Voxpop "Alt skal væk" (1983) (live)

Alt skal væk (live)
release date: 1983
format: vinyl (GENLP 138)
[album rate: 3,5 / 5] [3,33]
producer: (non-produced)
label: Genlyd - nationality: Denmark

Live album by Danish power pop and new wave quintet Voxpop released after the announcement of the group's disbandment. The album was recorded during the band's farewell-tour titled "Alt skal væk". The band consisted of lead vocalist Elisabeth Gerluff Nielsen (aka Elisabeth), Bo Bistrup on guitar & backing vocals, René Poulsen on guitar & backing vocals, Robert Stang on keyboard & backing vocals, Flemming Mus on bass & backing vocals, and with Kim Hagemann on drums & backing vocals. Elisabeth quickly initiated her long-lasting solo career and released her acclaimed solo debut, Elisabeth in '84.

Lykke Li "I Never Learn" (2014)

I Never Learn
release date: May 5, 2014
format: cd
[album rate 3,5 / 5] [3,62]
producer: Greg Kurstin, Lykke Li, Björn Yttling
label: LL Recordings - nationality: Sweden

Track highlights: 1. "I Never Learn" - 2. "No Rest for the Wicked" (4 / 5) - 3. "Just Like a Dream" - 5. "Gunshot" (4 / 5) - 7. "Never Gonna Love Again" (4 / 5) - 9. "Sleeping Alone"

3rd album by Swedish art pop artist Lykke Li released on her own label LL Recordings and produced by Greg Kurstin, Björn Yttling, and Lykke Li. Like was the case between her first two solo albums this one has been three years under its way, and all three albums are very distinct. The debut Youth Novels (2008) is her so far most electronic art pop shaped, and with the second Wounded Rhymes (2011) she took a step into indie folk, and with this she now embraces chamber pop - all being also singer / songwriter releases. Her style is in family with other Scandinavian art pop artists like Norwegian Anne Marie Almedal, Danish Agnes Obel and Oh Land, as well as Swedish Amanda Jenssen, but with this album, I think she's almost in a league of her own. Last year, Agnes Obel made a fine second album release but apart from that, none of the aforementioned reach the same level of quality. In my mind, this is her best album so far, even surpassing her critically acclaimed Wounded Rhymes.
[ allmusic.com, Mojo 4 / 5, Rolling Stone 3,5 / 5, NME, Spin 3 / 5 stars ]

The Stranglers "Dreamtime" (1986)

Dreamtime
release date: Oct. 27, 1986
format: vinyl (EPC 26648) / digital
[album rate: 3,5 / 5] [3,44]
producer: Mike Kemp and The Stranglers
label: Epic Records - nationality: England, UK

Track highlights: A) 1. "Always the Sun" - 2. "Dreamtime" - 4. "You'll Always Reap What You Sow" - - B) 2. "Big in America"

9th studio album by The Stranglers following closely on the path laid out with Aural Sculpture (1984). The style is still pop / rock, and the album feature four single releases - none of which made it any higher than to #30 on the UK singles chart list. First single "Nice in Nice" is not really the best track, but the second single "Always the Sun" became a small singles hit outside Britain.
The album was met by luke-warm to negative reviews, which I find strange considering how much it resembles the sound of the predecessor, but from my perspective, sounds more original and is better produced. To me, this was more or less the end of my interest for the band. The last two albums were no near earlier edgy releases and I found that I tired quickly of their new songs. At the time, I do think I found this an even lesser album than the '84 album, but in retrospect, I actually prefer this one.

Robbie Robertson "Robbie Robertson" (1987)

Robbie Robertson [debut]
release date: Oct. 27, 1987
format: vinyl (924 160-1) / cd
[album rate: 4 / 5] [3,86]
producer: Daniel Lanois, Robbie Robertson
label: Geffen Records - nationality: USA

Track highlights: 1. "Fallen Angel" - 2. "Showdown at Big Sky" - 3. "Broken Arrow" - 5. "American Roulette" - 6. "Somewhere Down the Crazy River" (4,5 / 5) - 8. "Sonny Got Caught in the Moonlight"

Studio album debut by former guitarist and songwriter of legendary roots rock and rhythm & blues band - The Band - Robbie Robertson (aka Jaime Royal Klegerman). Together with Alex North, Robertson stood behind the official soundtrack for the movie "Carny" (1980 - directed by Robert Kaylor), in which he also played one of the leading parts. That movie is one in a long series of films for which he contributed as either composer, music producer or music consultant.
Musically, Robertson successfully builds bridge between his roots within traditional r&b, americana and more modern styles of alt. rock and art pop. The album is cleverly produced in the hands of Robertson and Lanois, the latter, who at this point already is an established successful producer, and together with Brian Eno he aided U2 in reaching its position as one of the most original acts of alt. rock of the mid to late '80s. And especially the sound of U2 is ever-present on this without too much plagiarising. The Irish quartet also take part on at least two of the album's nine compositions. Track #4 "Sweet Fire of Love" is co-written by Robertson and U2 but basically sounds like a U2 song and track #9 is a Robertson song only sounding as if made entirely by U2. Old associates Rick Danko and Garth Hudson of The Band feature on two of the songs, and the album also includes established artists like Peter Gabriel, Maria McKee, Ivan Neville, Manu Katché, BoDeans, Martin Page, and Gil Evans.
Altogether, the album is a warm return of Robbie Robertson, and the album was nominated "Best Rock / Vocal Album" at the Grammy Awards.
In retrospect, the album remains Robertson's clearly best solo effort.
[ allmusic.com 4 / 5, SputnikMusic 4,5 / 5 ]

BEST OF 1992:Morrissey "Your Arsenal" (1992)

