Julian Cope "Skellington" (1989)

Skellington
release date: 1989
format: digital
[album rate: 3,5 / 5] [3,35]
producer: Julian Cope
label: Copeco / Zippo Records - nationality: England, UK

Track highlights: 4. "Robert Mitchum" - 5. "Out of My Mind on Dope & Speed" - 6. "Don't Crash Here" - 9. "Great White Wonder"

5th studio album by Julian Cope marks a big change of style. The album was recorded after Cope's disillusions with what he saw as an over-polished and over-produced My Nation Underground (Oct. 1988) before that album was even released. He did not like the end result and initiated his work with musical collaborator Donald Ross Skinner on Skellington, which was recorded over a span of only three days. Island Records refused to release the album, so Cope established his own label Copeco in order to release the album, later reissued on Zippo Records (Apr. 1990). He then ran into a legal law suit with his record company, Island Records, for neglecting his contractual obligations; however, Cope only released another lo-fi album Droolian, this time on the independent label Mofoco, and Island called it a day.
Skellington is anything but polished mainstream and over-produced pop / rock aimed to satisfy the same audience who had been targeted with the predecessor. It's neo-psychedelia above anything. Secondly, it's also an alt. rock and singer / songwriter album with the addition of a certain amount of satire with only Cope, Skinner and drummer Rooster Cosby performing on the album. A track like "Out of My Mind on Dope & Speed" perhaps says much about Cope's situation at this point of his career. The satirical element sometimes makes Cope sound like the closest one ever gets to a British version of Frank Zappa.
I think, its immediate strength is a spontaneous lightness of catchy tunes and hooks - it's playful and reflects the exact opposite of self-consciousness, in contrast to My Nation Underground. Above anything, it's quite interesting much like the successor, but still with some distance from being great.
[ allmusic.com 3,5 / 5 stars ]

The Jezabels "Dark Storm" (2010) (ep)

Dark Storm, ep
release date: Oct. 1, 2010
format: cd
[album rate: 3 / 5]

Tracklist: 1. "Dark Storm" - 2. "Mace Spray" (3 / 5) - 3. "Sahara Mahala" (3 / 5) - 4. "A Little Piece" (2,5 / 5) - 5. "She's So Hard" (3 / 5)

3rd 5-track ep by The Jezabels. The music is still interesting, although just a few tracks are worth it all. It's strange how the band just keeps releasing eps. The first full-length studio album The Prisoner was released in Sep. 2011.

The Radio Dept. "Passive Aggressive: Singles 2002-2010" (2011)

Passive Aggressive: Singles 2002-2010 (compilation)
release date: Jan. 25, 2011
format: 2 cd
[album rate: 4 / 5]
producer: Johan Duncansson, Martin Larsson
label: Labrador Records - nationality: Sweden

Double compilation album by The Radio Dept. containing A-side and B-side singles released from 2002 to 2010 including online-only singles. Disc 1 is labeled 'A-sides' and disc 2 'B-sides'. The concept is great, and it really proves the strengths of this fairly unknown band. It's quite extraordinary how well it works as an album with tracks taken from three albums released over a seven year period and originating from various eps and single releases. Three tracks are taken from the debut album Lesser Matters (2003), one is from the follow-up album Pet Grief (2006), and three are from their most recent album Clinging to a Scheme (2010). It works, and it's great.

Recommended.

[ allmusic.com, PopMatters 4 / 5 stars ]

Neil Young "Silver & Gold" (2000)

Silver & Gold
release date: Apr. 25, 2000
format: cd
[album rate: 3,5 / 5] [3,36]
producer: Neil Young, Ben Keith
label: Reprise Records, Germany - nationality: Canada

Track highlights: 1. "Good to See You" (4 / 5) - 2. "Silver & Gold" - 3. "Daddy Went Walkin'" - 4. "Buffalo Springfield Again" - 7. "Red Sun" - 8. "Distant Camera" - 9. "Razor Love"

24th studio album by Neil Young this time released as a solo album, and as often is the case when he chooses his solo works it's singer / songwriter and folk, and it's an album with strong bonds to Harvest, Comes a Time, and Harvest Moon.
Despite scarce instrumentation some tracks feature guest artists like Jim Keltner, Donald "Duck" Dunn, Oscar Butterworth, Emmylou Harris, and Linda Ronstadt.
It's not truly great but it's quite fine and very enjoyable.
[ allmusic.com 3 / 5 stars ]

Peter Murphy "Wild Birds 1985-1995" (2000)

Wild Birds 1985-1995 (compilation)

release date: Feb. 22, 2000

format: cd

[album rate: 4 / 5]

producer: diverse

label: Beggars Banquet - nationality: England, UK

Compilation by Peter Murphy released on Beggars Banquet after he had left the label with which he had been associated since the first release with Bauhaus in 1980, and it's Murphy's first compilation album.

