Blondie "The Hunter" (1982)

The Hunter
release date: May 24, 1982
format: digital
[album rate: 2,5 / 5] [2,55]
producer: Mike Chapman
label: Chrysalis Records - nationality: USA

Best track: 3. "Dragonfly" (3 / 5)

6th and so far final studio album by Blondie who would not release new material until 1999. The album is known as a record label contract obligation. Musically, the band had nothing new to offer, and the album is really a mediocre release. What a sad way to end a great band. It's mainstream pop / rock with hints of disco and... calypso [!].
Allegedly, the band had been offered to record what was to be the title track for the new James Bond movie "For Your Eyes Only" composed by Bill Conti and Michael Leeson, but the band rejected the song, and Debbie Harry and Chris Stein then wrote their own title song for the film; however, the Conti and Leeson song then went to Sheena Easton who secured the song in the film. The cover fits the album fine, as it's quite tasteless.
[ allmusic.com 1,5 / 5, Rolling Stone Album Guide 2 / 5 stars ]

The Prodigy "Lost Beats EP" (2009) (ep)

Lost Beats EP, ep
release date: Feb. 18, 2009
format: digital
[album rate: 3,5 / 5] [3,32]
producer: Liam Howlett
label: Take Me to the Hospital - nationality: England, UK

Tracklist: 1. "The Big Gundown" - 2. "Black Smoke" - 3. "Wild West" - 4. "Fighter Beat" (2 / 5)

A 4-track studio ep, which came with a Deluxe Edition of Invaders Must Die. The music is very much the same style as the album, although, I think this is clearly better. The first track is a sampling of music by Ennio Morricone, and it's actually pretty nice. Also, track #2 is fine with its hardcore breakbeat instead of all the hip hop influence. All tracks are instrumental versions only. Track #3 has an intro with a sampling of a Dead Kennedys' track.
It's not really great but points in a better direction than some of their more recent releases.

The Prodigy "Invaders Must Die" (2009)

Invaders Must Die
release date: Feb. 18, 2009
format: digital
[album rate: 3 / 5] [3,14]
producer: Liam Howlett
label: Take Me to the Hospital - nationality: england, UK

Track highlights: 1. "Invaders Must Die" - 2. "Omen" - 4. "Colours" - 6. "Warriors Dance" - 7. "Run With the Wolves"

5th studio album by The Prodigy is released on the band's own label, Take Me to the Hospital (distributed by Cooking Vinyl). All tracks are produced by Liam Howlett with James Rushent credited for additional production on tracks #1-2. Howlett is normally credited as composer on nearly all tracks, but here is 'only' credited as co-composer of the music, and most tracks are Howlett's take with samples originally performed by Nirvana, Foo Fighters, The Breeders, and Manfred Mann.
The album peaked at number #1 in the UK and generally sold better than the 2004 album, and the two singles - tracks #2 and #6 both became top-10 singles in the UK.

Musically it follows close to the 2004 album, Always Outnumbered Never Outgunned and despite being clearly a better album it's never really great release when comparing to the band's first three albums. It's released five years following the last real studio album so expectations were not low. It feels like a better album, and the single tracks seem like more originally written but still has too much focus on original American techno, which I think, simply sounds outdated - we've been there, done that, but obviously, Liam Howlett hasn't been part of that movement, and unfortunately, he seems determined to go through his own techno evolution combining sampling and hardcore, industrial hip hop, breakbeat and hard rock with traditional techno. Strangely, "Stand Up" sounds like an attempt to make a Chemical Brothers track... and again, several tracks are samplings of old The Prodigy stuff, which is just sad when you hear bits of great old tracks cut up to new lesser songs. Best thing about it, is the comeback to both Keith Flint and Maxim on vocals.

The Servant "The Servant" (2004)

The Servant
release date: Apr. 2004
format: digital
[album rate: 2,5 / 5]

Track highlights: 2. "Beautiful Thing" (3 / 5) - 3. "Liquefy" (4 / 5) - 4. "Body" (2,5 / 5) - 7. "I Can Walk In Your Mind" (2,5 / 5) - 10. "Glowing Logos" (2,5 / 5)

3rd studio album by Leeds-founded band The Servant. I don't know much about the band or their previous two studio albums, I just heard the track "Liquefy" and wasn't overwhelmed by the rest of the songs. The music is both indie pop and alt. rock, but actually, most tracks on the album are somewhere between pop and alt. rock, and I just find the album too anonymously sounding and not really any near their pop hit on the album. Normally, I'm a "completist" and like to listen to whole albums instead of hunting singles and outtakes but this whole album is kind of redundant.

Cocteau Twins "The Pink Opaque" (1985)

The Pink Opaque (compilation)
release date: Jan. 13, 1986
format: cd
[album rate: 3 / 5] [2,86]

A compilation album primarily directed at the American market by Cocteau Twins with tracks recorded from 1982-85, some of which only have been released on ep or single releases, i.e. all three tracks from the single "Pearly-Dewdrops' Drops" (1984). It's not bad, and despite the early takes, which should underline their earlier post-punk and dark wave sound, the tracks have been slightly altered to fit a more contemporary Cocteau Twins dream pop sound, which only has improved the older tracks.