Your Arsenal
release date: Jul. 27, 1992
format: cd (2014 remaster)
[album rate: 4,5 / 5] [4,28]
producer: Mick Ronson
label: HMV - nationality: England, UK

Track highlights: 3. "We'll Let You Know" - 4. "The National Front Disco" (4,5 / 5) (live) - 5. "Certain People I Know" - 6. "We Hate It When Our Friends Become Successful" (4,5 / 5) - 7. "You're the One for Me, Fatty" (4,5 / 5) - 8. "Seasick, Yet Still Docked" (5 / 5) (live) - 9. "I Know It's Gonna Happen Someday" - 10. "Tomorrow"
[ full album ]

3rd studio album by Morrissey is indeed a strong return to form. Initially, I recall the album as weaker than his debut but more interesting than Kill Uncle (1991), but soon I found that it was actually much better and not just on par with his solo debut but I have come to see it as a more homogeneous album, and ultimately making it Morrissey's best album ever. Stylistically, he has returned to a more rocking output, which balances his softer and melancholic vocal very nicely. Producer and guitarist Mick Ronson, who among other things produced Lou Reed's perhaps most legendary album, Transformer (1972), probably should be credited for bringing Morrissey back on track. The album more or less opened the door to the American market. The Smiths had always had an enthusiastic but small crowd of fans in the US and Morrissey's previous two solo albums didn't sell anywhere close to top 10 as they peaked at number #48 and #52 on the American albums chart list, but with Your Arsenal Morrissey reached position #21 and it was also nominated as Best Alternative Music Album at the Grammy Awards (won by Tom Waits for Bone Machine).
The more guitar-based energetic tracks are not the only forces as the album also contains some of Morrissey's best ballads, like "We'll Let You Know", "I Know It's Gonna Happen Someday", and the absolute wonderful track "Seasick, Yet Still Docked". This album would be my first choice, If I was to pick one of his solo albums. The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

1992 Favourite releases: 1. Morrissey Your Arsenal - 2. 10.000 Maniacs Our Time in Eden - 3. Adrian Borland Brittle Heaven

Bloc Party "Flux" (2007) (single)

Flux, single
release date: Nov. 25, 2007
format: digital
[single rate: 3 / 5] [2,83]
producer: Jacknife Lee
label: Wichita - nationality: England, UK

Tracklist: 1. "Flux" (4 / 5) - 2. "Flux (live at The Theater at Madison Square Garden)" (2 / 5) - 3. "Emma Kate's Accident" (2,5 / 5)

A single release by Bloc Party that didn't make it to the band's 2007 album, and no wonder! Once you think you've understood what these guys do they are in a completely new position doing something... else. At this point fans are complaining how Bloc Party is a scam, and how disappointed everyone is that they do not produce... Or: what was expected, that is. Because fact is, Bloc Party came out as a super-hyped band that should pick up music where Joy Division let go, as a British competitor and leader of post-punk revival. Think twice, these guys may have thought. The second studio album, A Weekend in the City (2007) showed us how much they are on the move exploring their limits. Flux... is again a step into new territory. This is experimenting with electronic synth pop and alt. dance. It took me more than a few attempts but then again, I found it more than just experiments. And once again, one need to hear their music played LOUD! "Flux" alone is a great single track, which is enough to buy the single, but the remainders are mere fillers.

Neil Young "Freedom" (1989) (live)

Freedom (live)
release date: Oct. 2, 1989
format: cd
[album rate: 3,5 / 5]

Tracklist: 1. "Rockin' in the Free World" (4 / 5) - 2. "Crime in the City (Sixty to Zero Part I)" - 3. "Don't Cry" - 4. "Hangin' on a Limb" - 5. "Eldorado" - 6. "The Ways of Love" - 7. "Someday" - 8. "On Broadway" - 9. "Wrecking Ball" - 10. "No More" - 11. "Too Far Gone" - 12. "Rockin' in the Free World"

Once again, Young makes use of a well-known formula of his by releasing a new release as almost entirely a live recorded album. Ten years after Rust Never Sleeps, he almost pars that exquisite performance, and many critics rate it among his very best. Freedom was seen and praised as Young back on track again. He continues his strong criticism on American double moral and its incapability of taking care of its own people when they haven't got money or jobs, and it's also a fight against the political government of George Bush. Later on, the album has been mentioned as one of the sources to the 'grunge' movement in the early 1990s.

Teitur "Story Music" (2013)

Story Music
release date: Oct. 24, 2013
format: digital
[album rate: 3 / 5] [3,18]
producer: Teitur
label: Betty and Arlo Recordings - nationality: Faroe Islands, Denmark

Track highlights: 1. "Hopeful" - 3. "Antonio and His Mobile Phones" - 4. "Rock and Roll Band" (official video) - 6. "It's Not Funny Anymore" - 8. "Indie Girl"

6th studio album by Teitur released just one year after the ep Four Songs is once again issued on his own label. Since then he also composed the music score to the short film "The Load" (2012) by Kristian Sønderby. Teitur released the score as The Load: Original Score (2013).

Stylistically, Teitur has moved into more orchestrated 'chamber pop' featuring strings and horns, and he has added something that sounds like 'country'. Sometimes it works, as on tracks #1 and #6, but for tracks #2, #5, #7, and #10, I don't really find that it works all that fine. Especially track #2, "If You Wait" is a bit of a strange artsy clone with traces of Laurie Anderson [!]. Not that I dislike Laurie Anderson any one bit, but for someone like Teitur, it's more than an extraordinary leap. He is obviously experimenting on this, leaving behind his artistic traits and the end result is a bit bland. There's much focus on lyrics but except for the above-mentioned highlights, I really don't appreciate it all that much and ultimately find it among his weakest albums to date. The one positive thing about it is that he keeps evolving and seems determined for new stylistic inputs.
Better luck next time, Teitur!

