30 November 2015

The Gun Club "Lucky Jim" (1993)

Lucky Jim
release date: 1993
format: cd
[album rate: 3 / 5] [3,18]
producer: Jeffrey Lee Pierce, Peer Rave
label: Solid Records - nationality: USA

Track highlights: 1. "Lucky Jim" - 2. "A House Is Not a Home" - 3. "Cry to Me" - 6. "Idiot Waltz" - 7. "Up Above the World" - 8. "Day Turn the Night"

7th and final studio album by The Gun Club follows one year after Pastoral Hide & Seek. Since then, the band has been reduced to a trio as Kid Congo Powers has left to pursue his own project-band, Congo Norvell. The trio then consists of Jeffrey Lee Pierce on vocals and guitar, Romi Mori on bass, and with Nick Sanderson on drums [who once again had been out, but returned]. The style hasn't evolved much since The Las Vegas Story from 1984 but as no-one else sounds quite like The Gun Club nor like Jeffrey Lee Pierce that's not really a bad thing. The garage rock and punk blues rawness has subsided and is  here replaced by a stronger blues rock tone. Simplicity remains, and there's still an edgy tone and Pierce's fragile/desperate voice on top of all compositions. It's by no means poor or mediocre, I just miss that unspecified greatness, which is something else than melancholic despair.
Three years following this, Jeffrey Lee Pierce was found dead as a result of a life-style as a long-time heroin addict and with various deceases as side-effects.
[ allmusic.com 4 / 5 stars ]

28 November 2015

Zucchero Fornaciari "Rispetto" (1986)

Rispetto
release date: Apr. 28, 1986
formats: cd
[album rate: 3,5 / 5] [3,68]
producer: Michele Torpedine
label: Polydor - nationality: Italy

Track highlights: 2. "Rispetto" (4 / 5) - 3. "Come il sole all'improvviso" (4 / 5) - 4. "Tra uomo e donna" - 7. "Solo, seduto sulla panchina del porto guarda le navi partir..." - 10. "Canzone triste (canzone d'amore)"

3rd studio album by Zucchero released as 'Zucchero Fornaciari' follows one year after Zucchero & The Randy Jackson Band, and with this Zucchero is back as primary songwriter and composer. Track #3 is written by Gino Paoli, track #5 by Alberto Salerno and track #8 is co-written by Salerno and Zucchero. Bassist Randy Jackson is the only recurring musician from the predecessor.
This is simply one of his better albums. The style is his trademark: a combo of soul pop and blues, and then I simply prefer him singing in Italian, which he sort of forgot later on as he became an international star.
Recommended.

27 November 2015

The The "Dusk" (1993)

Dusk
release date: Jan. 26, 1993
format: cd
[album rate: 4 / 5] [3,92]
producer: Bruce Lampcov, Matt Johnson
label: Epic Records - nationality: England, UK

Track highlights: 1. "True Happiness This Way Lies" - 2. "Love Is Stronger Than Death" (4,5 / 5) - 3. "Dogs of Lust" - 5. "Slow Emotion Replay" (4 / 5) (org. video) - 6. "Helpline Operator" (4 / 5) (live) - 10. "Lonely Planet" (4 / 5)

4th studio album by The The follows almost four years after Mind Bomb (Jun. 1989). Like the predecessor the album features the band in the same line-up, although things took a windy road n the studio. Dave Palmer only plays drums on four of the ten tracks, and yes two songs are completely without drums, but that alone doesn't add up anyway. All band members are depicted on the inner sleeve, and Palmer is credited as drummer; however, he was practically sacked halfway through the recording of the album - apparently, for not being able to show up for clocked sessions, and / or for not always being in a sober state. Vinnie Colaiuta (from Sting's touring band) and Bruce Smith (from the Pop Group) handles drums on two tracks each - Colaiuta on tracks #3 and #9, Bruce Smith on tracks #4 and #6
A tour following the '89 album had been interrupted and nearly completely cancelled as a consequence of the sudden death of Matt Johnson's younger brother Eugene. Johnson had taken a three months hiatus, returned to finish the remaining tour, and then relocated to New York but continuosly fought with the loss for years to come - which to some extent explains the long interval between the two albums. When Dusk was finished and a new promotion tour was in the planning, it didn't start off in the easiest manner. Firstly, it was expected that Marr would probably be unavailable for 'The Lonely Planet Tour', as he was in the midst of making music with New Order's Bernard Summer in the duo-project Electronic, and he was then replaced by guitarist Keith Joyner. Bassist James Eller had been offered a contract for a solo album, which meant he was replaced by Jared Nickerson, and official drummer Dave Palmer was invited to join the band again for the tour, which he accepted. Halfway through the tour Palmer threw the bomb that he would now leave and instead join Rod Stewart's live tour, and in his place Andy Kubiszewski took over as drummer.
Dusk follows closely in the style laid out on the '89 album, though it appears as a more experimental art pop release, and in a way, a more genuine Matt Johnson release. In some ways, it feels more in family with his great Infected album from '86, a step in the right direction, or at least so I think of it. Instead of presenting a new set of lyrics about society and politics, the songs here deal with a personal dimension, human emotions, and the true meaning of life. The album is Johnson's best faring album to date peaking at number #2 on the UK albums chart. It delivered three singles, tracks #3, #5, and #2 with the latter being written with his brother in mind. Andy Dog is back with an illustration for the front cover.
Imho, Dusk shows Johnson at the peak of his career. The band play like one organic whole and the songs function on more than one level, and production-wise you don't find that many albums better balanced.
Highly recommended.
[ allmusic.com 4 / 5 stars ]

Neil Young "Dead Man" (OST) (1996)

Dead Man (soundtrack)
release date: Feb. 27, 1996
format: cd
[album rate: 2,5 / 5]
producer: Neil Young, John Hanlon
label: Vapor Records - nationality: Canada

3rd soundtrack album by Neil Young is the official soundtrack to a movie by Jim Jarmusch. The music is instrumental with dialog excerpts from the film. Apparently, Young improvised while watching the movie. I find it difficult, although, it's not entirely bad. It makes me think of Ry Cooder, which may have to do with a certain touch of 'americana'. I think, one really has to be in certain state, and I haven't been close to that yet.
[ allmusic.com 3,5 / 5 stars - Robert Christgau labels it "bad" ]

26 November 2015

Peter Murphy "Cascade" (1995)

Cascade
release date: Oct. 10, 1995
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Pascal Gabriel
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Mirror to My Woman's Mind" - 2. "Subway" - 3. "Gliding Like a Whale" - 6. "I'll Fall With Your Knife" (4,5 / 5) (live session) - 7. "The Scarlet Thing in You" - 8. "Wild Birds Flock to Me"