Sigur Rós "( )" (2002)

( )
release date: Oct. 28, 2002
format: cd / vinyl (2015 reissue)
[album rate: 3,5 / 5] [3,62]
producer: Sigur Rós, Ken Thomas (uncredited)
label: FatCat / XL Recordings - nationality: Iceland

Track highlights: 1. [untitled] (Vaka) - 2. [untitled] (Fyrsta) - 3. [untitled] (Samskeyti) - 4. [untitled] (Njósnavélin) - 6. [untitled] (E-bow) - 8. [untitled] (Popplagið)

3rd studio album by Sigur Rós following more than three years after Ágætus byrjun (June 1999) originally released on FatCat Records and produced by Sigur Rós and Ken Thomas. The album is a step into a more experimental post rock style, and seems very much like a conceptual album. The title of the album is often referred to as "the brackets album" ('Svigaplattan' in Icelandic) or "the untitled album". The cover art underlines the idea of the left-out title by two bold brackets forming a symbol, which has been used for various projects by the band like a signature (also represented on their full-length live 2 cd release Inni from 2011). So, the album is without a title, and this is continued for each track on the album as no tracks are left with any title except for [untitled] or simply titled via the track number. The additional titles comes the band's own official website - when referring to tracks - and here the album is also given the producer credits that are likewise left out on all issues of the album. It contains eight compositions and they're all held quite stricltly in an ambient style, somewhat closer to the band's debut album than Ágætus byrjun, but again, compared to the debut this is without the experimental art rock and instead with more ambient vocal harmonies, and then it's much more of a whole making it a unique release.

Overall, the band seems to try out new ways of expression, and although, I don't find it a huge leap forward, it's a rather fine coherent collection of moody post rock.

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

vinyl cover

The The "Infected" (1986)

Infected

release date: Nov. 17, 1986

format: cd (reissue)

[album rate: 4 / 5] [4,02]

producer: Matt Johnson with W. Livesey, R. Mosimann, G. Langan

label: Epic Records - nationality: England, UK

Track highlights: 1. "Infected" - 2. "Out of the Blue (Into the Fire)" - 3. "Heartland" (4 / 5) - 4. "Angels of Deception" (4,5 / 5) - 5. "Sweet Bird of Truth" (4 / 5) - 6. "Slow Train to Dawn" (feat. Neneh Cherry) (4 / 5) - 7. "Twilight of a Champion" - 8. "The Mercy Beat"

2nd studio album by The The follows three years after Soul Mining (Oct. 1983) and it's like that originally released by Some Bizzare / Epic. It's produced by Matt Johnson and Warne Livesey (4 tracks), Matt Johnson and Roli Mosimann (2 tracks), and Gary Langan (2 tracks). All compositions are credited Johnson except one (track #7, "Twilight of a Champion") co-composed by Mosimann.

Stylistically, this continues the style laid out on the predecessor, only adding more synths and more complex arrangements and by being even better produced. Where the '83 album was introspective Infected is the wry outlook on contemporary Britain where Thatcherism implies rough economic times for the working class, and the Tory politics led to years with striking miners and the Falkland War. Johnson is by no means a fan of Thatcher nor does he hide his left-wing sympathies but he does with conviction. Best examples of his more direct political songs are the title song and "Heartland". Other songs deal with personal struggles, such as "Out of the Blue (Into the Fire)", where Johnson speaks openly about male lust, and "Slow Train to Dawn", a song about the consequences of two individuals in a relationship growing each separate way. Despite dealing with personal matters, the album is a near conceptual one where different themes may be applyied to that of a society and the aspect of new-colonialism. In this way and at a first glance, Johnson deals with politics and personal matters, but he also reflects on our very existence when greed, ignorance and disrespect show the ugly sides of human nature. It's an album of relations: on a personal level between partners in a relationship, it's about the political elite versus the people of a country, and it's about the everpresent Western exploitation of developing countries.

Johnson hadn't followed album releases with live tours and had no wish in starting now, but he was also fully aware that the label would want some promotion in order to sell the album, so he and manager Stevo came up with the idea of a film about the album, and to that purpose they needed to shoot a music video for each song on the album, where Tim Pope is director on most videos. Films were shot in the UK, in New York, and most problematic, several videos were shot in the Peruvian jungle amidst a political uproar.

Infected is my all-time favourite by Matt Johnson. It doesn't contain any weak tracks, and what's so remarkable about it is Johnson's strength in both writing great lyrics, often with critical view on political and moral issues, as well as composing complex pop songs that really swing. The album is enlisted in "1001 Albums You Must Hear Before You Die".

[ allmusic.com 4,5 / 5 stars ]

Jello Biafra and The Guantanamo School of Medicine "The Audacity of Hype" (2009)

The Audacity of Hype [debut]
release date: Oct. 20, 2009
format: digital
[album rate: 2 / 5] [2,18]
producer: Jello Biafra
label: Alternative Tentacles - nationality: USA

Studio debut by Jello Biafra and The Guantanamo School of Medicine. The album is an actual band release after Biafra's most recent spoken word album In the Grip of Official Treason (2006), and his involvement in various collaboration works, and releases with industrial metal band Pigface. The style seems like a clone of whatever he has been involved in since the late 1970s, which is a huge pothole of punk-related music. This is hardcore punk, and as such the closest one could imagine would have been the result if Dead Kennedys had stayed an active band, although, there's some industrial rock to it, which mostly points to Biafra's former band, Lard. It's also tight alt. rock, but I don't find it that interesting, as it just sounds like angry old men / punk rockers, who don't have much new to say and the tracks are simply too much alike making it much on par with Sieg Howdy!.
[ allmusic.com 3 / 5 stars ]

Antony and the Johnsons "The Crying Light" (2009)

The Crying Light
release date: Jan. 20, 2009
format: digital (10 x File, FLAC)
[album rate: 4 / 5] [3,82]
producer: Antony Hegarty
label Secretly Canadian - nationality: USA

Track highlights: 1. "Her Eyes Are Underneath the Ground" (4 / 5) - 2. "Epilepsy Is Dancing" (4 / 5) - 3. "One Dove" - 4. "Kiss My Name" (4 / 5) - 6. "Another World" - 7. "Daylight and the Sun" - 9. "Dust and Water" - 10. "Everglade"

3rd studio album by Antony and the Johnsons is yet another strong release. Stylistically, it's like a new chapter to the brilliant I Am a Bird Now (2005), only, there's a more subtle tone or obscure sentiment giong on here as a turn to a more lyrical content.