Bo Kaspers Orkester "I centrum" (1998)

I centrum
release date: Sep. 28, 1998
format: digital
[album rate: 3,5 / 5]
producer: Bo Kaspers Orkester
label: Sony / Columbia - nationality: Sweden

Track highlights: 1. "Allt ljus på mig" - 2. "En jävel vid mitt öra" - 3. "Undantag" - 5. "Vissa har det" - 7. "Fyrarättersmål"

4th studio album by Bo Kaspers Orkester is yet another smooth and jazzy album, much on par with its predecessor Amerika (1996). The style is almost identical, only here the band introduces bossa nova inspired tracks. It's hard really to put a finger on exactly what it is, and despite a couple of rather fine tracks (#1 and #3), I just find it only slightly above average. This is the first album without former guitarist Lars Halapi, and now keyboardist Mats Asplén also plays guitar.
The album was well-received in Sweden where it was the band's first album to top the albums chart list, a position it copied in Norway.

Simple Minds "Once Upon a Time" (1985)

Once Upon a Time
release date: Oct. 21, 1985
format: cd (2003 remaster)
[album rate: 3,5 / 5] [3,48]
producer: Jimmy Iovine & Bob Clearmountain
label: Virgin Records - nationality: Scotland, UK

Track highlights: 1. "Once Upon a Time" - 2. "All the Things She Said" - 4. "Alive and Kicking" (4 / 5) - 6. "I Wish You Were Here" - 7. "Sanctify Yourself" - 8. "Come a Long Way"

7th studio album by Simple Minds released more than 1½ years after Sparkle in the Rain is produced by the two American producers Iovine and Clearmountain. The album is the first to feature new bassist John Giblin, and then it also features Robin Clark as guest vocalist singing backing vocals on most of the tracks [also feature on several of the official videos - e.g. see above links tracks #2, #4, #7].
The album was well-received by critics and fans and it has to date status as the best-selling album by Simple Minds selling three times platinum in the UK, topping the national albums chart list as it did in several other countries world-wide. Peaking at number #10 on the Billboard 200 list, it also made the highest chart position of all albums by the band in the US. Four singles were released as singles: tracks #4 (only single preceding the album release), #7, #2, and #3, respectively. "Alive and Kicking" peaked at number #7 in the UK and made other top-10 entries world-wide, but also the three other singles fared rather well with two other top-10 entries - only the last single, "Ghost Dancing" peaked just outside at #13, which without comparison ensured the band its most successful album release.
I find it slightly bettering the '84 album by being a more coherent release, but I simply find it an over-arranged and over-produced album that stays too safely in the middle of the road, which to me, showcases a band that has found its golden formula, and here just repeats what has worked before. I'm not too happy about the heavy keyboard arrangements, but I admit that they with this were on top of their career and easily filled stadiums world-wide - if that's a parameter of success.

Neil Young "Eldorado" (1989) (ep)

Eldorado, ep
release date: Apr. 21, 1989
format: cd
[album rate: 3,5 / 5] [3,46]
producer: Neil Young, Niko Bolas
label: Warner-Pioneer, Japan- nationality: Canada

Tracklist: 1. "Cocaine Eyes" (3,5 / 5) - 2. "Don't Cry" (4 / 5) - 3. "Heavy Love" (3,5 / 5) - 4. "On Broadway" - 5. "Eldorado"

[Tracks 2, 4, and 5 were later that year included (in alternate versions) on Freedom.]
A 5-track ep album that originally only got its release in Japan and Australia. On the front cover the album is only credited Neil Young, whereas on the back it states Neil Young & The Restless. The backing band is not the 'usual suspects', Crazy Horse members, nor artists you'll find on his previous albums. Musicians on the album are only Neil Young on guitar and vocals together with Chad Cromwell on drums and Rick 'The Bass Player' Rosas on bass. Both would later join Young on his albums Freedom, Prairie Wind, Living With War and Fork in the Studios.
I think it's a really tight and fine ep, which forecasts the grunge rock style of both Freedom and Ragged Glory, and in that respect is of great importance in a musical historical perspective. Both "Cocaine Eyes", "Don't Cry", and "Heavy Love" are almost sheer grunge rock and garage rock tracks with their sneering rough and distorted sound. Only non-Neil Young composition on the album is the 1963 classic soul song "On Broadway" , which became an immediate hit by The Drifters - here in a rather unusual version.

Astrud Gilberto "The Shadow of Your Smile" (1965)

The Shadow of Your Smile
release date: Oct. 21, 1965
format: cd
[album rate: 2,5 / 5]

Tracklist: 1. "The Shadow of Your Smile" - 2. "(Take Me To) Aruanda" (4 / 5) - 3. "Manhã de Carnaval" (3,5 / 5) - 4. "Fly Me to the Moon" - 5. "The Gentle Rain" - 6. "Non-Stop to Brazil" - 7. "O Ganso" - 8. "Who Can I Turn To? (When Nobody Needs Me)" - 9. "Day by Day" - 10. "Tristeza (Goodbye Sadness)" - 11. "Funny World"

2nd studio album by Astrud Gilberto. This is an attempt to expand her repertoire with (American) standards, and it's a bland experience. She still succeeds best with her narrow instrument and voice on the bossa nova tracks like "Aruanda".
[ allmusic.com 2 / 5 stars ]

Big Country "Steeltown" (1984)

Steeltown
release date: Oct. 19, 1984
format: digital
[album rate: 4 / 5] [3,78]
producer: Steve Lillywhite
label: Mercury Records - nationality: Scotland, UK