As the subtitle indicates, it's not necessarily a best of album, but instead a selection of songs from his solo career spanning five studio albums over a decade with a total of sixteen compositions and a total running time at just under 75 minutes.

It's quite a fine selection - mainly songs written together with Murphy's regular composer (from his second album and onwards) guitarist Paul Stratham, and which generally shows his somewhat narrow musical style where music always contains elements from gothic rock with various hints of art pop and glam rock. The biggest stylistic detours are probably his influence from Turkish music, which is particularly evident on his most recent two albums: Holy Smoke from '92 and Cascade from '95.

[ allmusic.com 4,5 / 5 stars ]

The Jam "The Jam at the BBC" (2002)

The Jam at the BBC (compilation)
release date: May 21, 2002
format: digital (3 cd) (LTD.)
[album rate: 4 / 5]
producer: Malcolm Brown; Jeff Griffin; Tony Wilson
label: Polydor / Universal - nationality: England, UK

An original 2 cd compilation album by The Jam with (almost) all tracks from BBC Radio sessions (including three John Peel sessions) recorded from May 1977 - Dec. 1981. The Limited Edition includes a bonus disc with a concert held at the Rainbow Theatre in London, Dec. 4, 1979. This is a fine album both showing what a great live band The Jam was. At the same time many of the tracks are mere studio recordings, alternate versions of the original tracks, but the album also contains two short interviews with the band, and two full radio concerts, including 10 tracks from a concert at the Paris Theatre, Jun. 1978, and a 12 tracks concert at The Hippodrome, Golders Green, Dec. 1981, both recorded, presented and broadcast by BBC Radio 1. Needles to say, the compilation is a collector's item but as such also quite interesting.

The National "Cherry Tree" (2004) (ep)

Cherry Tree, ep
release date: Jul. 20, 2004
format: cd
[album rate: 3,5 / 5] [3,46]
producer: Peter Katis, Nick Lloyd, Padma Newsome, The National
label: Brassland Records - nationality: USA

Track highlights: 1. "Wasp Nest" - 2. "All the Wine" - 4. "Cherry Tree" - 5. "About Today"

3rd studio release by The National is an ep once again released on Brassland and made with producer Nick Lloyd and now also with Peter Katis and Padma Newsome.
Stylistically, the band has changed a bit to be more rock-oriented as indie rock / indie pop and made the arrangements more simple with the addition of a bolder use of strings, which adds elements of chamber pop to the picture, thus making this the band's most interesting release so far, and also solidifying the band as an original sounding act.

Nick Cave & The Bad Seeds "Abattoir Blues / The Lyre of Orpheus" (2004)

Abattoir Blues / The Lyre of Orpheus
release date: Sep. 20, 2004
format: 2 cd
[album rate: 3,5 / 5] [3,34]
producer: Nick Launay, Nick Cave & The Bad Seeds
label: Mute Records - nationality: Australia

Track highlights, Disc 1 'Abattoir Blues': 1. "Get Ready for Love" - 3. "Hiding All Away" - 6. "Nature Boy" - 8. "Let the Bells Ring"
Disc 2 'The Lyre of Orpheus': 3. "Babe, You Turn Me On" - 4. "Easy Money" - 5. "Supernaturally"

13th studio album by Nick Cave & The Bad Seeds is a two-disc album - disc one titled "Abattoir Blues" (containing 9 tracks) and disc two "The Lyre of Orpheus" (containing 8 tracks). The album is the first by The Bad Seeds without Blixa Bargeld, who is replaced by British guitarist and organist James Johnston. NC&TBS is here an octet consisting of Nick Cave, Martyn P. Casey, Warren Ellis, Mick Harvey, James Johnston, Conway Savage, and with Jim Sclavunos playing drums and percussion on "Abbattoir Blues", while Thomas Wydler does this on "The Lyre of Orpheus".