5th studio album by Peter Murphy following 3½ years after Holy Smoke (Apr. 1992), which saw him attempt more up-tempo and at times more mainstream compositions. Here, I think, producer Pascal Gabriel, who previously worked with Kitchens of Distinction (and later on productions for Goldfrapp, Marina and the Diamonds, and Bebel Gilberto), helps by adding a certain lightness and clearness to the album without losing the sense of alternative rock of it. Once again, but also for the last time in a decade, Paul Statham has co-written most of the songs with Murphy, who has made a slight turn towards deeper and more thoughtful compositions, which often works well with his dark and gloomy vocal. The album also stands as Murphy's final on the Beggars Banquet label.
The end result is a collection of songs that sound emotionally sincere without distinct post-punk and more low key gothic rock references. The album contains some really fine tracks and also a few mediocre ones with "I'll Fall With Your Knife" as a stand out and one of his absolute best songs ever. The fine "The Scarlet Thing in You" was chosen as single release.
All in all, I think this betters his '92 album and basically lands as his so far third best solo since his fine Love Hysteria and the fascinating debut..
[ allmusic.com 4 / 5 stars ]

Daniel Ash "Foolish Thing Desire" (1992)

Foolish Thing Desire
release date: 1992
format: digital
[album rate: 3 / 5] [3,15]
producer: Daniel Ash and John A. Rivers
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Here She Comes" - 2. "Foolish Thing Desire" - 3. "Bluebird" - 5. "Get Out of Control" - 6. "The Void" - 8. "Here She Comes Again"

2nd solo album by Daniel Ash continues the style from his fine debut from 1991. It's alt. rock with the same mix of styles including glam rock, psychedelic rock, surf rock and gothic rock. The whole thing is nicely put together in what bonds with glamorish Phil Spector production with a touch of Bolan / Bowie. Most tracks are co-written with producer John A. Rivers, with whom Ash has worked many times since Rivers produced the debut album for Love and Rockets in '85. Instead of collaborating with Kevin Haskins, Rivers has been put in charge of drum programming ion this album, which isn't all bad, it just doesn't have any noticeable complexity in the rhythm section, and that makes it somewhat less successful. Generally, it's fine - it just lacks that little extra novelty dimension that his first solo leaked, and it's a bit like the expected sequel - the missing bonus disc of the debut, which doesn't add much new to the old sensation.
[ allmusic.com 4,5 / 5 stars ]

Daniel Ash "Coming Down" (1991)

Coming Down
release date: Feb. 11, 1991
format: digital
[album rate: 3,5 / 5] [3,36]
producer: Daniel Ash; (John Fryer, John A. Rivers)
label: Beggars Banquet - nationality: England, UK

Track highlights: 2. "Coming Down Fast" - 3. "Walk This Way" - 6. "This Love" - 7. "Blue Angel" - 9. "Candy Darling" - 10. "Sweet Little Liar" - 11. "Not So Fast"

Solo studio debut album by former guitarist of Bauhaus, Daniel Ash released two years after the acclaimed eponymous 4th studio album by Love and Rockets. John Fryer has co-produced 7 tracks with Ash, and John A. Rivers is co-producer on two tracks. Daniel Ash plays a vast number of instruments on the album (mostly frequently guitar and bass), and Kevin Haskins of Bauhaus and Love and Rockets is credited for drum programming, as well as keyboards on several tracks, and Natacha Atlas sings on almost all tracks - she also plays keyboards and bass on "Walk This Way". The style is hard to define, which is quite understandable when thinking of Ash's central role in Love and Rockets, and their various albums. With Love and Rockets, Daniel Ash has explored the grounds of alt. rock, and this is another such "exploration". It has elements from glam rock, psychedelic rock, but also from progressive rock, folk rock, surf rock, and even from what resembles latin rock and / or even bossanova. The album contains 3 covers: "Blue Moon" (by Rodgers & Hart), "Day Tripper" (by Lennon & McCartney), and "Me and My Shadow" (by Al Johnson, Billy Rose, Dave Dreyer). The inclusion of these covers nicely indicate some of the sources to the music of Daniel Ash. Although, "This Love" comes close, it's not catchy music as "So Alive" from the most recent album by Love and Rockets, but it's a more than just decent collections of songs, and I like it.
[ allmusic.com 3,5 / 5 stars ]

Love and Rockets "Love and Rockets" (1989)

Love and Rockets
release date: Sep. 4, 1989
format: vinyl (PL 90344) / digital
[album rate: 4 / 5] [3,86]
producer: John Fryer, Love and Rockets
label: RCA / Beggars Banquet - nationality: England, UK

Track highlights: 1. "**** (Jungle Law)" - 2. "No Big Deal" - 3. "The Purest Blue" - 4. "Motorcycle" (4 / 5) - 8. "So Alive" (4 / 5) - 9. "Rock and Roll Babylon" - 10. "No Words No More"

4th studio album by Love and Rockets originally released by Beggars Banquet. The band has teamed up with the more 'pop-tuned' producer, John Fryer. The album is a move away from the psychedelic style they have worked deeper into from a chronological perspective, but here they incorporate glam rock and post-punk elements and basically come out with an album closer to the Bauhaus sound than anything else they have made since they began 6 years and 3 albums earlier. The track "So Alive" became a (surprisingly) rather big hit as it went as high as number #3 on the Billboard 100 in the US, and the album reached number #14 in the US (the highest charting album by L&R). In 2002 the album was re-issued as a double disc album with 13 bonus tracks. I remember, when I bought the album, how I used to play "Motorcycle" at maximum volume. "So Alive" was without doubt the big hit of the album, but I simply loved the hard rockin' mc song. To me, this was clearly a shift of style in the right direction, however, the band would not release a follow-up until 5 years later, as both Daniel Ash and David J focused more on solo projects and by the time they again came together as a band, the music was not around this one. Love and Rockets fifth studio album Hot Trip to Heaven from '94, I never understood - I hand it 2 / 5 stars and the 6th album Sweet F.A. from '96 is likewise not an album, I would recommend. I think, they kind of lost their drive and lust for music, or drifted apart in the 1990s - the band's 7th and final album is Lift from '98. I haven't come across the album but I've read an interview with Daniel Ash talking about their lack of musical drive. The critics also became less enthusiastic and in 1999 the band officially disbanded. The band reunited in 2007 to play a concert in tribute of Joe Strummer, toured and played several concerts in 2008 before finally disbanding.
[ allmusic.com 3 / 5 stars ]

Thunderbitch "Thunderbitch" (2015)