Track highlights: 1. "Flame of the West" - 2. "East of Eden" (4 / 5) - 3. "Steeltown" - 4. "Where the Rose Is Sown" (4 / 5) - 7. "Girl With the Grey Eyes" - 8. "Rain Dance"(live) - 9. "Great Divide" (4 / 5) - 10. "Just a Shadow" (4 / 5) (live)

2nd studio album by Big Country is once again produced by Steve Lillywhite, who in the early 1980s seemed to be engaged with all new artists with an energetic and new wave profile of some sort (including U2, XTC, Simple Minds, Toyah, The Pogues to mention a few). Compared to the great debut, Steeltown is somewhat more quiet, and reflects a move towards a broader audience, focusing on pop / rock. The sound is heavier (a typical 1980s syndrome heard from Springsteen, Tina Turner, and almost everywhere - drums and bass 'should' dominate) compared to the debut, and the tracks are generally slower. All compositions are still credited the band, although, Stuart Adamson probably has come up with many ideas, lyrics, as well as demos to build on. Anyway, for many years this was clearly my number two favorite by the band, however, from a modern perspective, I think, it lacks the same amount of truly great compositions one will find on the debut, but also miss the fine diversity one will find on its successor. However, the album is a modern classic of pop / rock, and of course a certified 'must-have' for fans of celtic rock.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Bill Frisell "Rambler" (1985)

Rambler

release date: Apr. 29, 1985

format: cd (reissue - ECM 1287)

[album rate: 3,5 / 5] [3,48]

producer: Manfred Eicher

label: ECM - nationality: USA

Track highlights: 3. "Rambler" - 4. "When We Go" - 7. "Wizard of Odds"

2nd studio album by Bill Frisell follows two years after In Line, and it's like the debut produced by Eicher and released on ECM Records. But that's not like saying these two albums are closely related 'cause this is something entirely different. It's still jazz, though, but where the debut was ambient touching on minimalism, this one is uptempo, straightforward and anything but ambient, and by that it also appears much more in the spirit of what Frisell should later be renowned for. Here, you're both handed the qualities of Frisell as composer but moreso the virtuose instrumentalist, who seems capable of playing almost anything.

This is fusion jazz with bonds to post bop and free jazz, and you might as well add: Miles Davis. Later in his career, Frisell focuses more on melody styructure, guitar sound in combination with other instruments, but on Rambler horns (tuba, cornet, fluegelhorn, trumpet) play a central part - which in some ways seems a bit odd given the fact that he's a guitarist. The title track is imho the most refreshing composition on an album that both shows us what Frisell masters and also incorporates americana and basically dwells so nicely in between the more quiet passages and the energy of older jazz styles.

[ allmusic.com 4,5 / 5, Penguin Guide to Jazz 3 / 4 stars ]

The Housemartins "Now That's What I Call Quite Good" (1988)

Now That's What I Call Quite Good (compilation)
release date: Apr. 1988
format: cd
[album rate: 4 / 5]
producer: various
label: Go! Discs - nationality: England, UK

24-track compilation album by The Housemartins released after the band had split. The album was simultaneously released as a double vinyl album and a single disc cd, and it was promoted like a best of album, although, it's actually more than that. It contains a number of great songs by the band but also some B-sides to single releases as well as BBC recordings for radio live transmission. Two more recent and more regular best of albums were issued in 2004 and 2011 respectively: The Best of the Housemartins and Happy Hour: The Collection. Knowing the band's two studio albums, I really prefer this one, as it reflects a broader view on the band.
[ allmusic.com 4,5 / 5 stars ]

Van Morrison "Enlightenment" (1990)

Enlightenment
release date: Oct. 1990
format: cd (2008 remaster)
[album rate: 4 / 5] [4,22]
producer: Van Morrison
label: Polydor / Exile - nationality: Northern Ireland, UK

Track highlights: 1. "Real Real Gone" (4,5 / 5) - 2. "Enlightenment" - 3. "So Quiet in Here" - 4. "Avalon of the Heart" - 5. "See Me Through" - 6. "Youth of 1,000 Summers" - 7. "In the Days Before Rock 'n' Roll" (4,5 / 5) - 8. "Start All Over Again" - 9. "She's My Baby" - 10. "Memories"

20th studio album by Van Morrison originally released on Polydor comes in a year of celebration it seems. In January he released The Best of Van Morrison (later identified as Best of Van Morrison - Volume 1) - his first ever best of compilation album compiling some of his best known songs of his first 25 years' recording career spanning back to when he was part of Them, and then this, his 20th studio album.
Compared to his most recent album, the sales-wise successful Avalon Sunset (1989) he withdraws somewhat from digging further into mainstream territory with a clever combination of forces. The album continues a path laid out on some of the lesser known songs from the '89 album - songs that blends rhythm & blues, soul and singer / songwriter folk, and he does that so skilfully with the assistance of a few stable musicians: bassist Steve Pearce, drummer Dave Early, and keyboardist Georgie Fame with whom he has played with on many albums as well as live performances.
The reception of the album wasn't quite as positive as that of his former album, although, the album peaked at #5 on the UK albums chart list, and the only single release "Real Real Gone" made it to number #18. However, imho, this is Van Morrison at his best and picking the highlights of this album is a hard one 'cause it's such an incorporated whole with one song after the other that just shines of star quality. It simply doesn't contain one filler and the level here is impressive. When I first listened to this, I thought it was a compilations album of his best songs. Avalon Sunset is a fine album with songs that reminds of the material on this but the '89 album doesn't share the same coherency as this one. There may not be another "Have I Told You Lately" here but nearly all tracks have a lasting quality of classic memorable compositions. Today, it still contains more than a handful of great compositions and it's a mere wonder why this hasn't found its way to higher fame.
Highly recommendable.
[ allmusic.com, MusicHound 3,5 / 5, Rolling Stone, Select 4 / 5 stars ]

