Grant Hart "Good News for Modern Man" (1999)

Good News for Modern Man

release date: Nov. 30, 1999

format: cd

[album rate: 4 / 5] [4,06]

producer: Grant Hart & Brent Sigmeth

label: Pachyderm Records - nationality: USA

Track highlights: 1. "Think It Over Now" (4 / 5) - 3. "Run Run Run to the Centre Pompidou" - 4. "You Don't Have to Tell Me Now" (4 / 5) - 6. "A Letter From Anne Marie" - 7. "In a Cold House" - 8. "Seka Knows" - 11. "Little Nemo"

[ full album ]

2nd full-length studio album by Grant Hart follows more than five years after the final album by Nova Mob and ten full years since his first solo album Intolerance. And just like his solo debut, he has here written and composed all music as well as being the only performer playing all instruments, doing all vocals except for the lead guitar on track #8 by Mato Nanji (from the band Indigenous). The album was originally released on the small independent Minnesota label Pachyderm and only issued in the US and via Rough Trade in Germany, but in 2014 the album was reissued on Hart's own label Con D'Or Records as most of all his older albums.

This new updated version of Grant Hart doesn't carry a lot of the alt. rock style he showcased in Hüsker Dü, the folk rock-simili as introspective solo artist on his first solo, nor the more electrifying power pop of his band Nova Mob from 1991-94. Instead, it's a quite original blend of pop / rock with influences from a rock tradition with strong roots in 1960s psychedelic rock. The production sound has improved considerably compared to his previous albums, and it's quite a wonder how this one-man army is able to make such a distinct sounding album only based on his own material.

Hart isn't and never was afraid of blending styles and the album is rich of various stylistic impressions without losing coherency. He also possess a distinct and lively vocal, which glues it all nicely together. Some tracks sound as if they were covers of classic psychedelic rock songs by e.g. Jefferson Airplane ("Seka Knows"), experimental rock by e.g. Captain Beefheart ("Let Rosemary Rock Him, Laura-Louise") but they are all strictly originals of 1999 in a fine production.

So what's not to like? I don't know! And I frankly do not understand how Hart maintained status as a cult figure. His former band associate of Hüsker Dü, Bob Mould was recognised from early on as an important musician and songwriter of the 90s, and he was honoured as one of the forefathers of the grunge rock-movement. Grant Hart somehow stayed in the shadows where only few people knew of his importance. This is not even his first acclaimed album - and it was met by positive reviews, but Grant simply didn't make the big break in the business of music, but with this and other albums he will be remembered.

In total, Grant Hart released four solo studio albums and one live album after the disbandment of Hüsker Dü from 1989 to 2013. Of all five, this very album is from my perspective his best ever and therefore highly recommended.

[ 👍allmusic.com 4 / 5, Pitchfork 7,7 / 10 stars ]

Kent "B-sidor 95-00" (2000)

B-sidor 95-00 (compilation)
release date: Nov. 29, 2000
format: 2 cd
[album rate: 4 / 5]
producer: various
label: RCA Victor / BMG Sweden - nationality: Sweden

Track highlights, Disc 1: 5. "Noll" - 7. "Bas riff" - 8. "Din skugga" - 10. "Längesen vi sågs" - 11. "December" - 12. "Utan dina andetag" - 13. "På nära håll" - - Disc 2: 1. "Livrädd med stil" - 2. "Verkligen" - 6. "Rödljus" - 9. "Den osynlige mannen" (Kazoo version) - 10. "Slutsats"

2 disc compilation album by Kent compiling all of their B-side singles from 1995 to 2000. Given the title this is of course fan material, and as such a very nice release. My only complaints here are the incomplete project and the running order: A minor 'fault' is how they have tried to order songs according to release date, but in reverse order. That is a bit annoying but still you may add: it's kind of chronological; however, more grave is the incompleteness. "Kevlarsjäl" was released Sep. 2000 with "Insekter" as B-side - that song is left out on the album. Of course it was included on Hagnesta Hill (1999) but also "Den osynlige mannen" and "Pojken med hålet i handen" were album releases and still find their way to this album as B-side releases. What's a more openly bad decision, is the fact that the first two tracks were never even actual B-sides! "Chans" was released to promote this compilation as an A-side single (with "747" in a remix as the B-side, which isn't here), and "Spökstad" was planned for a second A-side release, but it was retracted by the record label only after the first pressing had hit the stores [which makes it quite rare]. That's truly an odd choice to have an album titled "B-sides..." starting off with two non-B-side singles. It's just... when you announce an album of this sort, you better do it right, and I think it could have been better and more accurate.
All this aside, the album is a nice release, where several songs shine as A-side material, and the booklet comes with detailed information about the songs, the singles released and the recording sessions. The album peaked at number #2 on the national albums chart list and two singles were released: "Chans" (rel. Nov. 22) reaching number #14 and "Spökstad" (rel. early 2001), which didn't result in a chart list entry.
Not essential but definitely fan must-have material.