Thunderbitch [debut]
release date: Aug. 25, 2015
format: digital (10 x File, MP3)
[album rate: 3,5 / 5] [3,32]
producer: Thunderbitch
label: self-released - nationality: USA

Studio album debut by Thunderbitch - an American music-project, or super-group led by Alabama Shakes' front-artist, Brittany Howard and three members from the band Clear Plastic Masks and two from Fly Golden Eagle. The band members here are credited as Thunderbitch [aka Brittany Howard] on vocals and guitar, A Man [aka Andrew Katz] on vocals and tambourine, Matt Man [aka Matt Menold] on guitar, B Bone [aka Boone aka Ben Trimble] on bass, Andy Ferro on backing vocals [track #1 only], Char Man [aka Charles Garmendia] on drums, and Thundermitch [aka Mitch Jones] credited for recording and for mixing the album. So, Howard is credited as Thunderbitch and at the same time partof the band-project also credited as Thunderbitch... Well, it's quite obvious a Howard-led project, but it's still difficult to call it a mere solo album. That said, the music isn't far from that by Alabama Shakes, although, this contains a much looser approach on blues rock with some electrified experimentation.
It's not a strong coherent release and it basically sounds like elaborated jam-session that turned out in such positive ways, they felt like making an album out of it. I'm not all excited here but it has that Brittany Howard quality to it that makes it more than just an interesting collection of songs.
[ allmusic.com, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]

25 November 2015

Dire Straits "Alchemy: Dire Straits Live" (1984) (live)

Alchemy: Dire Straits Live (live)
release date: Mar. 1984
format: vinyl 2 lp (818 243-1) / digital
[album rate: 3,5 / 5] [3,63]
producer: Mark Knopfler
label: Vertigo Records - nationality: England, UK

Double live album by Dire Straits recorded over two nights at the Hammersmith Odeon, London, Jul. '83. The album showcases the band at the height of its career playing familiar tracks in extended live versions in front of an enthusiastic crowd. The album is a fine document - in fact it's a live album above average, only, I think, I was fed up with the band at this point. I used to really enjoy Mark Knopfler, his signature guitar and laid-back singing voice, but I basically connected Dire Straits with the 1970s and I was occupied by the many new original styles of contemporary music. This is progressive rock and that was part of another decade - dead and gone, but I also felt that the presence of Knopfler had become too dominating. I mean, Bruce Springsteen wasn't even taking such a role being a solo artist when playing live. Dire Straits IS / WAS Mark Knopfler, and you really have to accept that. The songs are more than good, the performance likewise showing extremely skilled instrumentalists, but you just have to love a sound, and style on repeat to fully embrace this.
[ allmusic.com 3 / 5 stars ]

23 November 2015

Greene "Minor Sun" (1996)

Minor Sun
release date: Feb. 1996
format: cd (RAIN 017CD)
[album rate: 3,5 / 5] [3,52]
producer: Kim Hyttel
label: Cloudland - nationality: Denmark


3rd and final studio album by Danish post-punk band Greene follows two years after Lovers' Lingo (Apr. 1994). The band has been reduced to a quintet consisting of the two brothers Olesen, vocalist Peter H. and guitarist Henrik together with lead guitarist Marco de Andreis, bassist John Krog Hansen, and with drummer Flemming Borby. New producer Kim Hyttel is also credited keyboards, as recording enginner and mixer of the album. All nine songs are credited Peter H. and Henrik Olesen.
Stylewise, they continue from the predecessor with their own blend of post-punk, indie pop and jangle pop, where the band appears as standing with one foot in a primarily British rock-soil echoing bands like Joy Division, Echo and the Bunnymen, and especially The Sound / Adrian Borland with strong bonds to early post-punk, and on the other hand, they also seem inspired by Velvet Underground / Lou Reed, The Go-Betweens, Nick Cave and the Bad Seeds. The album stands as the boldest rock-oriented of their three albums.
I really enjoyed this one when it came out but also soon tired from the simplistic melodies and especially from what I found was too obvious sources. Still, I never quite understood why they didn't find their way to a broader crowd 'cause this was almost like listening to my international idols, and when was it ever forbidden to copy international stars? That's how music evolves! Perhaps, they came too close to original artists, or they simply were too un-Danish? I loved a song like "She's Radiant" but also found it almost like an indiscreet cover of something by Borland.
Anyway, Minor Sun is this band's best album, but without attracting national interest the band split later in '96 and the brothers Olesen initiated their longer-lasting duo-project Olesen-Olesen, and Borby, Krog Hansen, and de Andreis later formed the band Labrador, which along the road ended up as Borby's solo project.

22 November 2015

Ramblin' Jeffrey Lee & Cypress Grove with Willie Love "Ramblin' Jeffrey Lee & Cypress Grove with Willie Love" (1992)

2006 remaster
Ramblin' Jeffrey Lee & Cypress Grove with Willie Love
release date: 1992
format: cd (2006 remaster)
[album rate: 3,5 / 5] [3,32]
producer: Jeffrey Lee Pierce
label: Flow Records - nationality: USA

Studio album by The Gun Club frontman Jeffrey Lee Pierce released as Ramblin' Jeffrey Lee & Cypress Grove with Willie Love. Jeffrey Lee plays guitar and sings together with guitarist Cypress Love and drummer Willie Love. Carl La Fong isn't credited as primary artist but he plays bass. The majority of the tracks are cover versions of classic 'blues' songs written by various artists (including Don Nix, Willie Brown, and Chester Burnett). The songs are all well-played and cleverly arranged, and despite the fact that the 'blues' isn't really my kinda style, this is quite originally sounding with a lot of genuine heartfelt craftsmanship to it, so to ignore it would be a shame. I like it, It's gooood.


org. cover

21 November 2015

Bruce Springsteen "The Ghost of Tom Joad" (1995)

The Ghost of Tom Joad
release date: Nov. 21, 1995
format: cd (2005 reissue)
[album rate: 3,5 / 5] [3,32]
producer: Bruce Springsteen, Chuck Plotkin
label: Sony Music Direct, Japan - nationality: USA

11th studio album by Bruce Springsteen originally released by Columbia Records. The album follows another live album by Springsteen, this time the obligatory live album for an MTV crowd, although, Bruce had it his way changing the channel's unplugged sessions to an "MTV Plugged" album.
This is a critically acclaimed move into his acoustic singer / songwriter tradition initiated on Nebraska (1982), and this is often mentioned as his natural follow-up to that album.
I didn't listen to it at all in the 90s and only came across the album in the new millennium, but it is a mighty fine collection of songs proving what a great songwriter Springsteen truly is, and it's easily an improvement to his two 92 studio releases.
[ allmusic.com, Rolling Stone 3 / 5 stars ]