The album has been met by positive reviews and it's perhaps seen as the band's peak. I only find that it contains a few fillers without the same high quality, but perhaps I just don't get the intimate message, and then tracks #1, #2, and #4 are still all worth this album.
The front cover features a 1977 photograph by Naoya Ikegami of iconic butoh dancer Kazuo Ohno.
[ allmusic.com 4,5 / 5, Pitchfork 8,6 / 10, Los Angeles Times, Uncut, 👍NME 4 / 5, Spin 3,5 / 5 stars ]

Paul Young "From Time to Time - The Singles Collection" (1991)

From Time to Time - The Singles Collection (compilation)
release date: Nov. 26, 1991
format: cd
[album rate: 3,5 / 5]
producer: various
label: Columbia Records - nationality: England, UK

Best of compilation album by Paul Young consisting of 15 tracks with four tracks from No Parlez (1983), three from The Secret of Association (1985), two from Between Two Fires (1986), two from Other Voices (1990), and four previously unreleased tracks including his rather big hit as supporting vocalist on Zucchero's "Senza una donna", which was the best-faring single released from the album sitting at number #4 on the UK singles chart list. Considering his short career of eight years, and 'only' four studio albums at this point, it's a fine collection of songs, although, I miss some tracks from his second and best album - and then I just find that some tracks are lowering the standard. From a contemporary perspective, I think, I would go for one of his later best of albums: The Essential Paul Young from 2008 with 18 tracks covering another three albums, or: the 14 track album Hit Collection from 2007. There's also a 2-disc album Wherever I Lay My Hat (The Best of Paul Young), which just contains too many fillers with an abundance of 33 tracks.
The album topped the UK albums chart list as his so far third and last album reaching this position, and together with his debut it's his best-selling album.

Bo Kaspers Orkester "8" (2008)

8
release date: Sep. 24, 2008
format: digital
[album rate: 3 / 5] [3,18]
producer: Bo Kaspers Orkester
label: Columbia / Sony - nationality: Sweden

Track highlights: 1. "Stunder som den här" - 2. "Innan allt försvinner" - 7. "Det blir bättre sen" - 8. "Människor är djur" - 10. "Tack för konserten (din jävel)"

8th studio album by Bo Kaspers Orkester. The title refers to both year and album number. The music is a bit of a return to a more jazz pop universe than the two (fine) previous studio albums. I've always found this a bit of a dull album. Apparently, the track "Tack för konserten (din jävel)" is a tribute song to Swedish singer / songwriter Håkon Hellström whom Bo Sundström had just witnessed at a concert and then felt urged to write this song. The album is okay but not really recommendable. I just don't find obvious great tracks here. Several songs sound as older compositions by the band or are just too much alike other tracks on the album. The album reached number #2 on the Swedish album chart list.

Nena "Eisbrecher" (1986)

Eisbrecher
release date: Nov. 24, 1986
format: cd (2010 reissue)
[album rate: 3 / 5] [2,95]
producer: Nena, Klaus Voormann
label: Columbia / Legacy / Sony Music - nationality: Germany

Track highlights: 1. "Engel der Nacht" (tv performance) - 2. "Mondsong" - 4. "Schön wär es doch"

4th and final original studio album by the band Nena. Despite making it to number #2 on the national albums chart list, the previous album Feuer und Flamme was seen as a considerable step back for the band in Germany (the two first albums both topped the national album charts), as the band's concerts to promote the album didn't fare that well. Perhaps the German public wanted more change?
Eisbrecher is styled as a bolder mainstream pop / rock album without much of the Neue Deutsche Welle attitude, and on a stronger negative side it comes out as Nena's closest attempt to make their Pat Benatar album. It 'only' reached number #43 on the national albums chart list and the band Nena broke up the following year. Lead vocalist and songwriter Gabriele Susanne 'Nena' Kerner then initiated a solo career keeping to the band name.
This is not really the band's worst effort but it doesn't point to a new golden style and mostly just feels quite anonymous. Compared to the band's previous two albums, I actually like the production sound on this better, but it really doesn't contain evident great or memorable compositions.
[ allmusic.com 3 / 5 stars ]

Frank Sinatra "The Radio Years" (1989)

The Radio Years, (compilation)
release date: 1989
format: vinyl (LP 143)
[album rate: 4 / 5]
producer: various
label: Wifon - nationality: USA

Compilation album by Frank Sinatra released on Polish label Wifon contains 20 compositions of fine quality. It features songs by Porter, Berlin and Gershwin, but also other fine popular composers of primarily the 40s and 50s.