Although, having the same producer as the predecessor Nocturama from 2003 the sound and style of the new double album differs considerably, at first sight, in being a more aggressive and almost garage rock album forecasting the 2008 album Dig, Lazarus, Dig!!!. It's not all uptempo aggression on these 17 tracks, and without simplifying things too much, it could be compared to a fusion of what NC&TBS have released in the past 20 years or so - there are both slow ballads, blues rock anthems, reminiscences of both art rock and post-punk, and the ever-presence of singer / songwriter material, but the overall impression is that of a fusion of styles, and I'm not totally impressed nor entirely disappointed. "Abbattoir Blues" is the rock & roll of gothic rock whereas "The Lyre of Orpheus" is the singer / songwriter part of it, and which is why there are two distinctive parts on two separate discs. The whole album may reflect the two-coined face of The Bad Seeds in more than one way. They cannot skip the aggressive punk roots, and instead of releasing an album that is either what they have been doing on the last 4 albums, or doing what they do on their 2008 album by succumbing to more steamy rock, they "simply" choose both.

However well-produced and well-orchestrated - in every aspect - this album turns out, it's a rather big mouthful to swallow. It's pretentiousness without disguise - but hasn't it always been that with Nick Cave?! Yes, only here, perhaps even more boldly, which in a way says quite a bit. One has to be in the right mood to digest this album, but it functions on many levels, and it's really impressive how they managed to assemble and record all this varied material in less than a fortnight [as producer Nick Launay explains].
The album was generally met by positive reviews, and it's included in "1001 Albums You Must Hear Before You Die" - I like it, it's goood, though, I don't find it really great, and I just find that the great songs are missing on account of lesser compositions. I won't call it essential - not even in a Nick Cave & The Bad Seeds discography context.

[ allmusic.com 4,5 / 5, Blender, Q 4 / 5, Rolling Stone 3 / 5, The Guardian, Mojo 5 / 5 stars ]

Nina Simone "Little Girl Blue" (1959)

Little Girl Blue [debut]

release date: Feb. 1959

format: cd (2013 remaster) / vinyl (2021 remaster)

[album rate: 4,5 / 5] [4,26]

producer: ? (arr. by Nina Simone)

label: Bethlehem Records / BMG - nationality: USA

Track highlights: 1. "Mood Indigo" - 2. "Don't smoke in Bed" - 3. "He Needs Me" (5 / 5) - 4. "Little Girl Blue" (5 / 5) - 5. "Love or Leave Me" (5 / 5) - 6. "My Baby Just Cares for Me" (5 / 5) (TV performance) - 7. "Good Bait" (instr.) - 8. "Plain Gold Ring" - 9. "You'll Never Walk Alone" (instr.) - 10. "I Loves You Porgy" - 11. "Central Park Blues" (instr.)

Studio album debut by Nina Simone (aka Eunice Kathleen Waymon) with 11 tracks stemming from the only recording sessions she did while associated with Bethlehem Records. Regardless, the label would go on for many years after by issuing releases from these recordings - be it compilations, or single releases, and all without Simone's consent. Despite the label did little to promote this album, it soon crept up on the charts and in people's consciousness. The album is one of jazz' great classics, and only one of many outstanding by Nina Simone. Although recorded in 1957, the sound is remarkably dynamic - perhaps due to great remastering, and even though Simone herself alledgedly wasn't thrilled with the compositions, the selected style, the album is a fine document and proof of her eneormous versatility. She may have seen herself as a classic pianist at the time, but the recordings are luckily there to show that she could perform on highest level in any genre and style. Here, she performs as jazz vocalist, as an outstanding interpreter, arranger, and pianist. It's just... mindblowing 'waow'!

Highly recomended.

EDIT 2021:

The 2021 Bethlehem / BMG vinyl remaster is a fine pressing, although, it's in stereo and remastered, but it sounds like a studio recording, although there's probably a lot of adjustments involved, you need to appreciate the end result, and thats quite an accomplishment.

[ allmusic.com 4 / 5 stars ]

The Jezabels She's so Hard (2009) (ep)

She's so Hard, ep
release date: Nov. 2, 2009
format: digital
[album rate: 3,5 / 5]

Tracklist: 1. "Hurt Me" - 2. "Easy to Love" (4 / 5) - 3. "Violent Dream" (3 / 5) - 4. "Into the Ink" (3 / 5) - 5. "The Man Is Dead"

2nd 5-track ep by Australian indie pop, dream pop band The Jezabels. This betters the band's debut ep from Feb. 2009 by having better and more interesting compositions. Also, here the title track doesn't appear on the ep but a track on the ep Dark Storm (2010) is in fact titled "She's so Hard".