Talk Talk "Spirit of Eden" (1988)

1988 cd
Spirit of Eden
release date: Sep. 16, 1988
format: cd (2003 remaster) / vinyl + dvd (2012 reissue)
[album rate: 4,5 / 5] [4,28]
producer: Tim Friese-Greene
label: Parlophone (EMI) - nationality: England, UK

Tracklist: 1. "The Rainbow / Eden / Desire" (4 / 5) - 2. "Inheritance" - 3. "I Believe in You" (4 / 5) - 4. "Wealth" (4 / 5)
[ in memoriam: rehearsal tape ]

4th studio album by Talk Talk following 2½ years after The Colour of Spring (Feb. 1986) is the band's final studio release of new material on EMI, and it's literally 'something else'. In the aftermath of the '86 album Talk Talk had experienced a stronger popularity but at the same time frontman Mark Hollis had no desire of the implications of stardom - actually he found out that he didn't want to tour anymore - a decision which ultimately had deep consequences for the band that basically ended up being a Hollis and Friese-Greene project with the latter only taking part as co-composer and never officially entering the projct. All tracks are co-written by Mark Hollis and Tim Friese-Greene as was the case on the predecessor, but the style has evolved to something completely new. The first track is divided into three parts, which have been merged into one composition on the 2003 remastered version where it has a running time of more than 23 min - originally the entire A-side on the vinyl issue. Comparing the debut to this, is like listening to two completely different bands, but by following the band's stylistic progression through its second and third albums it makes more sense. The style is like a natural development of what they were looking at on The Colour of Spring, and what they have produced here is music in a style that wasn't given a term until a decade later: post-rock. There are slow progressive art rock and jazz rock elements, but that's not telling the whole story. It's a play with composition from a new perspective. And that was not what fans and music lovers expected from a band, who had recently released an album of international interest.
By music critics, the album was met by lukewarm reviews and an almost total rejection from record buyers. The label, EMI, felt that the band neglected its contractual obligations by recording something 'so anti-commercial' and even tried a law-suit against the band at court but [thankfully] lost the case. However, as a consequence, the band's contract with EMI was terminated. By the end of the year, bassist Paul Webb left the band.
I too felt 'betrayed' by a band, I had other hopes for. I had purchased the vinyl album, but never really listened to it - or: I tried, but I never came even close to thinking anything positive about it - back then, that is. About another three years later, I actually resold the album in a pile with other gems, in trade for money, so I could afford one or two new albums [gosh!]. I guess, the sound and style of this was way ahead of its time - not many were prepared for this, and neither was I.
From a modern perspective, the band, and Mark Hollis in particular, are now praised for the musical style, which has brought us post-rock artists like Sigur Rós, Mogwai, and Godspeed You! Black Emperor a whole decade later, but surely without Talk Talk and without Spirit of Eden and the successor, the music by these later artists seems rather unlikely. As much as I hate to admit it, I would perhaps have rated this 2 / 5 stars back in '88. Today, I find it a 4,5 album, and yes! I got myself a new 2012 reissue on vinyl. And I have to add, the 2012 pressing is better than the original 'cause EMI made some poor vinyl pressings om the late 80s, which also is the case with the band's final album.
[ allmusic.com 5 / 5, Sound 4,5 / 5, Q Magazine 4 / 5 stars ]

1988 Favourite releases: 1. Chet Baker Memories: Chet Baker in Tokyo - 2. R.E.M. Green - 3. Talk Talk Spirit of Eden


show covers >

18 November 2015

Michael Falch "De vildeste fugle" (1988)

De vildeste fugle
release date: 1988
format: cd (1994 reissue)
[album rate: 3,5 / 5] [3,42]
producer: Michael Falch
label: Medley Records - nationality: Denmark


3rd studio album by Michael Falch following Det andet land (1986) sees a return to the familiar sound and style of Malurt. The debut album had been something entirely different, an attempt with contemporary synthesizer pop, which had been harshly rejected by music critics, and with his '86-follow-up, he tried a different approach on which he commented on his own status as a songwriter and with subdued folk rock and singer / songwriter attitude - an album I have always found even of lesser value than his mediocre solo debut.
De vildeste fugle sees Falch back with what had previously worked best for him: his safe-place with songs built on a Danish-versioned Springsteen-formula, and to ensure that, he has engaged some of his former band mates, including guitarist Christian Arendt, keyboardist Pete Repete, and guitarist Peter Viskinde. On "Kinddans (Altid parat til en)" you also find ex-Malurt bassist Dia Nielsen and drummer Peter Mors. To help finding the genuine Springsteen sound, the album is cut in New York and Little Steven is thanked for his assistance. The end result is mostly American pop / rock songs transformed with Danish lyrics, which only works because of the large language gap since it would have been too close to his biggest source of inspiration, had the song been in English.
I had completely neglected his sophomore solo after having heard some its songs on national radio, but I purchased this one when it was released mostly because the promotion single "Venter på vind" signaled a musical U-turn that I found much more in sync with what I had previously enjoyed about Malurt. In retrospect, it's far from original but on the other hand, no other Danish artists made attempts with this type of music and it felt more like a better version than the final studio album by his former band.
Despite coming really close to the style of his American idol, De vildeste fugle is imo one of Falch's best solo albums.

Grant-Lee Phillips "Strangelet" (2007)

Strangelet
release date: Mar. 27, 2007
format: cd
[album rate: 3,5 / 5] [3,66]
producer: Grant-Lee Phillips
label: Zoë Records / Cooking Vinyl (reissue) - nationality: USA

Track highlights: 1. "Runaway" - 2. "Soft Asylum (No Way Out)" (4 / 5) - 3. "Fountain of Youth" (4 / 5) (live) - 5. "Dream in Color" - 7. "Raise the Spirit" - 9. "Killing a Dead Man" - 11. "Return to Love"

5th solo studio album by Grant-Lee Phillips follows only nine months after Nineteeneighties (Jun. 2006). Here, he's back again with his own material, and this is really not like any of his former solo albums being much lighter but also more uptempo than usual. As much as I enjoy his slow melancholic alt. folk songs, I think, he also shines when he's more energetic and pop-minded, although, it's hard to conclude that it necessarily makes it better. The tracks here are composed more as the music with Grant Lee Buffalo, although, this hasn't much alt. rock to it, but more of a pop / rock and alt. folk sound with nice glimpses of Marc Bolan glam rock about it. Strangelet is a strong album and recommended.
[ allmusic.com 4 / 5 stars ]

Cornershop "Hold on It Hurts" (1993)