Ippu-Do "Night Mirage" (1983)

Night Mirage
release date: Jul. 21, 1983
format: vinyl (25506) / digital (2013 remaster)
[album rate: 3,5 / 5] [3,66]
producer: Masami Tsuchiya
label: Epic Records - nationality: Japan

Track highlights: 1. "Plants' Music" (4 / 5) - 2. "Àfrican Nights" - 3. "Rain in My Heart" - 5. "Lonely Sea Lion" - 10. "Crystal Leaves"

4th and final studio album by Japanese synthpop and new romantic Masami Tsuchiya-led project band Ippu-Do. The band's previous albums were released as a trio consisting of Masami Tsuchiya on vocals and guitar, Akira Mitake on keyboards, and with Shoji Fujii on drums, but after releasing its third album Radio Fantasy in '81, the band went on a hiatus and upon rejoining, after Tsuchiya's engagement with British band Japan on its final '82 tour, Ippu-Do was reduced to a duo without drummer Fuiji.
The original ten tracks album has a running time at just below 42 minutes, whereas the 2013 remaster comes with an additional 7 bonus tracks making it a more than 71 minutes album.
On Night Mirage the band is joined by Richard Barbieri (on one track) and Steve Jansen, both members of Japan, with the latter playing drums on all tracks.
Night Mirage is an experimental synthpop release with tracks of various styles, but ultimately bridging nicely between with European synthpop and that of Yellow Magic Orchestra with an addition of sound elements from Japanese music culture and more electronic bits from ambient music. Some tracks are harmony-driven with lyrics and choruses, whereas others are more experimental instrumentals. The seven bonus tracks' album makes it more incoherent with the added compositions being more in the style of electronic ambient.
This is a strong, original and very warm album that I always return to!

Zucchero Fornaciari "Un po' di Zucchero" (1983)

Un po' di Zucchero [debut]
release date: Apr. 4, 1983
format: digital (reissue) (10 x File, MP3)
[album rate: 3,5 / 5] [3,48]
producer: Zucchero Fornaciari
label: Polydor - nationality: Italy

Track highlights: 1. "Una notte che vola via" (4 / 5) - 2. "Non aver paura" - 6. "Nuvola" (live al festival di San Remo) - 7. "Come l'aria" - 8. "Perchè sei bella" - 10. "Stiamo insieme"

Studio album debut by Zucchero is released as 'Zucchero Fornaciari' feature his two San Remo songs "Una notta che vola via" and "Nuvola".
The music is in an Italian singer / songwriter tradition which put him alongside contemporaries like Francesco De Gregori, Fabrizio De André, and Lucio Dalla. Aside from a folk rock-feel this also demonstrates a certain blues rock element that distinguishes him from his national contemporaries. At this point of his career it his not a dominating style, as would be later on, and the songs are mainly folk and singer / songwriter-founded with focus on narration.
A recommended album in any collection of Italian pop / rock.

Orchestral Manoeuvres in the Dark "If You Leave" (1986) (single)

If You Leave, 7'' single
release date: Apr. 21, 1986
format: vinyl (107 980-100)
[single rate: 4 / 5] [3,76]
producer: OMD & Tom Lord-Alge / Stephen Hague
label: Virgin Records - nationality: England, UK

Tracklist: A) "If You Leave" (4 / 5) - - B) "88 Seconds in Greensboro"

Single release by OMD co-produced by American producer Tom Lord-Alge. The A-side single track is taken from the motion picture "Pretty in Pink" and also found on the original soundtrack for the film, whereas the B-side is taken from the 1985 album Crush.
The single track was a considerable success in the US where it remains the band's highest faring single reaching #4 on the "Hot 100" singles chart but only making it to number #48 in the UK.

Zucchero Fornaciari

~ ~ ~

Zucchero: (birthname: Adelmo Fornaciari, [aka Zucchero Fornaciari, aka Zucchero Sugar Fornaciari]; Sep. 25, 1955) was born in Roncocesi, Emilia-Romagna, Italy. He is perhaps the best selling Italian pop musician to date. His musical career began around 1970 playing with several bands, but it wasn't until he gained national success in 1981 with the band Taxi, as they won Castrocaro music festival. He then played at the biggest Italian music festival, San Remo, the following year, and in 1983 he released his solo album Un po' di Zucchero, which is a collection of poetic Italian blues rock and singer / songwriter ballads and pop / rock songs, styles he has kept to since then. He has released approx. 15 studio albums and has appeared on many more collaboration albums, and from 1990 he has gained international success based on his works with both European and American artists, but he has performed world-wide and has often had famous guest appearances in his live concerts. Many of his original Italian songs have been translated into English, starting with his international hit "Senza una donna" from Blue's (1987), which appears as a duet version with Paul Young on his first international release Zucchero (1990), an album that also includes the song "Wonderful World", originally from Oro incenso & birra (1989), now featuring Eric Clapton on the '90 release. 

~ ~ ~

Bo Kaspers Orkester "Hund" (2006)

Hund
release date: Sep. 20, 2006
format: digital
[album rate: 3,5 / 5] [3,55]
producer: Bo Kaspers Orkester
label: Sony / Columbia - nationality: Sweden

Track highlights: 1. "Hund" - 2. "En man du tyckte om" (4 / 5) - 3. "I samma bil" (live) - 5. "Leende med kniv" - 6. "En dag att bli kär på" (4 / 5) - 7. "Som du - som jag" - 11. "Den enda som ser"

7th studio album release by the Bo Kasper Orkester marks a change of sound after the wonderful Vilka tror vi att vi är (2003), which I consider the band's best album ever. The sound is not only the sophisticated jazz pop but it's also a more raw and clean pop / rock release with some blues rock or rhythm and blues elements. The best tracks, however, still has a more subtle and soft folk pop and jazz pop style, which really suits this band the best. The track "I samma bil" is a funny and happy-go-lucky pop track, which was released as a rather successful single, but the best track is "En dag att bli kär på". The album contains some great tracks but the overall impression is an album that points in so many directions that it's not very homogeneous and may require many attempts listening to it as a whole. I like it - it's good. Hund is probably the second best selling album in the Nordic countries as it was ranked 11 on the Danish album charts, 6 on both the Finnish and Norwegian lists, and it reached #1 in Sweden, just like the 2003 album release.