Also in 2000, a documentary "Så nära får ingen gå – ett år med Kent" was made by Mathias Engstrand and Per Sinding-Larsen, who followed the band in Sweden and throughout Europe for a whole year. The film premiered on SVT [Sveriges Television] (the national Swedish Television) in May 2001.

Grant W. McLennan "Watershed" (1991)

Watershed [debut]
release date: Jun. 1991
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Dave Dobbyn
label: Beggars Banquet - nationality: Australia

Track highlights: 1. "When Word Gets Around" (video) - 2. "Haven't I Been a Fool" (live) - 3. "Haunted House" - 5. "Easy Come Easy Go" - 8. "You Can't Have Everything"

Studio album debut by Grant W. McLennan [Grant William] one of the founders of The Go-Betweens released 18 months after the disbandment Christmas 1989 and originally released on White (Label) Records in Australia, sub-label to Mushroom, and on Beggars Banquet for international issues. More recently, the album follows only 6 months after the debut album by the duo-project Jack Frost consisting of McLennan and Steve Kilbey.

Despite being one of the main composers, guitarists and vocalist, this is stylistically far from the last album 16 Lovers Lane (Aug. 1988) by his former band, and it's also further away than his co-founder, Robert Forster's solo debut released some 7 months earlier - the fine Danger in the Past (1990). It's of course unjust to compare these two solo albums, as the two are both 100% in charge of what they want their respective albums to sound like, and McLennan has chosen to release an album in a naked singer / songwriter and folk pop style that sits somewhere between Bob Dylan, Townes van Zandt and early Paul Simon and completely free of the Kilbey-induced neo-psychedelia of the Jack Frost project. All 12 songs here are written and composed by McLennan, who is credited on vocals and guitar with the support of a bunch of session musicians, which include producer Dave Dobbyn as well as Amanda Brown - McLennan's ex-band mate and ex-girlfriend, who is at the centre of the majority of the songs here.

A few up-tempo tracks with strumming jangle pop guitars remind us of the existence of a band called The Go-Betweens but the majority of the tracks do not. It's not contemporary indie pop and the rock label is only there, I think, 'cause that's what people relate to when thinking of music by one of the backbones of the former Australian indie rock-band.

The album was perhaps met by a few positive reviews but it came out with basically no one paying much attention, and my perceptions of the album is a bit far from the overwhelming reception you'll read on allmusic.com, which is the only one I could find. That said, Watershed reveals McLennan's forces as well as his weaknesses. He has been accustomed to writing the ligthweight counterparts to Forster's darker contributions, and as strong and nicely his heartbroken lyrics may appear, they simply shine brighter with a polarity. Here, he attempts with both slow and uptempo songs but his former band mates also helped in selecting his strongest songs and arranging. And now left to do the whole thing on his own, the dynamics are less apparent. When McLennan shines, he's among the finest and most fascinating songwriters around, but the album comes with too much fill.

Not bad and not really great, but definitely worth a spin and more.

[ allmusic.com 4,5 / 5 stars ]

U2 "How to Dismantle an Atomic Bomb" (2004)

How to Dismantle an Atomic Bomb
release date: Nov. 22, 2004
format: digital
[album rate: 3 / 5] [3,16]
producer: various
label: Island Records - nationality: Ireland

Track highlights: 1. "Vertigo" - 3. "Sometimes You Can't Make It on Your Own" - 6. "All Because of You" (4 / 5) - 10. "Original of the Species"

11th studio album by U2 was not produced by a single producer or a group of people but each and every song had various people producing the individual tracks for the album. Having said that, it's also a return to their first producer Steve Lillywhite, who produced the band's first three albums, and who is credited as producer on five of this album's originally 11 tracks. Chris Thomas produced two tracks (and co-produced one track with Daniel Lanois), and the remaining tracks all had individual producers. Four years after All That You Can't Leave Behind (Oct. 2000) doesn't really suffice to make more than a decent release, and again rumour has it that the band was about to split. The album contains the fine tracks "Vertigo" (a track that was meant to reestablish the band as a real rock quartet), "Sometimes You Can't Make It on Your Own", and the only really great track "All Because of You" - the rest are easily forgotten.
[ allmusic.com 3,5 / 5, 👎Rolling Stone, Q Magazine 4 / 5 stars ]

New Order "Complete Music" (2016)

Complete Music
release date: May 13, 2016
format: 2 cd (LTD. - LCDSTUMM390)
[album rate: 3,5 / 5] [3,34]
producer: New Order
label: Mute Records - nationality: England, UK

Remix edition of the album Music Complete (2015) with all tracks in extended versions.The album was originally released in Japan only as a special download release, which came with a Deluxe Edition of the 12'' vinyl issue of the album, but was later released in its own rights.
I puchased the album and was given a free download of not only this but also the original album in FLAC-format.
Well, the remixes are really not that far from the original versions - they are generally much longer, but in a way I cannot help thinking of them as over-produced. The great songs remain great, but I really prefer the 2015 album versions.