Hold on It Hurts [debut]
release date: Dec.? 1993
format: cd (1995 reissue)
[album rate: 3 / 5] [3,18]
producer: John Wills; Tjinder Singh
label: Merge Records - nationality: England, UK

Track highlights: 3. "Readers Wives" - 5. "Inside Rani (Long Version)" - 4. "Change" - 6. "Born Disco, Died Heavy Metal" - 8. "Where D'u Get Your Information" - *11. "England's Dreaming"
*Bonus track on '95 US-issue

Studio album debut by Cornershop originally released on Wiiija Records. Cornershop consists of songwriter Tjinder Singh on vocals and bass, his brother Avtar and Ben Ayres (aka Benedict Ayres), both on guitar and vocals, Saffs (aka Anthony Saffery) on sitar, Wallis Healey on guitar, and with David Chambers on drums. All music is credited the band, although, Tjinder and Ben are at the centre of the band with Tjinder as primary songwriter as the natural leader. The album was released exclusively in the UK in '93.
The style is rather hard to narrow in - alt. rock, indie rock, and raga rock are definitely embracing it but those terms may not suffice. Several tracks are definitely punk rock, noise rock, or grunge rock-styled, whereas others share traits from post-punk, gothic rock, dream pop and alt. dance as a new kind of fusion rock embracing elements from funk, soul and South Asian folk. This huge melting pot of styles is not entirely mediocre as it contains much originality, although, it may be a difficult first listen.
The '95 US-edition released on Merge also contains an additional 5-tracks taken from the ep Lock Stock & Double-Barrel included as bonus tracks at the end.
[ allmusic.com 4 / 5 stars ]

17 November 2015

Editors "In Dream" (2015)

In Dream
release date: Oct. 2, 2015
format: digital
[album rate: 3,5 / 5 ] [3,43]
producer: Editors
label: Play It Again Sam - nationality: England, UK

Track highlights: 1. "No Harm" - 2. "Ocean Of Night" (4 / 5) (radio broadcast) - 5. "Life Is A Fear" (3 / 5) - 10. "Marching Orders" (3 / 5)

5th studio album by Editors is very much like a sequel to The Weight of Your Love from 2013 with synth elements from the lesser third album, In This Light and on This Evening from 2009. It contains one great track and then a few fine compositions, but I don't find that it's up there among the 3 best from the band - it's close, though - but... basically it's the second least interesting studio release from Editors without being anywhere near just a mediocre album. I think, what I miss on this is something 'new' - a sign of being in a process where the band is reaching for an artistic development of some sort... and that's hardly recognizable as it sounds so familiar - perhaps too familiar.
Music critics also seem divided on this.
[ allmusic.com, Mojo 4 / 5, Uncut 2,5 / 5, Q Magazine 2 / 5 stars ]

16 November 2015

The Gun Club "Pastoral Hide & Seek" (1990)

Pastoral Hide & Seek
release date: Oct. 1990
format: vinyl (ROSE 220 CD) / cd
[album rate: 4 / 5] [3,88]
producer: Jeffrey Lee Pierce
label: New Rose Records - nationality: USA

Track highlights: 1. "Humanesque" - 2. "The Straights of Love and Hate" - 3. "Emily's Changed" - 4. "I Hear Your Heart Singing" (4,5 / 5) - 5. "St. John's Divine" - 7. "Another Country's Young" - 8. "Flowing"
[ full album ]

5th studio album by The Gun Club follows three years after Mother Juno (Oct. 1987) and it was originally released on Fire Records. The album is the second in the new formation of the band after Jeffrey Lee Pierce had put an end to the band and initiated a solo career. As usual, Pierce is sole composer of the majority of the tracks, and this time he has put himself in the producer seat as well. The sound may not be impressive but the style is almost certified The Gun Club - a style connected so much to Jeffrey Lee Pierce, his poignant singing voice, his characteristic guitar-sound that no matter who he invites to play with him sounds crystallised as The Gun Club, and that is more than just sufficient. I've all ways linked The Gun Club with the music of Nick Cave and The Bad Seeds and all days found The Gun Club the more interesting band - or: showcasing a greater potential. In a contemporary perspective I didn't put this band among my favourites - I liked it, though, but may have neglected its qualities because of the lo-fi production, and the ever-present component of country. I think I might have put he band alongside artists like Adrian Borland, Bob Mould, R.E.M. etc [without comparison whatsoever!] had I acknowledged it as much as I do now. Fact is, I just listened to much else back then, and The Gun Club was somewhere in the background: interesting and fine, but not really 'it'. Today, I find that Jeffrey Lee Pierce definitely had 'it', and that he proved it over and over again. I have come to understand why he became a favourite of other artists and also a music critics' icon. This album doesn't contain obvious fillers, and in my mind and in a close race with The Las Vegas Story (1984), I find this to be the band's best.
[ allmusic.com 4 / 5 stars ]

[ collectors' item ]

Blondie "Blonde and Beyond" (1993)

Blonde and Beyond (compilation)
release date: Nov. 16, 1993
format: digital
[album rate: 3,5 / 5]
producer: various
label: Chrysalis Records - nationality: USA

Track highlights: 3. "Sunday Girl (French Version)" (UK 12" single "Sunday Girl", 1978) - 12. "Once I Had a Love" (Early Version of 'Heart of Glass', 1976) - 15. "Call Me (Spanish Version)" (org. version appears on 'The Hunter', 1982) - 16. "Heart of Glass (Disco Version)" (org. version appears on 'Parallel Lines', 1978) - 17. "Ring of Fire" (Live) (from the soundtrack 'Roadie', 1980) - 18. "Bang a Gong (Get It On)" (Live) (rec. at The Paradise Club, Boston, Nov. 4, 1978) - 19. "Heroes" (Live) (rec. at The Hammersmith Odeon, Jan. 12, 1980. Taken from the UK 12" single 'Atomic', 1980)

19 track compilation by Blondie. In some ways this is justified by putting together rarities, B-sides, alternate tracks and live versions, but that is all scattered as it also contains several ordinary album versions of familiar songs, just to fill out the album, or what? Anyway, among the good things are a French version of "Sunday Girl", a Spanish version of "Call Me", two demo tracks, "Once I Had a Love" (an early version of "Heart of Glass"), "Heart of Glass (Disco version)", and three live covers, which makes it nine tracks worth the lot.