Siouxsie and the Banshees "The Rapture" (1995)

The Rapture

release date: Jan. 16, 1995

format: cd (2014 remaster)

[album rate: 4 / 5] [3,77]

producer: John Cale; Siouxsie & The Banshees

label: Polydor Records - nationality: England, UK

Track highlights: 1. "O Baby" (5 / 5) - 2. "Tearing Apart" - 3. "Stargazer" - 4. "Fall From Grace" - 5. "Not Forgotten" - 7. "The Lonely One" - 9. "Forever" - 11. "The Double Life"

11th studio album by Siouxsie & The Banshees (as the band is stylised here) released close to four years after Superstition (Jun. '91) is here with the same line-up with Siouxsie Sioux, Steven Severin, Budgie, Martin McCarrick, and Jon Klein. On the band's predecessor, they tempted with a synthpop / new wave producer in the shape of Stephen Hague, but here they have been even more daring by choosing the 'old' art rock icon, John Cale, here credited production of five of the album's total of twelve tracks. Since the breezy but absolutely fine Superstition, the band has released a single for the "Batman Returns" movie and for the singles compilation Twice Upon a Time - The Singles - both released in '92.

The Rapture was partially recorded already in '93 exclusively by the band, but it was then decided to hire Cale to record the remaining five tracks and to head the production of these in the spring of '94. Sonically, th is new collection is its own, as usual - and perhaps Polydor and the band themselves feared that by using Hague again, the new album could sound as a repetition, and in retrospect with the band's shifting expression from one album to another, the choice of Cale perhaps justified that by ensuring a new expression. Although, Cale practically only is credited less than half of the songs on the album by producing five tracks (tracks #1, #2, and #7-9), the album is promoted and billed as a John Cale-production. The band itself is credited production of the remaining seven tracks, but this is hardly ever mentioned when referring to The Rapture. In any case, the sound is darker compared to Peepshow (1988) and especially when comparing to Superstition yet without being exactly darkwave as on Tinderbox (1986). It's the kind of sound that also echoes Cale's own art rock releases with focus on rhythm instrumentation where the guitar has been put further in the back. In that way, the album is more in line with a well-known rock tradition - or perhaps closer to the mix of experimental Banshees productions and something more traditional.

Prior to the release, which added The Rapture to the band's long list of critically acclaimed releases, the song "O Baby" was issued for single release Dec. '94 peaking as number #34 on the domestic scene and as number #21 on the US Modern Rock singles list, after which the album followed to a new low and somewhat disappointing 33rd spot on the UK albums chart. Feb. '95, "Stargazer" followed as only the second but final single, and after that underperformed with a position as number #64, Polydor decided to end its contract with a band that had been on the label for all of the band's active years - meaning since Jun. '78, and thus for almost 17 years. On the following tour, guitarist Jon Klein was replaced by Knox Chandler, and about a year later as of Apr. '96, the core members of the band, Sioux, Severin, and Budgie, chose to disband Siouxsie and the Banshees. After this, Sioux and Budgie continued their joint music project, The Creatures, which in '99 released its third album, the critically acclaimed Anima Animus.

The Rapture is another fine collection, which sees the band introducing a new set of aspects. You'll both find tendencies towards synthpop and the more dance-friendly sound we meet on Superstition and also a darker and simpler sound structure tying thin threads with Tinderbox, and the again more complex structures point in the direction of Through the Looking Glass (1987). A new element, is a more traditional rock structure, and still everything is held together as a meaningful whole, which in essence is Siouxsie and the Banshees.

The 2014 remaster adds three bonus tracks to the track list: a mix of "O Baby", a demo, and a later track with new guitarist Chandler.

Recommended.

[ allmusic.com, Select 4 / 5, Vox 3,5 / 5 stars ]

Michael Falch "Håbets Hotel" (1989)

Håbets Hotel

release date: 1989

format: cd (MdCD 6343)

[album rate: 2,5 / 5] [2,64]

producer: Michael Falch

label: Medley Records - nationality: Denmark

Track highlights: 2. "Dage" - 4. "Min stjerne" - 9. "Himlen er næsten blå"

4th studio album by Michael Falch following De vildeste fugle (1988) is like that produced by Falch himself. The credit list is much like on the predecessor with recurring performances by guitarists Christian Arendt and Nils Henriksen, bassist Jens Rugsted, keyboardist Pete Repete, and drummer Jacob Sæther.

Stylistically, it may first appear as a close follow-up but it basically contains stylistic variations found on his other three solo albums, and it's generally an album recycling much of his older material.

I purchased this upon its release but soon found that I didn't like the album much, and I had tired of his mainstream-seeking pop / rock-style. It was to be my final vinyl purchase with new albums by Falch. I ended up reselling this a year or two later alongside the final album by Malurt, Falch's solo debut and his '88 album. Following this, Falch released Tossede verden (1990), after which he took part in the reformation of Malurt, which led to several releases with the band before he once again returned to his solo career with Stævnemøder (1996), Nye rejsende (1998), Lykkelig undervejs (2001), Falder du nu (2006), Sang til undren (2007), Fodspor i havet (Jan. 2010), and Sommeren kom ny tilbage (Oct. 2013).