Chet Baker "Embraceable You: Chet Baker Sings and Plays" (1995)

Embraceable You: Chet Baker Sings and Plays (compilation)

Release date: Jun. 19, 1995
format: digital
[album rate: 3,5 / 5]

This is a fine album if one hasn't got Chet in the collection. The songs are of the romantic and more melancholic type that was his biggest strength. His soft and clear voice and trumpet sounds much alike - in agony of love lost or a love never realised. The album contains 13 fine jazz ballads written by Gershwin, Johnny Mercer, Rodgers & Hart, among others.

Adele "21" (2011)

21
release date: Jan. 24, 2011
format: digital
[album rate: 3 / 5]

2nd studio album by Adele [aka Adele Laurie Blue Adkins, birth name]. Yes, what a voice from a 21-year old. Only, I find it tiresome in the long run and just TOO much whining, sorry! I mean, Morrissey is a big whiner but has more to offer like irony, sarcasm, and humor. This is just so bleak. The album is (even) enlisted in "1001 Albums You Must Hear Before You Die", and is one of the best selling studio albums in Germany, Australia, USA, and the UK where it was nominated The Mercury Prize, which was handed to PJ Harvey for Let England Shake.
[ allmusic.com, Rolling Stone 3,5 / 5, Q Magazine, The Guardian 4 / 5 stars ]

Antony and the Johnsons "I Am a Bird Now" (2005)

I Am a Bird Now
release date: Feb. 1, 2005
format: cd
[album rate: 4 / 5] [4,06]
producer: Antony Hegarty
label: Secretly Canadian - nationality: USA

Track highlights: 1. "Hope There's Someone" (5 / 5) (live) - 2. "My Lady Story" (4,5 / 5) (live) - 3. "For Today I Am a Bouy" (4 / 5) (live) - 4. "Man Is the Baby" (4 / 5) (live) - 5. "You Are My Sister" (4 / 5) - 7. "Fistful of Love" - 8. "Spiralling" - 10. "Bird Gerhl" (4 / 5) (live)

2nd studio album by Antony and the Johnsons follows five whole years after the promissing debut, and like that, this is written, composed and produced by Antony Hegarty.
The style is much stronger and solidified on this compared to the first one out - the end result is a marvellous improvement to a fine debut as the album simply contains a wide range of great compositions. It features several well-renowned artists such as: Rufus Wainwright (track #6), Devandra Banhart (tracks #5 and #8), Boy George (track #5), and Lou Reed (track #7) - the latter has often played at live concerts featuring guest appearance by Antony.
The album release was five years under its way but considering the small attention that was attributed the debut, this album took a remarkable step into the limelight. I Am a Bird Now won the British music award The Mercury Prize ahead of artists such as Bloc Party, Coldplay, Kaiser Chiefs, and M.I.A. to mention but a few, which secured the album the biggest jump ever seen on the British album chart list, going from an initial position as number #135 to number #16 in the period of one week only.
It's a great and modern classic album and in retrospect it's also the best from Antony and the Johnsons. The front cover features an iconic photograph titled "Candy on her deathbed" of [Andy Warhol star] Candy Darling by Peter Hujar.
Highly recommendable.
[ allmusic.com, The Guardian, Rolling Stone, Q Magazine 4 / 5, 👍Pitchfork 8,6 / 10 stars ]

The Beautiful South "Welcome to The Beautiful South" (1989)

org. vinyl cover

Welcome to The Beautiful South [debut]
release date: Oct. 1989
format: vinyl (AGOLP 16) / cd
[album rate: 3,5 / 5] [3,68]
producer: Mike Hedges, The Beautiful South
label: Go! Discs - nationality: England, UK

Track highlights: 1. "Song for Whoever" (4 / 5) (live) - 3. "From Under the Covers" - 4. "I'll Sail This Ship Alone" - 7. "You Keep It All In" - 9. "Oh Blackpool"

Studio debut album by The Beautiful South consisting of the two former members of The Housemartins Paul Heaton and Dave Hemingway with Dave Rotheray on guitar, Sean Welch on bass, and with Dave Stead on drums fulfilling the quintet. Hemingway formerly played drums but here, together with Heaton, he is one of the band's two leading vocalists. Also keyboardist Damon Butcher took part as studio musician - a role he would stick to with the band's forthcoming albums without ever becoming a full member. Brianna Corrigan (vocals) contribute on this, she would become a full member on the following two albums. The style is a mix of pop soul and pop / rock mostly referred to as sophisti-pop. Some tracks are closer to the style of The Housemartins but the majority of songs are build on piano and brass instead of guitars. Where Heaton and Hemmingway's former band seemed trapped within a 'pop' frame, having had fine successes playing more traditional love songs, The Beautiful South are more social- and political-minded.
The front cover art by Czech photographer Jan Saudek was apparently too strong for the British retail chain Woolworths, who refused to sell the album until an alternative cover was made. Knowing a little about the founding humour of the band, the alternative cover depicts a stuffed toy rabbit and a teddy bear, which of course should not be able to disturb anyone. The "Fluffy Toy Cover" was issued a few months later - still in '89. Also an alternative cover featured on the North American first issue, which only featured the photo of the smoking man by Saudek.
[ allmusic.com 4,5 / 5 stars ]