14 November 2015

Lou Reed "Magic and Loss" (1992)

Magic and Loss
release date: Jan. 14, 1992
format: vinyl / cd
[album rate: 4 / 5] [3,82]
producer: Lou Reed, Mike Rathke
label: Sire / Warner Bros. - nationality: USA

Track highlights: 1. "Dorita (The Spirit)" - 2. "What's Good (The Thesis)" (4 / 5) (live on Letterman) - 3. "Power & Glory (The Situation)" (live) - 5. "Sword of Damocles (Externally)" (4 / 5) (live) - 7. "Cremation (Ashes to Ashes)" - 8. "Dreamin' (Escape)" - 9. "No Chance (Regret)" - 11. "Harry's Circumcision (Reverie Gone Astray)" - 14. "Magic and Loss (The Summation)"

16th studio album by Lou Reed is in many ways like a fine conglomerate of his best album in almost 20 years, New York (1989) and his collaboration album with John Cale: Songs for Drella (1990). This is almost as great as the '89 album, and in some ways I like it better, although, it may not be as consistently great throughout. Guitarist Mike Rathke, who also participated on New York is again Lou's right hand, now as co-producer, and also co-writer of five of the album's 14 compositions. Thematically, the album is also a blend of the two previous albums, but without being just a copy.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5, NME 5 / 5 stars ]

13 November 2015

Lush "Gala" (1990)

Gala (compilation)
release date: Nov. 13, 1990
format: cd
[album rate: 3,5 / 5]
producer: Tim Friese-Greene; John Fryer & Lush; Robin Guthrie
label: 4AD / Reprise Records - nationality: England, UK

Compilation album by Lush originally released by 4AD Records and produced by various producers: Tim Friese-Greene (tracks #1-3); John Fryer & Lush (#8-13); Robin Guthrie (#4-7, 14-15).
Tracks #1-3 have previously been released as the single "Sweetness and Light" (Oct. '90); tracks #4-7 are identical to the single "Mad Love" (Feb. '90); tracks #8-13 have previously been released as the debut Mini-album Scar (Oct. '89); track #14 is a previously unreleased cover song, originally made by ABBA, and track #15 has previously only been released on the compilation album Gigantic! 2 - Nineteen for the Nineties featuring various artists and sold with an issue of the music magazine Melody Maker.

Grant Hart "Ecce Homo" (1995)

Ecce Homo
(live)
release date: Nov. 13, 1995
format: digital
[album rate: 3,5 / 5] [3,58]
producer: Mark Minkler
label: World Service - nationality: USA

Acoustic live album by Grant Hart is the recording of a solo concert held Oct. 13, 1994 at the Crocodile Cafe in Seattle shortly after the disbandment of Nova Mob following a tour succeeding the band's eponymous album (released May '94).
Ecce Homo (the title referencing the perception of the flagellation of Jesus in Western Christianity) is with Hart at the centre of torment, once more left on his own - left with a presumed bitter taste - and it suitably only features Hart on vocal and acoustic guitar on 14 compositions. He performs his own songs written for Hüsker Dü, Nova Mob and for his solo releases, and despite only adding his strumming of the guitar, the performance well-documents his charismatic vocal and evident songwriter skills. From another perspective, the album is of course quite narrow with no traces of obvious post-production in the making, and it's the simple recording of a completely stripped-down-to-the-bone performance, which is what it is. It's no hi-fi state-of-the-art experience, and you need to address the story of Hüsker Dü, Nova Mob and Grant Hart, who has without doubt gone down in American music history as one its greats. And for that alone, Ecce Homo serves as a fine document.
[ allmusic.com 3 / 5 stars ]

12 November 2015

U2 "The Best of 1980-1990 & B-Sides" (1998)

The Best of 1980-1990 & B-Sides
(comp.)
release date: Nov. 2, 1998
format: 2 cd (Deluxe Edition)
[album rate: 3,5 / 5]
producer: various
label: Island Records - nationality: Ireland

First official best of compilation by U2 covering the band's first decade. Astutely, the band released a limited 2-disc version, which was announced to be withdrawn and replaced by a standard 1-disc version after the first week. The standard being practically identical with disc 1 on the 2-disc version did come out, but the limited edition was later sold as a non-numbered Deluxe Edition - the album both comes in The Best of 1980-1990, and as The Best of 1980-1990 & B-Sides, and then some of the 2-disc issues has been released under the standard title. Anyway, the compilation rightfully covers a 10-year period, although, only three songs are from 1980 to 1983 and two of these stem from their '83 album. This basically overlooks the initial stage when the band made three full-length albums and made it from upcoming new name to an acclaimed and established brand - you could say: their most important period. Instead, focus is clearly on the band's new-found ground and especially the sound they have come up with on the albums The Joshua Tree (1987) and Rattle and Hum (1988). And speaking of sound, compilations are always a tricky matter, and in the case of U2, sound and style is a fleeting and highly temporary thing, so by putting songs from one stage together with songs from another period isn't without a distinct loss in coherency, which could be another reason for selecting most material from their most recent albums.
Then 2-discs could actually have served to have had an early period on say disc 1 and the later half of the decade on disc 2, but that probably sounds to easy. But nevertheless, that would have been a logic choice, and something that would do justice to their career. Instead we have these late 80s songs put together with B-side material, which on the other hand is far from complete. From a commmercial perspective they should have made clear and distinct choices - and frankly, I would have embraced a more fully coverage of their A-side singles on a best of album, AND a B-sides release covering their more obscure material - instead what we do have is a bit of this and that. U2 have made so many great tunes that it's a no brainer to compile a best of album, but instead we have strange songs like "Bass Trap", "A Room at the Heartbreak Hotel", "Trash Trampoline and the Party Girl", and covers like "Dancing Barefoot", "Everlasting Love", and "Unchained Melody" in place of strong B-sides like "Out of Control", "Gloria", "The Electric Co", "I Threw a Brick Through a Window", etc., etc.
Bottom line is, I think this is a bit of a mess. You cannot deny their potential, and that's basically what this represents - a band who has been all over the place, and no matter what you pick, there's an rather big audience. Of course, what you need is their full discography - at least up until 1990 after which you will do with a selection of A-side singles, but that's a whole different story.
U2 "The Best of 1980-1990 & B-Sides" is not essential - some songs are nice to know of, but ultimately, you're way better off with five to six studio albums covering this period so much better. I rate the album 3,5 / 5, acknowledging the great tunes but I would rate the selection 2 / 5.
[ 👎allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

Jan Garbarek "Star" (1991)

Star
release date: Jan. 1991
format: cd
[album rate: 4 / 5]

Tracklist: 1. "Star" (5 / 5) - 2. "Jumper" - 3. "Lamenting" - 4. "Anthem" (4 / 5) - 5. "Roses for You" (4 / 5) - 6. "Clouds in the Mountain" (4 / 5) - 7. "Snowman" (3 / 5) - 8. "The Music of My People" (3 / 5)

Released as 'Jan Garbarek - Miroslav Vitous - Peter Erskine' (Vitous: bass, Erskine: drums). The album is unmistakably Jan Garbarek BUT although I'm quite fond of this release, it's also very different from his most recent releases before, and after this one. The style is still jazz fusion but it's a much more traditional jazz album than his other releases and it has a touch of jazz bop and in that, a stroke of Mingus. Of course this has to do with the fact that the majority of the album's tracks has the signature of the bass player Miroslav Vitous in composer credits. Garbarek "only" takes credit for the title track and the co-writing of "Snowman", and collaborator, and drummer, Erskine takes the credits for "Anthem", "The Music of My People", and co-writer of "Snowman". The style is narrowed down to the more "pure" jazz styles and the usual element of traditional folk is completely absent here. The release also shows how Garbarek is an excellent band player and interpreter.