Not recommended.

Gangway "That's Life" (1996)

That's Life

release date: Sep. 23, 1996

format: cd

[album rate: 3 / 5] [2,98]

producer: Kasper Winding

label: RCA Records / BMG Ariola - nationalit: Denmark

Track highlights: 1. "Come Back as a Dog" - 6. "You Will Say" - 9. "She Keeps Telling Jokes" - 12. "That's Life"

7th and final studio album by Gangway following 2½ years after Optimism© (Apr. '94). Newest member, Caj Boisen-Møller left the band reduced to a trio Dec. '94, and here main songwriter Henrik Balling, vocalist Allan Jensen and keyboardist Torben Johansen has handed the producer role to Danish pop-artist Kasper Winding, who apparently had approached the band with a wish to produce their next album. To great success, Winding had recently produced Cinemataztic (1995) by Caroline Henderson and the acclaimed Sjælland (1994) by C V. Jørgensen.

The style is still in the Pet Shop Boys' corner with a slightly warmer touch and now with more focus on the vocal side and less emphasis on the arrangements - making it a more stripped down album compared to the predecessor. The only negative aspect is the absense of great songs, which seems crucial in this case, because what's left then? They have turned to harmony and made an album of sugary-leaded arrangements but without a distinct quality or direction. Since their peak with The Quiet Boy Ate the Whole Cake (1991) they appear to have taken a wrong turn and ended up in a oneway-street with two stops on the way. They just kept pursuing down that road from one lesser release to another, finally to find themselves facing a wall and a long way out.

Some critics were extremely positive - the band had throughout their entire career always been fancied by the national music press, but the consumers and fans didn't exactly embrace the new album, which turned out as the band's commercially least successful release with round about only 10.000 sold copies. Subsequently, Gangway embarked on a short live-tour with the new songs, but already as of the following Spring '97 they initiated a tour with older material, which already came to an end in May '97, where they performed what was to be their final concert. After a short hiatus rethinking their mission, Gangway announced its disbandment in Sep. '97.

Allan Jensen released his only solo album One Fine Day in 2001. Henrik Balling continued in various music projects, most notably in the duo-project The Quiet Boy with Lester Noel, and Torben Johansen revived his old project-band Escape Artists.

That's Life may be better produced than both Optimism© and Happy Ever After but it just doesn't provide us with anything substantial or a new take. They always sought to make their most recent album something new - with a new stylistic blend, but they haven't been able to fulfill that part of their plan on their recent two albums. It's like they have no answer to how to get out of the overly positive pop-sound they have turned to. Listening to the album is like facing elevator or restaurant muzak that you just end up not listening to after all, and imho, That's Life is unfortunately one of their least favourable studio albums (not counting the '88 British re-release Sitting in the Park) and a sad way to end what always appeared as a promising career that was just about to sparkle. 1½ years following this they released the 18-track compilation album Compendium Greatest Hits (Jan. 1998) with 4 songs from the '91 album, 3 from Happy Ever After (1992) - where two songs are in new remixes - 3 from Optimism© (1994) - again with two new remixes - 3 from Sitting in the Park (1986), 2 songs from That's Life, and only 1 song from The Twist (1984), and then with two previously unreleased tracks.

That's Life is not really recommended and only betters the '94 low-point by a margin.

Arcade Fire "Arcade Fire" (2003) (ep)

Arcade Fire, ep
release date: 2003
format: digital
[album rate: 3 / 5]

Tracklist: 1. "Old Flame" - 2. "I'm Sleeping in a Submarine" - 3. "No Cars Go" (4 / 5) - 4. "The Woodland National Anthem" - 5. "My Heart Is an Apple" - 6. "Headlights Look Like Diamonds" (4 / 5) (live) - 7. "Vampire / Forest Fire"

The ep album debut by Arcade Fire. This album was originally a self-released album the band sold on live concerts and from their website. After they signed with Merge Records the album was re-issued in a remastered edition and released in 2005. The sign is here but the production is too narrow or poor to come near the actual debut album Funeral (2004).

