Shield is near synonymous with the band name. Prior to this, the band released a number of singles and eps without bassist Debbie Googe and especially also without Bilinda Butcher who contributed in shaping their iconic sound from around 1987 when former vocalist Dave Conway left the band. So what lies before '87 is basically music from what sounds like another band, and with Isn't Anything they initiate a style that many bands and artists copied in the early nineties, which may be referred to as noise pop, shoegaze, and dream pop, and which much later led other artists (e.g. Mogwai, Sigur Rós) to exercise into post-rock.
Only in recent years, I have come across their mini-album debut, This Is Your Bloody Valentine (1985), which really seems far from the style on this and their earliest releases with focus on post-punk, gothic rock, and psychobilly. I recall that Robert Smith (The Cure) in the late 1980s referred to this band as one of his new favourites - and I often wondered if he had heard the style they came to abandon or the style that should become their trademark.
Isn't Anything is not as great as the iconic '91 album but it surely points in that direction - especially tracks #1, 4 and 7. Back in the 90s, I never really enjoyed this all that much, but I do understand its significance as a cornerstone in music history. Maybe, it's great music for background noise when painting or being in a creative process that involves craftsmanship with your hands instead of work that is dependent on more relaxed thinking processes. Anyway, I don't think the album is easy to let in with it's unusual compositions build on walls of heavy distorted guitars, but if you're capable of seeing it as complex music with another purpose than just echoing nice poetic chorus lines in your head, it may appeal to you. The album seems like caught between British indie pop, which was what Creation Records traditionally released at the time, and a much more unique sound of noise pop echoing Sonic Youth and primarily originating in the US, and which in any case had its roots in the post-punk movement. The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Drowned in Sound 4,5 / 5, Q Magazine 4 / 5 stars ]

The Chemical Brothers "Push the Button" (2005)

Push the Button
release date: Jan. 25, 2005
format: cd
[album rate: 3 / 5] [2,88]
producer: The Chemical Brothers
label: Freestyle Dust / Virgin - nationality: England, UK

Track highlights: 1. "Galvanize (feat. Q-Tip)" - 2. "The Boxer (feat. Tim Burgess)" - 3. "Believe (feat. Kele)"

5th studio album by The Chemical Brothers, which has some of the same style as Come With Us (2002) and like that it lacks the really great compositions. It may not have as much focus on tribal house but the various collaboration works with featuring artists obscure the picture and make it more experimental house. The first track featuring Q-Tip is the only fine experience here.
[ allmusic.com, Rolling Stone 3,5 / 5, PopMatters, The Guardian 4 / 5 stars ]

Talk Talk "It's My Life" (1984)

It's My Life
release date: Feb. 1984
format: vinyl (reissue) / cd (1997 remaster)
[album rate: 4 / 5] [3,78]
producer: Tim Friese-Greene
label: EMI Records - nationality: England, UK

Tracklist: 1. "Dum Dum Girl" (3,5 / 5) - 2. "Such a Shame" (3,5 / 5) - 3. "Renée" - 4. "It's My Life" (5 / 5) (live) - 5. "Tomorrow Started" (4 / 5) - 6. "The Last Time" (4 / 5) - 7. "Call in the Night Boy" (3,5 / 5) - 8. "Does Caroline Know?" - 9. "It's You"

2nd studio album by Talk Talk is a strong follow-up to the debut from '82. By now the band is officially reduced to a trio as keyboardist Simon Brenner has left the band; however, producer Tim Friese-Greene is co-writer with Mark Hollis on three of the tracks, and Friese-Greene is also credited for playing keyboards alongside Ian Curnow. Friese-Greene would later be the band's second major songwriter alongside Mark Hollis, although he should never become an official member of the band.
The style is still very much synthpop but now more evidently art pop. It's no longer chorus-based pop compositions for the teenage-filled dance floors, and the band has in a way alienated itself from what was formerly seen as Duran Duran-associated music. Where the debut was more of a whole, this is still rather distinct in style, but it also points in new (yet obscure) directions.
The title track was undoubtedly the band's biggest radio hit, and both single and album generally fared well making it to top-10 entries in many countries except for in the UK where the single topped at #13 (the highest ranked single ever by Talk Talk on national scale), whereas the album topped at #35, but it made it to #2 in Switzerland, #3 in The Netherlands, and #4 in Germany. The title track was brought back to fame in 2003 when the American band No Doubt covered the song to promote its compilation album The Singles 1992-2003. The Talk Talk version of the song is not 'just' pop as it's a rather great and complex composition. Several other tracks drag the tempo and in that link the style more to that of Japan / David Sylvian (listen to "Tomorrow Started" and "Does Caroline Know?") and to the band's future trademark of what was much later labelled post rock and what slowly lifted both the band's and especially Mark Hollis' status. Tracks like #5, #6 and #8 already contain parts of that style. Bassist Paul Webb has a playing style that resembles that of Mick Karn (Japan) quite a bit - but then again: what bassist from (almost) any synthpop band of the early 1980s didn't copy his style? Compared to the debut, this is different and perhaps more original on its own premises and without falling into a specific stylistic category.
I have this particular album in 3 versions: a later vinyl reissue [Dutch pressing, year unknown], the original cd mastering (as of 1988), and a '97 remastered cd version, with no significant audible differences, although, I think that the remastered version offers slightly broader dynamics.
Highly recommendable.
[ allmusic.com 4 / 5 stars ]

vinyl cover (reissue)

Nena "? [fragezeichen]" (1984)

? [fragezeichen]
release date: Jan. 27, 1984
format: cd (2010 reissue)
[album rate: 3,5 / 5] [3,28]
producer: Reinhold Heil, Manfred Praeker
label: Columbia / Legacy / Sony Music - nationality: Germany

Track highlights: 1. "Rette mich" - 2. "? (Fragezeichen)" (live) - 3. "Das Land der Elefanten" - 5. "Küss mich wach" (live '84) - 6. "Lass mich dein Pirat sein" - 7. "Ich häng' an Dir" - 12. "Der Anfang vom Ende"

2nd studio album by the German new wave and pop / rock band Nena, actually only titled ? but commonly referred to as 'Fragezeichen' [German for 'questionmark']. Stylistically, the album just continues where the debut ended. It's the same pop-rounded new wave or Neue Deutsche Welle, and it's also the same producer-duo as on the debut.
The album doesn't include a hit single like "99 Luftballons" but it contains several fine compositions primarily written and composed by guitarist Carlo Karges and keyboardist Jörn-Uwe Fahrenkrog Petersen, making it a general improvement to the promising debut. A few tracks, like the title-track have lyrics (and / or music co-written) by Nena Kerner, and not seldom, these actually work as the better songs.
[ allmusic.com 4 / 5 stars ]