09 November 2015

Paul Weller "Heliocentric" (2000)

Heliocentric
release date: May 9, 2000
format: cd
[album rate: 3,5 / 5] [3,38]
producer: Paul Weller, Brendan Lynch
label: Island Records - nationality: England, UK

Track highlights: 1. "He's the Keeper" - 2. "Frightened" - 3. "Sweet Pea, My Sweet Pea" - 6. "Dust and Rocks" - 7. "There's No Drinking, After You're Dead" (live)

5th studio album by Paul Weller is his fifth consecutive album but also final to be co-produced with Brendan Lynch. Weller sticks to a formula he found useful when making the fine Wild Wood (1993) using a familiar bunch of musicians who has been selected for studio and live recordings ever since. 
Heliocentric is a bit more polished without that clear direction, and also without the same immediate energy and originality as found on the '93 album. Weller is a fine songwriter, a skilled craftsman, a that's basically what hold this together and just prevents it from being a lesser release. It may not contain obvious great standouts, although, on the other hand, it doesn't present anything mediocre. It's like Weller looking in his pockets, dragging up... pocket wool, a mixed bag of something familiar sounding, perhaps a few second hand hooks, but still establishing himself with his latest product. Despite being slightly better than the predecessor Heavy Soul (1997), I'm not fully entertained with this and would not recommend it as a starting point if you're unfamiliar with the music by Paul Weller. The album is Weller's most recent studio release after divorcing Dee C. Lee in 1998 - the two married in 1987, at the heights of The Style Council, and rumours suggest that Lee found his drinking habits incompatible with their family-hood of raising two kids.
[ allmusic.com 4,5 / 5, NME 4 / 5 stars ]

The Gun Club "Mother Juno" (1987)

Mother Juno
release date: Oct. 19, 1987
format: cd (2006 remaster)
[album rate: 3,5 / 5] [3,56]
producer: Robin Guthrie
label: Flow Records (Remaster) - nationality: USA

Track highlights: 1. "Bill Bailey" - 3. "Lupita Screams" - 4. "Yellow Eyes" - 5. "The Breaking Hands" (4,5/ 5) - 6. "Araby" - 7. "Hearts" - 8. "My Cousin Kim"

4th studio album by The Gun Club originally released on Red Rhino is the band's first release after its reformation and it follows more than three years after The Las Vegas Story (1984). Between these two, Jeffrey Lee Pierce released his solo album debut, but for this he has reformed the band together with guitarist Kid Congo Powers, bassist Romi Mori (lead guitar on #4), and with drummer Nick Sanderson. Pierce has written and composed all tracks and they really sound like no one else - also here. Blixa Bargeld of The Bad Seeds play guitar on "Yellow Eyes". It's quite amazing how the band seems to just continue where the 1984 album ended, considering that one half of the band wasn't taking part in the making of that album. I never got hold of any of their original albums at the time of their release, but Mother Juno was an album that I found at the local library but didn't quite appreciate back then. The only album that I really liked was The Las Vegas Story from 1984. The version, I have of Mother Juno is a remastered edition including the bonus disc titled "The Berlin Tapes", which is a very nice find. "The Breaking Hands" is a marvelous track - fans of the band would probably call it over-produced, and it IS a strange cocktail to have Robin Guthrie as album producer. Stylewise, The Gun Club and Cocteau Twins are nowhere near each other, or with regards to genre for that matter, but I really like this album as it has a fine delicate feel of garage rock, the ever-present hesitating energy of Pierce, and a productional side that tries to catch up and embrace it all, but still leaves room for all the quirkiness.
[ allmusic.com 4,5 / 5 stars ]

Alanis Morissette "MTV Unplugged" (1999) (live)

MTV Unplugged (live)
release date: Nov. 9, 1999
format: cd
[album rate: 3 / 5]

An in between albums release, and a very typical '90's MTV unplugged live session that all big stars just had to do. The album really displays her singing ability but the songs are very familiar and it just seems like an economical strategic release.

08 November 2015

Lars H.U.G. "10 sekunders stilhed" (2014)

10 sekunders stilhed
release date: Nov. 3, 2014
format: cd
[album rate: 3,5 / 5] [3,28]
producer: Povl Kristian & Lars H.U.G.
label: Genlyd / Sony Music - nationality: Denmark

Track highlights: 1. "10 sekunders stilhed" - 2. "En skønne dag" (4 / 5) - 3. "Elsk dig selv" (4 / 5) - 6. "New York"

7th studio album by Lars H.U.G. is his first studio album in 11 years. This is a nice return to form, which means primarily uptempo pop / rock with hints of art pop and a style that is closer to his best albums of the late 1980s and early 90s. It's quite impressive how tight it sounds and the way it updates his repertoire without having taken part of the whole music industry for more than a decade. His voice still has its charm and strengths on an album that includes a long list of featuring musicians including old associates like Finn Verwohlt, Flemming Muus, Nanna Lüders, and Johannes E. Møller (aka Johnny Voss from their former band Kliché). The first half of the album is clearly the strongest. The second half reminds me more of his two previous albums; however, it's still a fine and somewhat surprising return of one of the finest voices of Danish music of the 1980s
The front covert art is again made by Lars H.U.G.