1990 Favourite releases: 1. Neil Young Ragged Glory - 2. Van Morrison Enlightenment - 3. Sinéad O'Connor I Do Not Want What I Haven't Got

Bo Kaspers Orkester ""Amerika" (1996)

Amerika
release date: Sep. 20, 1996
format: digital
[album rate: 3,5 / 5]
producer: Bo Kaspers Orkester, Kaj Erixon
label: Sony / Columbia - nationality: Sweden

Track highlights: 1. "Vi kommer aldrig att dö" (4 / 5) - 3. "Ett & noll"

3rd studio album by Bo Kaspers Orkester introduces a slight change of style to music with more lounge and / or easy listening and sophisti-pop thanks to a more noticeable incorporation of horn sections, violins, and backing vocals, but it's also a warmer and more spacial production compared to the band's first two albums. At first I found it a boring and mediocre release but I have come to see it as a better release, though not really great. This was the last album to feature founding guitarist Lars Halapi. It was the band's so far most successful studio album in Sweden reaching number #3 on the national albums chart list.

Grand Avenue "Grand Avenue" (2003)

Grand Avenue [debut]

release date: Oct. 9, 2003

format: cd (EMI 5927422)

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

producer: Nick Foss, Rune Nissen-Petersen; Grand Avenue

label: Medley-EMI - nationality: Denmark

Track highlights: 1. "What's on Your Mind" - 2. "This Is Not an End" - 3. "Take It as It Comes" (4 / 5) - 4. "Everyday" - 9. "As You Are" - 11. "Come 'Round"

Studio debut album by Grand Avenue consisting of vocalist Rasmus Walter Hansen also on guitar, harmonica, and Rhodes, Niels-Kristian Bærentzen on guitar, Marc Charles Stebbing on bass, and with Hjalte Thygesen on drums. Early on, the band was "promised" a golden career by international artists including R.E.M. frontman Michael Stipe. Others saw the band merely as a clone of British soft rock bands and especially Coldplay. I found this particular album quite promising and have never found the bold Coldplay nor Chris Martin analogies in either Grand Avenue nor in the voice of Rasmus Walter. He does; however, at times sound like the aforementioned Stipe, and the band has generally more American indie pop rock-roots in its style than britpop, imho.

The album contains great tracks and a few fillers but all-in-all it's a fine debut.

[ Gaffa.dk 4 / 6 stars ]

Bob Mould "Workbook" (1989)

Workbook [debut]
release date: Apr. 1989
format: vinyl (209 938) / cd
[album rate: 3,5 / 5] [3,64]
producer: Bob Mould
label: Virgin Records - nationality: USA

Track highlights: 1. "Sunspots" - 2. "Wishing Well" - 3. "Heartbreak a Stranger" - 4. "See a Little Light" (4 / 5) - 5. "Poison Years" - 6. "Sinners and Their Repentances" - 7. "Brasilia Crossed With Trenton" - 11. "Whichever Way the Wind Blows"

Studio album debut by Bob Mould after the disbandment of Hüsker Dü (1988). The year also gave us his former band mate Grant Hart's fine solo debut Intolerance (Dec. '89).
Workbook really shows a new side to the energetic punk rocker and power pop artist with its many acoustic driven compositions. It basically draws on the same musical influences as his former trio but it's much more of a singer / songwriter and folk rock-oriented release, which in many ways has more in common with some of Neil Young's releases with Crazy Horse than the power pop and punk rock of Hüsker Dü.
I think, the album is good but not really great. Its weakness is the huge pot of styles and genres represented and a blunt sensation of incoherency. It's both slow, ballad-like and blazingly angry and filled with white noise, but it's a nice treat to have a first full solo album from one of the main composer of one of the most important punk rock bands coming out of the USA, and the album also shows us that Mould has more to offer the world.
[ allmusic.com 4,5 / 5 stars ]

Antony and the Johnsons "Antony and The Johnsons" (2000)

Antony and the Johnsons [debut]
release date: Feb. 8, 2000
format: cd (2004 reissue)
[album rate: 3,5 / 5] [3,62]
producer: Antony Hegarty
label: Secretly Canadian - nationality: USA

Track highlights: 1. "Twilight" - 2. "Cripple and the Starfish" (4 / 5) - 4. "The Atrocities" - 5. "River of Sorrow" - 6. "Rapture" - 8. "Divine" - 9. "Blue Angel"

Studio album debut by Antony and the Johnsons originally released on the small independent label Durtro is an album written, composed and produced by vocalist Antony Hegarty. The band is basically a project centered around (British born) US-resided singer and keyboardist Hegarty, although, his 'collaborators' are a stable unit but also a wide range of musicians of 7-8 persons.
It took me some time to get accustomed with Antony Hegarty's voice but I soon found it surreal, out-of-this-world. Also, I found that he sounded much like Bryan Ferry but he's anything but a clone or a copy, and the music is wonderful theatre-like. This was the first album I listened to by Antony Hegarty though it's not my favourite from this project. Unfortunately, it should take Hegarty another five years before revealing his next full album.
Still, this is a very good place to start.