< alternate covers >

  

alt. censored cover

  

North American alt. cover

Django Django "Django Django" (2012)

Django Django [debut]
release date: 2012
format: digital
[album rate: 2,5 / 5]
producer: Django Django
label: Because Music - nationality: England, UK

Studio debut album by Django Django. The album was nominated the British Mercury Prize in 2012, which was handed to Alt-J for An Awesome Wave. The music is founded on one big melting pot of styles and genres with jazz, funk, disco, electronic sub-genres, as well as reminiscences of world music. I don't appreciate it much and simply find it "a bit of a mess", or: I just don't get it. The album is for reasons unknown enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, NME 4 /5, The Guardian 5 / 5, The Observer 3 / 5 stars ]

Orchestral Manoeuvres in the Dark "Crush" (1985)

Crush
release date: Jun. 17, 1985
format: digital
[album rate: 3,5 / 5] [3,68]
producer: Stephen Hague
label: Virgin Records - nationality: England, UK

Track highlights: 1. "So in Love" (4,5 / 5) - 2. "Secret" - 3. "Bloc Bloc Bloc" (4 / 5) (official video) - 5. "Crush" - 6. "88 Seconds in Greensboro" - 8. "La femme accident" - 9. "Hold You"

6th studio album by Orchestral Manoeuvres in the Dark. The album starts off with three great synthpop tracks but then sort of fades out too fast. It's a kind of a strange album, as it both signals the polished mainstream pop they had turned to on Junk Culture but also contains more daring compositions and elements, which in a way points to the band's eternal dilemma: being both pop and art pop, and how they were mostly unable to choose.
I played the album a lot for a shorter period of time, then quickly grew tired of it, thinking it was too slick, and I couldn't hear it throughout, although, I found that it was definitely bettering its predecessor, which I found a surprising low-point.
Returning to the album, I find it more than decent, though. It contains several great tracks but also, and which is why I tired of it in the first place: contain a number of evident fillers that drag the whole album down. Some have called OMD a singles band, and I do understand that term in referring to OMD 'cause they have some truly great individual songs, even on mediocre albums, but it really becomes valid when you begin to compare individual compositions on a particular album. On Dazzle Ships people tend to focus on one song as that album's strength, which it really isn't, but on this and later albums they present one or two tracks released as singles that should sell the album - a bit like artist did in the 60s and 70s - only with OMD the remaining tracks would be very different.
Anyway, without being great I think this is better than its reputation.
[ allmusic.com 2 / 5 stars ]

Bo Kaspers Orkester "Vilka tror vi att vi är" (2003)

Vilka tror vi att vi är
release date: Sep. 24, 2003
format: cd
[album rate: 4 / 5] [4,08]
producer: Bo Kaspers Orkester
label: Columbia Records - nationality: Sweden

Tracklist: 1. "När du klär av dig" (4 / 5) - 2. "Vilka tror vi att vi är" (5 / 5) - 3. "Långsamt" (4,5 / 5) - 4. "Sockerdricka och sprit" - 5. "Dansa på min grav" - 6. "Lycka till" - 7. "Väljer dig" (4 / 5) - 8. "Bara för din skull" - 9. "Ont" - 10. "Allt är som förut"

6th studio album by Bo Kaspers Orkester. The band continues its style change from Kaos (2001) which introduced a more complex combination of styles making this the band's most clear pop / rock styled album with hints of various sub genres and styles. Aside from having several guest musicians featuring on the album including Johan Lindström who also appeared on the previous album, this is the first album also to have Bo Kasper playing guitar and not just singing. On the album charts list, the album made it to the top in Sweden, number #2 in Finland, number #7 in Denmark, and number #8 in Norway.
To me this is the band's most delightful and warmest album and my all-time favorite by Bo Kaspers Orkester.

2003 Favourite releases: 1. Sun Kil Moon Ghosts of the Great Highway - 2. Rufus Wainwright Want One - 3. Bo Kaspers Orkester Vilka tror vi att vi är

Sting "The Dream of the Blue Turtles" (1985)

The Dream of the Blue Turtles [debut]
release date: Jun. 1, 1985
format: vinyl (393 750-1) / cd
[album rate: 3,5 / 5] [3,62]
producer: Sting, Peter Smith
label: A&M Records - nationality: England, UK

Track highlights: 1. "If You Love Somebody Set Them Free" - 2. "Love Is the Seventh Wave" - 4. "Children's Crusade" - 6. "We Work the Black Seam" - 9. "Moon Over Bourbon Street" - 10. "Fortress Around Your Heart"

Studio solo debut by Sting released prior to the disbandment of The Police at a time when all three members were occupied on solo projects. In this regard, the album follows two years after Synchronicity (Jun. '83), the final album by The Police.
Stylistically, the album represents a huge mix with jazz pop as the overall thematic style. The album is more or less labelled as Sting's jazz album, primarily because of all the acclaimed musicians of the genre he collaborates with on this. There's a strong influence of world music, which in the end turns out as sophisti-pop, and then it shares some pop / rock-influence with bonds to the final album by The Police, who at times incorporated jazz fusion and fusion rock elements but this is less apparent here, and I suspect that it was primarily The Police guitarist Andy Summers who incorporated those elements in the music by the band - something he would dig much deeper into in his solo works.
The album was met by critical acclaim world-wide, and it sold more than well. It reached number #3 on the UK albums chart list and number #2 on the US Billboard 200, and it went number #1 in a number of countries.
Personally, I embraced this and played the album quite a lot during for the rest of '86, but in retrospect I don't enjoy it fully as much. Yes, Sting understood how to make a fine fusion of styles, blending jazz and world music all founded on harmony-driven pop - the end result is, however, a thin glace of smooth sophistipop.
The Police hiatus gave Sting grounds to realize himself as a solo artist, and the success he experienced with this first solo effort probably didn't help in regaining the forces of the trio, and despite some efforts of meeting in the studio in 1986 to record what should have been a follow-up to the band's '83 album it only resulted in the disbandment of The Police late 1986.
[ allmusic.com, Rolling Stone, Record Mirror 4 / 5 stars ]