07 November 2015

Bo Kaspers Orkester "Du borde tycka om mig" (2012)

Du borde tycka om mig
release date: Oct. 31, 2012
format: digital
[album rate: 3,5 / 5] [3,58]
producer: Christian Walz (1-4, 7, 8, 10); Bo Kaspers Orkester (5, 6, 9)
label: Columbia / Sony Music Entertainment - nationality: Sweden

Track highlights: 1. "Festen" - 2. "Världens ände" (4 / 5) (live) - 3. "Längre upp i bergen" (4 / 5) - 5. "Utan dig" (4 / 5) - 7. "Vilket år" - 8. "Jag är vacker ikväll" - 9. "Mitt rätta jag" - 10. "Kom" (4 / 5)

10th studio album by Bo Kaspers Orkester is the 10th studio album in 20 years. The album has generally been met with positive reviews, and it appears to be one of the band's stylistic changes. I still find it a bit difficult to digest as a Bo Kaspers Orkester release but the production is pretty fine just like the total picture. Some tracks are mere jazz pop compositions but the majority of tracks are smooth, laid back music, which has references to lounge but not in the way the band has played with that style before and on its earliest albums. Instead, this is a modern version of lounge, which is more in family with synth-pop - a genre BKO never has excelled in. Without coping they play in a way that makes me think of The Killers on their most recent albums and two other great Scandinavian bands, the Danish band Love Shop and the greatest band in Sweden as well as all Nordic countries: Kent. It's not bad, not at all. I'm just not really ready to embrace it as great, but it seems like one of the band's better studio releases.

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Sigur Rós "Inni" (2011) (live)

Inni (live)
release date: Nov. 7, 2011
format: 2 cd
[album rate: 4 / 5] [3,82]
recorded by Birgir Jón Birgisson
label: XL Recordings - nationality: Iceland

Track highlights, disc 1): 4. "Fljótavík" - - disc 2): 1. "Sæglópur"

An official double live album by Sigur Rós released three years after the great Með suð í eyrum við spilum endalaust (June 2008). Hvarf - Heim (2007) was the band's first official live album, which also consisted of previously unreleased material, but Inni is their first full live album. The 2008 album was followed by an extensive world-tour, and by 2010 a new album had been rumoured on its way, but instead the band announced to be on a hiatus, while the band members spent time on other projects.
The compositions here stem from most of the band's studio releases but exclude the debut. With two songs from both Ágætis byrjun (1999) and ( ) (2002), four from Takk... (2005), one from the compilation Hvarf / Heim (2007), and five from the 2008 album, Inni naturally focusses on the band's most recent material. One track has not previously been released but would later be included on the 2012 album, Valtari in a different version. Inni has been released in various issues, but both the 3 lp vinyl issue, the 2-disc cd, and the digital version all consist of the same 15 tracks with a total playing time just below 1 hour and 45 minutes. Extended DVD and Blue-ray issues vary with an additional 9-14 tracks film footage, and then an Icelandic limited issue contains even more.
It's truly an amazing performance and a brilliant production. Both the original vinyl issue and the cd issue released on the band's own label Krunk, contain a DVD with live concert footage directed by Vincent Morisset filmed over two nights at the Alexandra Palace, London, Nov. 20-21, 2008 from where all 15 tracks were recorded. Only the issue released on XL was released without DVD or Blue-ray material.
Sigur Rós is without doubt the biggest band from Iceland, and with this, they do it again - only, their music is really not that different played live, so despite the fact that they play absolutely magnificently, and despite that I really enjoy all of it, it's not the most original album of the year. But my gosh, do they perform well.
Highly recommended.
[ allmusic.com, Drowned in Sound, Clash, Consequence of Sound 4 / 5 stars ]

Thin Lizzy "Bad Reputation" (1977)

Bad Reputation
release date: Sep. 2, 1977
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Tony Visconti
label:Vertigo Records - nationality: Ireland

Track highlights: 1. "Soldier of Fortune" (3,5 / 5) - 3. "Opium Trail" (3 / 5) - 4. "Southbound" (5 / 5) - 5. "Dancing in the Moonlight (It's Caught Me in Its Spotlight)" (4 / 5) - 6. "Killer Without a Cause" (3 / 5) - 7. "Downtown Sundown" - 8. "That Woman's Gonna Break Your Heart"

8th studio album by Thin Lizzy following  the uneven Johnny the Fox. The album is the last to feature guitarist Brian Robertson who is only credited on three tracks (#3, #6, #8 due to conflicts within the band about musical direction) - at the time of the release Robertson was no longer an official member, which is suggested by the album cover. It's the first collaboration work with already legendary producer Tony Visconti, which I think, may be felt as there's a fine instrumental balance throughout the album. Apparently, the band had been through a phase disputing about musical directions, which seems quite natural as Lynott and Downey and been through some stylistic changes, and with Gorham and Robertson the band had pursued a more 'hard rock' style compared to their early albums. Also, some of Lynott's best songwriting is seen in his slower and more ballad-like compositions, which was a bit of a contrast to much of the band's new style.
The album may not be as strong or consistent as Jailbreak, but it contains some really fine songs, including "Southbound", a song I consider the band's best song ever, and it's certainly a improvement compared to Johnny the Fox.
[ allmusic.com 4,5 / 5 stars ]

05 November 2015

John Frusciante "Niandra Lades and Usually Just a T-Shirt" (1994)

Niandra Lades and Usually Just a T-Shirt [debut]
release date: Mar. 8, 1994
format: digital
[album rate: 1,5 / 5]

Some tracks: 2. "My Smile Is a Rifle" - 3. "Head (Beach Arab)" - 4. "Big Takeover" - 8. "Been Insane" - 10. "Your Pussy's Glued to a Building on Fire" - 14. "Untitled #2" - 21. "Untitled #9" - 24. "Untitled #12"

Studio debut album by John Frusciante released on American Recordings. The album shows a completely different side to the guitarist of Red Hot Chili Peppers whom he left in 1992. Stylistically, it's a most evident example of Frusciante's interest in expressions of creativity made in "streams of consciousness". The first half of the album Tracks 1-12 are labelled "Niandra LaDes", and they were written shortly after the completion of Red Hot Chili Peppers' break-through album Blood Sugar Sex Magic (Sep. 1991), and the other half, tracks 13-25, labelled "Usually Just a T-Shirt" (commonly referred to as "Untitled #1-13") were recorded while touring with RHCP i.e. before breaking with the band but at a time when he had become a serious drug addict of heroin and cocaine. The music is said to reflect Frusciante's spirituality and an unbalanced emotional state, and also his drug abuse during the recording sessions, which took place in his own house from 1991-93. Anyway, it's apparent how the second part seems much more improvised. I have come to know of the music of Frusciante much later, and have only come across this album a few months ago, and I must agree to Christian Hoard of Rolling Stone Magazine that it mostly just appears to be 'ramblings' and what sound as rough demos. These takes may be avant-garde and / or experimental neo-psychedelic rock and instant expressiveness of a genius, but nevertheless, it ain't good.
[ allmusic.com 4 / 5, Rolling Stone 2 / 5 stars ]