[ allmusic.com 4 / 5 stars ]

Bruce Springsteen "Tunnel of Love" (1987)

Tunnel of Love
release date: Oct. 5, 1987
format: vinyl (460270 1) / cd
[album rate: 4 / 5] [4,08]
producer: Bruce Springsteen, Jon Landau, Chuck Plotkin
label: Columbia Records - nationality: USA

Tracklist: 1. "Ain't Got You" - 2. "Tougher Than the Rest" (4 / 5) - 3. "All That Heaven Will Allow" (4 / 5) - 4. "Spare Parts" - 5. "Cautious Man" (4 / 5) - 6. "Walk Like a Man" (4 / 5) - - B) 1. "Tunnel of Love" (5 / 5) - 2. "Two Faces" - 3. "Brilliant Disguise" (4,5 / 5) - 4. "One Step Up" - 5. "When You're Alone" (5 / 5) - 6. "Valentine's Day" (4,5 / 5)

8th studio album by Bruce Springsteen released more than 3 years since his world breakthrough album Born in the USA (1984). To satisfy fans and album buyers everywhere he released the 5 lp box set Live / 1975-85 in '86 but with this, the man finally released new material.
The first couple of years I felt that the album was a lesser release but in retrospect, I consider it one of his great singer / songwriter albums, which basically continues his style from The River (1980) but also puts the album in my personal top 3 list of Springsteen albums alongside Darkness on the Edge of Town (1978). I for one, didn't like his '84 album all that much, and just found it too darn pro-American, but mostly just too one-dimensional. Drums and bass destroy that album. This, on the other hand, I felt was too slick, too sweet and nice, and I abandoned "the boss" for almost the following two decades while he rode along on his Born in the USA-style. At some point I finally understood that this album may just be well-produced BUT the songs are absolutely there and in contrast to his 84-breakthrough release Tunnel of Love is an album that includes the sincerity of Nebraska, the span of The River with the energy of Darkness..
Highly recommendable.
[ allmusic.com 4,5 / 5, Q Magazine 4 / 5, Rolling Stone Album Guide 5 / 5 stars ]

<  show lyrics >

~ ~ ~
"Ain't Got You"

"I got the fortunes of heaven in diamonds and gold
I got all the bonds baby that the bank could hold
I got houses 'cross the country honey end to end
And everybody buddy wants to be my friend
Well I got all the riches baby any man ever knew
But the only thing I ain't got honey I ain't got you

I got a house full of Rembrandt and priceless art
And all the little girls they wanna tear me apart
When I walk down the street people stop and stare
Well you'd think I might be thrilled but baby I don't care
'Cause I got more good luck honey than old King Farouk
But the olny thing I ain't got baby I ain't got you

I got a big diamond watch sittin' on my wrist
I try to tempt you baby but you just resist
I made a deal with de devil babe I won't deny
Until I got you in my arms I can't be satisfied

I got a pound of caviar sitting home on ice
I got a fancy foreign car that rides like paradise
I got a hundred pretty women knockin' down my door
And folks wanna kiss me I ain't even seen before
I been around the world and all across the seven seas
Been paid a king's ransom for doin' what comes naturally
But I'm still the biggest fool honey this world ever knew
'Cause the olny thing I ain't got baby I ain't got you"

~ ~ ~
"Brilliant Disguise"

"I hold you in my arms
As the band plays
What are those words whispered baby
Just as you turn away
I saw you last night
Out on the edge of town
I wanna read your mind
To know just what I've got in this new thing I've found
So tell me what I see
When I look in your eyes
Is that you baby
Or just a brilliant disguise

I heard somebody call your name
From underneath our willow
I saw something tucked in shame
Underneath your pillow
Well I've tried so hard baby
But I just can't see
What a woman like you
Is doing with me
So tell me who I see
When I look in your eyes
Is that you baby
Or just a brilliant disguise

Now look at me baby
Struggling to do everything right
And then it all falls apart
When out go the lights
I'm just a lonely pilgrim
I walk this world in wealth
I want to know if it's you I don't trust
'Cause I damn sure don't trust myself

Now you play the loving woman
I'll play the faithful man
But just don't look too close
Into the palm of my hand
We stood at the alter
The gypsy swore our future was right
But come the wee wee hours
Well maybe baby the gypsy lied
So when you look at me
You better look hard and look twice
Is that me baby
Or just a brilliant disguise

Tonight our bed is cold
I'm lost in the darkness of our love
God have mercy on the man
Who doubts what he's sure of"

~ ~ ~
"When You're Alone"

"Times were though love was not enough
So you said sorry Johnny I'm gone gone gone
You said my act was funny
But we both knew what was missing honey
So you lit out on your own
Now that pretty form that you've got baby
Will make sure you get along
But you're gonna find out some day honey

When you're alone you're alone
When you're alone you're alone
When you're alone you're alone
When you're alone you ain't nothing but alone

Now I was young and pretty on the mean streets of the city
And I fought to make 'em my home
With just the shirt on my back I left and swore I'd never look back
And man I was gone gone gone
But there's things that'll knock you down you don't even see coming
And send you crawling like a baby back home
You're gonna find out that day sugar

When you're alone you're alone
When you're alone you're alone
When you're alone you're alone
When you're alone you ain't nothing but alone

I knew some day your runnin' would be through
And you'd think back on me and you
And your love would be strong
You'd forget all about the bad and think only of all the laughs that we had
And you'd wanna come home
Now it ain't hard feelings or nothin' sugar
That ain't what's got me singing this song
It's just nobody knows honey where love goes
But when it goes it's gone gone

When you're alone you're alone
When you're alone you're alone
When you're alone you're alone
When you're alone you ain't nothing but alone"

~ ~ ~

Bo Kaspers Orkester "På hotell" (1994)

På hotell
release date: Sep. 26, 1994
format: digital
[album rate: 3,5 / 5]
producer: Bo Kaspers Orkester, Fabian Torsson, Johan Vävare
label: Sony / Columbia - nationality: Sweden

Track highlights: 1. "Ingenting alls" - 4. "Puss" - 5. "Hon är så söt" (live) - 10. "Vi tar in på hotell"

2nd studio album by Bo Kaspers Orkester is very much the same as the band's debut from '93, which means a combination of jazz pop, lounge, and sophisti-pop. Perhaps this is slightly more uneven with both tracks pointing to a more pop-founded sound but also to more traditional jazz. The band members' list remains the same. Still, Bo Kasper only writes most of the lyrics and sings, whereas he on later albums contributes on keyboards as well.