Felt "Me and a Monkey on the Moon" (1989)

Me and a Monkey on the Moon
release date: Nov. 13, 1989
format: vinyl (acme 24) / cd
[album rate: 3,5 / 5] [3,62]
producer: Adrian Borland
label: él Records - nationality: England, UK

Track highlights: 1. "I Can't Make Love to You Anymore" 4 / 5) - 2. "Mobile Shack" - 3. "Free" - 4. "Budgie Jacket" (4 / 5) - 5. "Cartoon Sky" (4 / 5) - 7. "Down an August Path" (4,5 / 5) - 8. "Never Let You Go" - 10. "Get Out of My Mirror"

10th and final studio album by Felt, originally released on él, sub-label of Cherry Red, who reissued the album on cd in 2003. The album appears as the proclaimed final album by Felt, fulfilling an idea of releasing a total of 10 studio albums as stated by front-man Lawrence at the foundation of the band. The album is produced by The Sound lead guitarist, singer and composer, Adrian Borland, who manages to establish a new sound to the band, which feels wider and more vivid without losing the special tone of the band. Yet, it's not the band's best - it does contain new fine songs unlike its two predecessors, but it also contain several fillers. The characteristic Duffy organ is almost gone, and the sound is build on guitars and drums putting it close to the style of Lloyd Cole, and as a whole, and after two lesser albums, this is a fine last release by Felt.
[ allmusic.com, Sounds 4,5 / 5 stars ]

[ collectors' item 'near mint' - from ~ €60,- ]

Joan Manuel Serrat "Mediterráneo" (1971)

Mediterráneo
release date: 1971
format: digital
[album rate: 3,5 / 5]

Tracklist: 1. "Mediterráneo" (4 / 5) - 2. "Aquellas pequeñas cosas" (3,5 / 5) - 3. "La mujer que yo quiero" (3,5 / 5) - 4. "Pueblo blanco" (3 / 5) - 5. "Tío Alberto" (3,5 / 5) - 6. "Qué va a ser de ti" (5 / 5) - 7. "Lucía" (3 / 5) - 8. "Vagabundear" (4 / 5) - 9. "Barquito de papel" (4 / 5) - 10. "Vencidos" (3 / 5)

Studio album by Spanish singer /songwriter, baroque pop, and folk artist Joan Manuel Serrat. The music is beautiful, intense, melancholic, with bonds to Scott Walker and Italian singer / songwriter Fabrizio De André.

Nick Drake "Pink Moon" (1972)

Pink Moon
release date: Feb. 25, 1972
format: cd
[album rate; 4,5 / 5]
producer: John Wood
label: Island Records - nationality: England, UK

3rd and final studio album by Nick Drake. The album is his most subtle and naked release featuring only Drake's voice and guitar in contrast to the appearance of a vast group of guest musicians on his two previous albums. Despite the scarce use of instrumentation the album comes out as an even more complex album than his previous two albums. This is perhaps the single album that brought him glorious fame long after his death, and today this is an album that so many contemporary singer / songwriters and folk rock artists owe everything, and although, I find it difficult to choose just one of his three great albums, this is my favourite. The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com Rolling Stone 5 / 5 stars ]

Kate Bush "The Whole Story" (1986)

The Whole Story (compilation)
release date: Nov. 10, 1986
format: vinyl / digital
[album rate: 4 / 5]
producer: Kate Bush; Jon Kelly; Andrew Powell
label: EMI - nationality: England, UK

A 12-track compilation album by Kate Bush, and a fine best of album with most of her hits. The album went to #1 on the UK albums chart list.
[ allmusic.com 4,5 / 5 stars ]

Bo Kaspers Orkester "Kaos" (2001)

Kaos
release date: Sep. 17, 2001
format: digital
[album rate: 3,5 / 5] [3,73]
producer: Bo Kaspers Orkester
label: Columbia / Sony Music Entertainment - nationality: Sweden

Track highlights: 1. "Människor som ingen vill se" - 2. "Ett fullkomligt kaos" (4,5 / 5) - 3. "Ett ögonblick i sänder" - 4. "Det smartaste jag gjort" (4 / 5) (live) - 5. "Kasta något tungt" (4 / 5) - 9. "Det är inte mig det är fel på" - 10. "Innan klockan slagit tolv"

5th studio album release by Bo Kaspers Orkester. The album is released 3 years since I centrum (1998) and it shows a new direction of the band now playing with folk pop. The band has evolved from it's primarily jazz pop universe to embrace hints of chamber pop and americana, and the album is clearly the band's best studio album so far. The Swedish composer and steel-guitarist Johan Lindström both plays guitar and has arranged string sections on the album. Another "guest" musician is Wille Crafoord who wrote the lyrics for tracks #2 and #8, and the near-title track #2. "Ett fullkomligt kaos" is the album's best track with its wonderful warm jazz pop chamber pop tune with perfect balanced strings, jazz guitar and piano accompanied by the gentle and pure singing voice of Bo Kasper. The album topped the Swedish albums chart list just like its predecessor.