The Killers "Sam's Town" (2006)

Sam's Town
release date: Oct. 2, 2006
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Flood, Alan Moulder, The Killers
label: Island Records - nationality: USA

Track highlights: 1. "Sam's Town" (live) - 3. "When You Were Young" (4 / 5) - 4. "Bling (Confessions of a King)" - 5. "For Reasons Unknown" - 6. "Read My Mind" - 8. "Bones" (4 / 5)

2nd studio album by The Killers following the acclaimed Hot Fuzz (2004) brings in two major British capacities as sound engineers and producers: Flood (aka Mark Ellis) and Alan Moulder.
The style has changed slightly to be more alt. rock leaving the post-punk label behind them.The album was highly expected, and many found it just as great as the debut but I think it's a lesser release. Not that it's not interesting, original, or very good, I just don't find it quite as great. Best tracks here are "When You Were Young", "Read My Mind", "For Reasons Unknown" - all of which appear on the band's best of album Direct Hits (2013) - and "Bones", a song that somehow didn't even make it to their compilation album but was released as the album's second single.
The reception of the band's music is very bland, and that's really a characteristic thing that has stuck with the band on later releases. All their albums have been criticized by many for being unoriginal (comparing the band to either Depehe Mode, New Order, or U2 and Bruce Springsteen), having very bad lyrics, and being highly praised by others. Regardless the varied reviews, all their albums have sold 'platinum' or more in many countries all around the world.
[ allmusic.com 3 / 5, Rolling Stone, The Times 2 / 5, Q, The Guardian 4 / 5 stars ]

Big Country "Peace in Our Time" (1988)

Peace in Our Time

release date: Sep. 9, 1988

format: vinyl (gatefold - MERH 130)

[album rate: 3,5 / 5] [3,56]

producer: Peter Wolf

label: Mercury - nationality: Scotland, UK

Track highlights: 1. "King of Emotion" - 2. "Broken Heart (Thirteen Valleys)" - 3. "Thousand Yard Stare" - 4. "From Here to Eternity" - 6. "Peace in Our Time" - 8. "River of Hope" - 10. "I Could Be Happy Here"

4th studio album by Big Country following more than two years after The Seer (Jul. 1986). The softer style from the predecessor is more accentuated on this. Stuart Adamson is writer of all ten songs with Bruce Watson contributing as co-composer on three, including track #7, which is credited the band in unison, and the whole album is produced in Los Angeles with Austrian-American producer Peter Wolf, who had made a name producing and arranging for various pop-artists, e.g. Starship, Kenny Loggins, (synth-pop band) Wang Chung, (synth-pop artist) El DeBarge, (Brazilian pop and disco artist) Sérgio Mendes. Wolf is furthermore credited on keyboards.

Stylewise, the album doesn't fall far from '86 album but still appears as a softer and more polished album. I do recall when it came out, and I had turned my back on the band, which I experienced as too mainstream and without substantial edge. In retrospect, I like it a great deal more, although, I still find it the band's so far least favourable album with an aim to please an American audience, something which failed somewhat, but you have to hand it to the late Stuart Adamson: he was a musical wizard, both as a songwriter as well as an iconic guitarist. It's still celtic rock but with bolder inspiration from a broad world of pop / rock where Elton John, Bryan Adams, Eric Clapton, and Bruce Springsteen reign.

Not the band's best but still worth a spin or two on behalf of Stuart Adamson.

[ allmusic.com 2,5 / 5, Rolling Stone 3 / 5, Record Mirror 2 / 5 stars ]

Thin Lizzy "Black Rose - A Rock Legend" (1979)

Black Rose - A Rock Legend
release date: Apr. 13, 1979
format: cd
[album rate: 3,5 / 5] [3,48]
producer: Tony Visconti
label: Vertigo Records - nationality: Ireland

Track highlights: 1. "Do Anything You Want To" - 2. "Toughest Street in Town" - 4. "Waiting for an Alibi" - 5. "My Sarah" - 6. "Got to Give It Up" (live) - 9. "Roisin Dubh (Black Rose) - A Rock Legend" (3 / 5)

9th studio album by Thin Lizzy. Guitarist Brian Robertson left the band in '78 and Lynott managed to persuade Gary Moore as replacement. Again, it's with Visconti producing, and with Moore on guitar this is almost naturally a strong album. Stylistically, it's close to being a natural follower to Jailbreak (1976), and it's one of the band's best received and most popular albums.
I just don't find it that great. It's fine but it lacks tracks like "Romeo and the Lonely Girl" and "Southbound". Tracks like #1, #4, and #5 really come close to being great but just miss out by a little, I think. Gary Moore only stayed long enough to record the album and eventually left to pursue his own solo career which seems like a good choice when looking at his stronger blues rock style compared to the soft rock / pop / rock style of tracks #4 and #5. The track "Roisin Dubh... - A Rock Legend" is interesting as it contains celtic rock guitar elements not really heard before by Thin Lizzy, although, Lynott apparently always had wanted that musical source as part of their music. The guitar solo is of course Moore's but it makes me wonder if it could be a source of inspiration to the guitar sound of Stuart Adamson of Big Country. Anyway, the track is strongly progressive and experimental showcasing fine skills but doesn't impress on a higher level.
Anyway, I generally find the album representing a general whole by being one of the band's most coherent studio releases and basically aspiring to greatness. The best thing about it, is that all tracks are on a high level and that the album doesn't contain obvious fillers.
[ allmusic.com 4,5 / 5 stars ]