R.E.M. "Around the Sun" (2004)

Around the Sun
release date: Oct. 4, 2004
format: digital
[album rate: 2,5 / 5] [2,71]
producer: Pat McCarthy and R.E.M
label: Warner Bros. - nationality: USA

Track highlights: 1. "Leaving New York" (3,5 / 5) - 2. "Electron Blue" - 5. "Final Straw" - 9. "Aftermath"

13th studio album by R.E.M. For many 13 is anything but a lucky number [it also contains 13 tracks], and that fits perfectly on this band. 3 years after the promising Reveal (2001) they do the exact apposite from displaying greatness once again. Instead, they release their worst album to date - in all their career.
In 2003 they had launched what many thought was a single from a forthcoming album, "Bad Day", but that remained a single release, which isn't included here. Actually, that song appears on the 25th Anniversary Edition of Lifes Rich Pageant as a demo, which reveals how old it is. When I saw the video and listened to that song, I was struck by disappointment, and may totally have given up on the band. In hindsight the song isn't that bad after all, and knowing its age, it's more like the blueprint for "It's the End of the World..." from Document (1987).
Around the Sun is an album absent of great songs, with several compositions below the mediocre, and more than anything it displays a band just releasing something new as just to state: "hey, we're still around, although we really have nothing to say or show!". Apparently, guitarist Peter Buck agrees on this after their next album when he said that for him Around the Sun "... just wasn't really listenable, because it sounds like what it is, a bunch of people that are so bored with the material that they can't stand it any more."
[ allmusic.com 2 / 5, NME, Rolling Stone 3 / 5 stars ]

Show lyrics <- click...

~ ~ ~
"Leaving New York"

"It's quiet now
And what it brings
Is everything
Comes calling back
A brilliant night
I'm still awake
I looked ahead
I'm sure I saw you there
You don't need me
To tell you now
That nothing can compare

You might have laughed if I told you
You might have hidden a frown
You might have succeeded in changing me
I might have been turned around
It's easier to leave than to be left behind
Leaving was never my proud
Leaving New York, never easy
I saw the light fading out

Now life is sweet
And what it brings
I tried to take
But loneliness
It wears me out
It lies in wait
And I've lost still in my eyes
The shadow of necklace across your thigh
I might've lived my life in a dream, but I swear
This is real
Memory fuses and shatters like glass
Mercurial future, forget the past
It's you, it's what I feel.

You might have laughed if I told you (it's pulling me apart)
You might have hidden a frown (change)
You might have succeeded in changing me (it's pulling me apart)
I might have been turned around (change)
It's easier to leave than to be left behind (it's pulling me apart)
Leaving was never my proud (change)
Leaving New York, never easy (it's pulling me apart)
I saw the light fading out

You find it in your heart, it's pulling me apart
You find it in your heart, change...

I told you, forever
I love you, forever
I told you, I love you
I love you, forever
I told you, forever
You never, you never
You told me forever

You might have laughed if I told you
You might have hidden the frown (change)
You might have succeeded in changing me
I might have been turned around (change)
It's easier to leave than to be left behind (it's pulling me apart)
Leaving was never my proud (change)
Leaving New York never easy (it's pulling me apart)
I saw the life fading out (change)
Leaving New York, never easy (it's pulling me apart)
I saw the light fading out (change)
Leaving New York never easy (it's pulling me apart)
I saw the life fading out (change)"

~ ~ ~

Chumbawamba "English Rebel Songs 1381-1914" (1988)

English Rebel Songs 1381-1914
release date: 1988
format: cd (1994 reissue)
[album rate: 2 / 5] [2,18]
producer: Chumbawamba
label: One Little Indian - nationality: England, UK

3rd studio album by Chumbawamba originally released on Agit Prop is really something else. It's the band's traditional folk music ('folklore') and a cappella interpretations of traditional British workers' folk songs. Apparently, the band re-recorded the songs in 2003 and released the album as English Rebel Songs 1381-1984, an album containing the addition of two songs.
Allmusic.com hasn't reviewed the original release but the site has handed the new 2003 version 4 / 5 stars, although, claiming "Fifteen years on, they've learned a lot more about their voices, about music, and about the world." But still, I cannot grant it more than half the amount of stars. It must have been a huge turning point for any fan of this band, who up until this nearly only played anarcho punk rock and here they suddenly play traditional folk music without other instrumentation than their singing voices. The predecessor Never Mind the Ballots (1987) introduced a different approach to music with narrating style, but still it was presented with strong satire and social awareness. This has only the social awareness, and no satire, and no strong criticism.
I think, you have to be (more than) just a bit interested in ancient music to embrace this collection of songs.
Not recommendable.