Nick Drake "Bryter Layter" (1970)

Bryter Layter
release date: Nov. 1, 1970
format: cd
[album rate: 4 / 5]
producer: Joe Boyd
label: Island Records - nationality: England, UK

2nd studio album by Nick Drake. This is his most orchestrated album and also his most baroque pop styled album, although, it's still singer / songwriter and acoustic folk-based. This time strings have been arranged by Robert Kirby. Several notorious musicians accompany Drake on the album. Guitarist Richard Thompson, bassist Dave Pegg, and also drummer Dave Mattacks of Fairport Convention all contribute on several tracks, but also Beach Boys drummer Mike Kowalski play on a number of compositions, and John Cale feature on two compositions. Like the debut this wasn't paid much attention back at the time of release, but very much like Five Leaves Left (1969) it's enlisted on several lists paying tribute to the best albums of all time including "1001 Albums You Must Hear Before You Die". Apparently, the "title is in reference to Queen's English and BBC weather reporters who would describe the weather as "brighter later". (from wikipedia).
[ allmusic.com, The Music Box, Q Magazine 5 / 5 stars ]

Nick Drake "Five Leaves Left" (1969)

Five Leaves Left [debut]
release date: Sep. 1, 1969
format: cd
[album rate: 4 / 5]
producer: Joe Boyd
label: Island Records - nationality: England, UK

Studio debut album by Nick Drake. On the album, Drake is accompanied by guitarist Richard Thompson (of Fairport Convention) and Danny Thompson (of Pentangle) and fine string arrangements arranged by Richard Hewson but aside from that it's just Drake's melancholic voice and acoustic guitar that are at the center of all compositions. The album is featured on a long list of renowned "all-time best albums" including Rolling Stone Magazine's "The 500 Greatest Albums of All Time" and "1001 Albums You Must Hear Before You Die". Alas, Drake didn't experience much success in his lifetime but has become world famous long after his premature death from an overdose in 1974. Stylistically, the album is close to Leonard Cohen's debut album Songs of Leonard Cohen (1967) more than any other folk album of the time. This is so great that one only wonders how the release could pass so unnoticed. The title of the album apparently is a "reference to the old Rizla cigarette papers packet – which used to contain a printed note near the end saying "Only five leaves left" (from wikipedia).
[ allmusic.com, SputnikMusic 5 / 5 stars ]

Talk Talk "The Party's Over" (1982)

The Party's Over [debut]
release date: Jul. 1982
format: cassette / cd (1997 remaster)
[album rate: 3,5 / 5] [3,67]
producer: Colin Thurston
label: EMI Records - nationality: England, UK

Tracklist: 1. "Talk Talk" (3,5 / 5) - 2. "It's So Serious" (3,5 / 5) - 3. "Today" (4 / 5) - 4. "The Party's Over" (4 / 5) - 5. "Hate" (3,5 / 5) - 6. "Have You Heard the News?" (3,5 / 5) - 7. "Mirror Man" (3,5 / 5) - 8. "Another Word" (4 / 5) - 9. "Candy" (3,5 / 5)

Studio debut album by London-based Talk Talk consisting of vocalist, as well as primary lyricist and musical composer, Mark Hollis, Simon Brenner on keyboards, Paul Webb on bass and with Lee Harris on drums. The music is synthpop, new wave, new romantic, and what I believe is art pop.
Talk Talk is one of a long list of new romantic bands of the early 1980s, but as many others, they are quite unique and highly original in style. I find that they have parts of Japan, parts of Human League, bits of Duran Duran [whom they were then seen as mere pale imitators of], but they also carry something as 'ordinary' as a touch of classic pop / rock, and with that pointing to the 1970s and Roxy Music, and on the other hand they also bring about a more futuristic sound, which may put them aside OMD. And yes, many bands and artists of this period blended styles and inputs in an attempt to stay on the right course with equal amounts of pop and synths.
In retrospect, there's no doubt that Talk Talk was one of a few artists who literally constructed the path of music to come, a pioneering band who has influenced music like few of the aforementioned. Only Japan with its influence on new romantic and synthpop, and OMD with its original sound in between experimental and pop have had such impact on popular music on the same scale. Talk Talk didn't do it with this album alone. With this they made a strong first album, and they put their name on the list of bands to look out for.
I didn't appreciate this as much then. Actually, I didn't listen to the full album until I bought it on cassette in 1989. Although, I knew the band well from its single releases and more fully from the breakthrough album The Colour of Spring (1986), I wasn't quite ready for the synthpop without the post-punk element in the early 80s, and there really are no punk rock references here. Years later, this would apply for sophisti-pop, but that style wasn't "available" then.
Listening to this today, I find it refreshing in a way only original and timeless music survives, and knowing what they would later come up with only adds to the admiration. The album contains no weak tracks. Apart from the original cassette issue and a 1987 cd version, I have a 1997 remastered edition of the album, but frankly, apart from more dynamics, I don't find that superior to the original mastering, which still sounds just mighty fine.
The front cover is by artist James Marsh [Album Cover interview - wikipedia] who would remain the artist behind all of the band's albums and single releases throughout the entire life-span of Talk Talk.
[ allmusic.com 3,5 / 5 stars ]

1997 remaster

 

 

 

 

 

 

 

 

 

 

 

 

 

My collection of Talk Talk albums