The Church "Under the Milky Way" (1988) (single)

Under the Milky Way, 12'' single
release date: Jan. 1988
format: vinyl (609 778)
[single rate: 3,5 / 5] [3,56]
producer: Greg Ladanyi, Waddy Wachtel, The Church; Steve Kilbey, The Church
label: Arista - nationality: Australia

Content: A) "Under the Milky Way" (live '88 - live 2013) - - B) "Musk"

Single release from forthcoming studio release Starfish (Feb. '88). The Australian issue is released by the end of '87 on Mushroom (sublabel of Warner Music Australia). The title track is probably the band's most wellknown hit, and it's written and composed by lead vocalist Steve Kilbey together with his girlfriend Karin Jansson.

Bob Mould "Life and Times" (2009)

Life and Times
release date: Apr. 7, 2009
format: cd
[album rate: 3,5 / 5] [3,36]
producer: Bob Mould
label: ANTI- (Epitaph Records) - nationality: USA

Track highlights: 1. "Life and Times" - 3. "City Lights (Days Go By)" - 4. "MM 17" - 5. "Argos" - 6. "Bad Blood Better"

8th studio album by Bob Mould as solo artist is an album with Mould in control of things. On District Line from 2008, he played most instruments but here he goes even further, as he is credited for playing all instruments aside from drum parts handled by Jon Wurster.
Musically, it's not far from the predecessor where Mould blends the things he's good at: the signature power pop, the angry alt. rock and the ballad-like singer / songwriter parts that takes us back to his debut album Workbook from 1989, which in a way characterises this album the most, but it also sound much like the second and slightly better part of his former album.
Life and Times is not pure brilliance nor unforgettable like most of his recent works, but it comes out as another more than a decent return of the Mould we saw and heard in the 90s. Except for the angry "Argos" and "Spiraling Down" the album is very much like a look back on his debut with its focus on singer / songwriter and folk rock instead of more electrified power pop and alt. rock compositions of the 90s. Lyrically, it works on a high level with fine stories but it's also an album without obvious great songs, and I mostly find it the nice return with hopes of something more.
[ allmusic.com 4 / 5, Rolling Stone 3 / 5 stars ]

Volbeat "Beyond Hell / Above Heaven" (2010)

Beyond Hell / Above Heaven
release date: Sep. 10, 2010
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Jacob Hansen
label: EMI - nationality: Denmark

Track highlights: 1. "The Mirror and the Ripper" - 2. "Heaven Nor Hell" - 4. "Fallen" (3 / 5) - 5. "A Better Believer" - 13. "Thanks"

4th studio album by Volbeat follows one year after Guitar Gangsters & Cadillac Blood, is like all the band's previous albums produced by Jacob Hansen.

The line-up remains intact and the writing/composer-procedure continues with the same pattern with poulsen as only songwriter and composer of 9 out of 13 songs and as co-composer with other band members on 4 songs.
Again, the music is within narrow boundaries of primarily hard rock and as on the 2008 release, they succeed with a personal expression. They also explore the use of featuring artists as on their national monster-hit "A Garden's Tale" with Johan Olsen to much further extend. Henrik Hall of Love Shop features on track #2, Mille Petrozza of Kreator and Michael Denner of Mercyful Fate / King Diamond both feature on track #6, Jakob Øelund of Taggy Tones is featuring artist on track #8, and Mark 'Barney' Greenway of Napalm Death appears on track #11. The album is the band's final with guitarist Thomas Bredahl, who left the band in Nov. 2011.
I do recognize the band's contribution to the genre and their hard-headed determination. Still, the style is not really something I listen much to, and I still think many of their tracks sound too much alike. Compared to the predecessor that in some ways signaled a new way, they once again seem stuck with a matrix they think is the right combination to open the hidden safe box, which will let them have all the money and fame instead of making some new great music. Again, it's not entirely bad, it's just not something I would recommend because it's like the C and D-sides to an earlier album and I frankly think they are stuck in a bubble with no doors.
Not recommended.
[ allmusic.com 3,5 / 5 stars ]