New Order "Singles" (2005)

Singles (compilation)
release date: Oct. 3, 2005
format: 2 cd
[album rate: 4 / 5]
producer: New Order and various
label: London Records - nationality: England, UK

A compilation album by New Order consisting of single releases only. The album consists of 31 tracks released as (primarily 7'') singles in the span of two decades from 1981-2005. The band has released several Best of albums over the years starting off with Substance (1987), and they all contain different track lists. With the band's extensive back catalogue it's hard to pick one of these as the best 'cause they all miss out on great tracks, but I really like this one, which is not an attempt to pick the most popular tracks but simply to document all single releases in one album. Except from showcasing some of their greatest moments, the album also enlists the tracks in the order of their release, so the listener upon hearing the different tracks may come to terms with how the band progressed from post-punk influences into synth pop and alt. dance with various electronic elements, which is quite nice.
[ allmusic.com 3,5 / 5, NME 4,5 / 5 stars ]

Laurie Anderson "Homeland" (2010)

Homeland
release date: Jun. 22, 2010
format: cd
[album rate: 3,5 / 5]
producer: Laurie Anderson with Lou Reed and Roma Baran
label: Nonesuch Records - nationality: USA

Track highlights: 2. "My Right Eye" - 5. "Only an Expert" (4 / 5) (live on Letterman) - 6. "Falling" - 7. "Another Day in America" - 9. "Dark Time in the Revolution" - 11. "The Beginning of Memory"

7th studio album release by Laurie Anderson. I think many people thought she wouldn't release another studio album again, but here it is, 9 years after her previous album. Actually, the album had been scheduled for a release back in 2006 or '07 but as the tracks are based on a live performance show that kept changing along the way, the actual release date was pushed forward. My initial verdict was more negative. It's no secret that the music by Laurie Anderson requires attention and reflection. After a couple of years I now see this in a much more positive perspective. It's highly founded on the lyrical side, which makes it a difficult musical work of art, but then again: Laurie Anderson is much more than just a musician. As usual there are lots of fine notions on modern life and existentialism in general. It's recommendable, and frankly, I will probably rate it higher... in time.
[ almusic.com, PopMatters, Slant 4 / 5, Los Angeles Times 4 / 4, Rolling Stone 3,5 / 5 stars ]

Bo Kaspers Orkester "Söndag i sängen" (1993)

Söndag i sängen [debut]
release date: Nov. 25, 1993
format: digital
[album rate: 3,5 / 5]
producer: Michael Malmgren
label: Cupol - nationality: Sweden

Track highlights: 1. "Det går en man omkring i mina skor" - 2. "Söndag i sängen" - 3. "Köpenhamn" - 5. "I botten på glaset"

Studio debut album by Swedish band Bo Kaspers Orkester consisting of Bo (Sigvard) Sundström [aka Bo Kasper] on vocal, Lars Halapi on guitar, Fredrik Dahl on drums, Michael Malmgren on bass, and with Mats Asplén on piano, and organ. The album is nice and warm, and shows the band when it's most jazz-influenced. Some tracks are lounge and more sophisti-pop-balanced with a trip-hop and neo-soul sound.

Underworld "Barking" (2010)

Barking
release date: Sep. 13, 2010
format: digital
[album rate: 3 / 5] [3,18]

8th studio album by Underworld. On this the duo has progressed into drum and bass electronic and returned to trance, which was one of their initial styles back in 1994.
Frankly, my initial feelings about the album was a rather boring release and I have to admit that I didn't really play it that many times. I always ended up skipping tracks and by putting something else on in the end. To me it was the disappointing continued journey into earlier and already known territory, however, I did continue to return to the album. Just to try to understand on one hand my rejection 'cause I really enjoy several of their other albums and on the other hand to see if I could find the band's fascination and intentions. And luckily so, I did! I have ended up seeing this from a much more positive perspective. It took me a long time to get there, but after enjoying their 2016 album I returned to the albums, I somehow had rejected as detours, and what I found here is the same distinct fingerprint that simply says 'Underworld'. It's a take on the electronic genre with clear evidence of their fascination of progressiveness. Sometimes they incorporate techno and trance but there are always hints of more danceable styles like drum & bass and house, which in the end has become their distinctive style. And although, this is more techno than breakbeat it's also simply more experimental progressive electronic as such, and with a will to understand it does contain fine compositions and music that matters despite not being an album of single wonders.
[ allmusic.com 3 / 5, NME 2,5 / 5, Mojo, Uncut 4 / 5 stars ]

Tindersticks "Trouble Every Day" (OST) (2001)

Trouble Every Day (OST) (soundtrack)
release date: Oct. 1, 2001
format: digital
[album rate: 3 / 5] [3,16]
producer: Tindersticks
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Opening Titles" - 10. "Coré on Stairs / Love Theme" - 12. "Closing Titles" - 14. "Trouble Every Day"

Original soundtrack score by Tindersticks is the band's second for a movie by Claire Denis - here featuring Béatrice Dalle and Vincent Gallo. I still have to watch the movie one day but so far I just enjoy the soundtrack.

Generally, it's always a bit difficult to rate a full soundtrack album like this (apart from many Morricone soundtracks that often live very well on their own). Some tracks stand out like "Opening titles", which is repeated at the end in track #14. "Trouble Every Day". In fact there's a repeated theme in many of the songs, which is played by violins in the title track. Other tracks may fit specific film scenes very nicely but are not received easily as audio tracks alone, and I think that's the point about this album. Stylistically, it's still chamber pop but the album is more 'ambient' than anything they have released before.

Mike Oldfield "The Complete" (1985)

The Complete (compilation)
release date: Oct. 1, 1985
format: vinyl 2 lp (gatefold - 302 689-503) / cd (1988 reissue)
[album rate: 4 / 5]
producer: various
label: Virgin Records - nationality: England, UK

Compilation album by Mike Oldfield released as a double gatefold vinyl album. The album is subdivided into four sections - the A-side is labelled 'The Instrumental Side', the B-side 'The Vocal Side', the C-side 'The Complex Side', and the D-side 'The Live Side'.