Gossip "Music for Men" (2009)

Music for Men
release date: Jun. 22, 2009
format: cd (2010 reissue)
[album rate 4 / 5] [4,08]
producer: Rick Rubin
label: Sony Records Japan - nationality: USA

Track highlights: 1. "Dimestore Diamond" - 2. "Heavy Cross" (4 / 5) (Live at Jonathan Ross) - 3. "8th Wonder" (5 / 5) (Live in Germany) - 4. "Love Long Distance" (Live at Reading Festival) - 5. "Pop Goes the World" - 6. "Vertical Rhythm" - 7. "Men in Love" (4 / 5) - 9. "2012" - 12. "Spare Me From the Mold"

4th studio album release by this fine American trio, Gossip, released almost 3½ years after Standing in the Way of Control (Jan. 2006). The line-up remains intact with Beth Ditto on vocals, Brace Paine [aka Nathan Howdeshell] on guitar, bass & keyboards, and with Hannah Blilie on drums & percussion. The album was originally released by Columbia as a 12-track standard album - the 2010 Japan issue contains three bonus tracks of which two are remixes of tracks #2 and #4.

Musically they continue their energetic indie rock-approach by embracing dance-punk and now also disco-elements, and at the same time they have now left behind a shallower garage rock-sound, which mostly characterised their first two albums. Rick Rubin is here key-producer in guaranteeing a solid rock sound with strong dance appeal. He's been a bit all over the place in terms of genres and styles since starting out mostly as rap and hip hop-producer in the late 80s but after crossing to the alt. rock scene, he has been near synonymous with flawless productions - he also produced the band's live-album Live in Liverpool (Dec. 2007).

With Gossip you may say it's business as usual in the way that it's energetic and tight alt. rock. The dance-punk element from the 2006 album is further underlined in a more dynamic production and the album simply comes out with a stronger sound than its predecessor. This is just great music for driving or cleaning the house but it needs volume. Beth is one hell of a singer and the music is really addictive. Music for Men is undoubtedly the band's best album, but it's more difficult to point out their second-best album but I can only recommend Standing in the Way of Control (2006) and A Joyful Noise (2012).

The front cover for this album features a photo of the band's drummer, Hannah Blilie.

Highly recommended.

[ allmusic.com, 👍Uncut, The Independent 4 / 5, Spin 3,5 / 5 stars ]

2009 Favourite releases: 1. Kent Röd - 2. Gossip Music for Men - 3. Dolores O'Riordan No Baggage

Blondie "The Essential Collection" (1997)

The Essential Collection (compilation)
release date: 1997
format: digital
[album rate: 3 / 5]
producer: various
label: EMI - nationality: USA

14 track best of compilation by Blondie. The album is identical to two other best of albums: Denis, a Dutch release issued in 1996 by Disky Records, and the 2006 album The Blondie Collection released by EMI. It's really hard to find one fine best of album with Blondie, and it doesn't help much that a vast number of so-called best of Blondie albums have been issued. Most of these releases have 4-5 great tracks and a number of misplaced not-best-of songs, and then always miss several great tracks as well - or so it seems. This is not better or worse than most other compilations by Blondie. However, here I miss great songs like "In the Sun", "Fan Mail", "I Didn't Have the Nerve to Say No", "Heart of Glass", "Dreaming", and "Atomic", which sort of tells what kind of release it really is, or: not. The album comes with two different front covers, and: it's really NOT essential.
[ allmusic.com 2 / 5 stars ]

<  show alternate cover >

    

alternative
Australian cover

alt. album 
"Denis", 1996 
(same track listing)

The Beautiful South "Gaze" (2003)

The Beautiful South
release date: Oct. 27, 2003
format: digital
[album rate: 2,5 / 5] [2,44]
producer: Jon Kelly, John Brough, Paul Heaton
label: Mercury, Go! Discs - nationality: England, UK

8th studio album by The Beautiful South who has regrouped with new vocalist Allison Wheeler replacing Jacqui Abbott, who left after the release of Painting It Red. The style is unchanged a mix of sophisti-pop and country and folk with focus on story-telling about working class life and partnership struggles, which seems like Heaton's only subjects.
Compared to earlier compositions the band has put aside the more original chorus-based songs and instead rest satisfied with a handful of song templates to go with new lyrics.
To me, this is just another mediocre release from this once fine band.
[ allmusic.com 2,5 / 5 stars ]