EDIT, Nov. 2016: I must confess, I have listened to this from time to time, not just skipping it 'cause it really is catchy and seemingly has more to offer than meets the eye. I can't really put a finger on what it is, as I still feel the remixes are very close to the originals, but it's perhaps not simply over-produced after all. I would still recommend the original 2015 Music Complete album, although this is not just bad. My initial verdict 3,22 has improved but still eludes 'must-have'...

Björk "Big Time Sensuality" (1993) (single)

Big Time Sensuality, cd single
release date: Nov. 22, 1993
format: cd
[single rate: 3,5 / 5] [3,62]
producer: Nellee Hooper
label: Mother Records - nationality: Iceland

Tracklist: 1. "Big Time Sensuality" - 2. "Sídasta ég" - 3. "Glóra" - 4. "Come to Me - Black Dog Productions"

Single release taken from the album Debut and originally released by One Little Indian.

Blondie "Greatest Hits" (2005)

Greatest Hits (compilation)
release date: 2005
format: digital
[album rate: 3,5 / 5]
producer: various
label: EMI / Capitol Records - nationality: USA

22 track compilation album by Blondie. This is one of the better compilations with Blondie, although, it still miss several great compositions. The last three tracks are not any of the band's best, and it's really a mystery how they ended up here. Two are taken from the most recent come-back album The Curse of Blondie from 2003, which doesn't contribute with great material, and the last track is a remix of The Doors "Riders on the Storm" and Blondie's track "The Rapture", a really odd inclusion. Luckily they come at the end so may just skip them, but then tracks like "In the Sun", "Fan Mail", "I Didn't Have the Nerve to Say No", "Die Young Stay Pretty" should be here to call it a true best of album. The album was released in an expanded version called Greatest Hits (Sight & Sound) with a dvd containing 17 video tracks.
[ allmusic.com 3,5 / 5 stars ]

John Mayer Trio "Try! (Live in Concert)" (2005) (live)

Try! (Live in Concert) (live)
release date: Nov. 22, 2005
format: cd
[album rate: 3,5 / 5] [3,72]
producer: Steve Jordan, John Mayer
label: Columbia - nationality: USA

Track highlights: 1. "Who Did You Think I Was" - 2. "Good Love Is On The Way" - 3. "Wait Until Tomorrow" - 5. "Vultures" - 10. "Daughters" - 11. "Try"

1st album release with John Mayer Trio consisting of Mayer on guitars and lead vocals, bassist Pino Palladino and Steve Jordan on drums and backing vocals.
The album focuses on blues rock in particular but also builds on traditional r&b and jazz rock. It consist of 11 tracks of which two compositions are reworked songs from Mayer's 2003 solo album: "Daughters" and "Something's Missing", two are Mayer songs from his forthcoming 2006 album: "Vultures" and "Gravity", and two songs are cover versions: Hendrix' "Wait Until Tomorrow" and "I Got a Woman" written by Ray Charles, and three songs written by the John Mayer Trio.
This is the first sign that Mayer really intend to move his music away from the pop / rock productions of his early career, which is warmly welcomed. It's not surprising to see Mayer release a live album under this new constellation - he has already become renowned for playing better and more energetic on his live performances, and when that seems to evade him in the studio what is more appropriate than just record the music live?!
Anyway, I find it strong and very tight in a jazzy way all thanks to drummer and bassist. It was met both by appraisal and lukewarm reviews - some of which I suspect of wanting Mayer to keep releasing soft rock songs for his teen fans. The album was nominated Best Rock Album at the 2007 (?) Grammy Awards, and I simply consider it his so far best effort.
[ allmusic.com 4,5 / 5, Blender, Rolling Stone 3 / 5 stars ]

Alanis Morissette "So-Called Chaos" (2004)

So-Called Chaos
release date: Feb. 26, 2004
format: cd
[album rate: 2,5 / 5]

Track highlights: 1. "Eight Easy Step" - 2. "Out Is Through" (4 / 5) - 7. "Not All Me"

6th studio album release by Alanis Morissette. This reminds me a lot about Supposed Former Infatuation Junkie (1998).

It doesn't contain that many special songs, and as with the aforementioned album, whenever Alanis lacks the good songs, she or the producer tend to throw in a handful of energetic powerdriven tracks that shows her as the angry grunge-inspired lady of rock. Kinda like the same recipe as Pearl Jam has used on a number of occasions, actually.

I think this is her weakest effort so far.

[ allmusic.com 4 / 5, Rolling Stone 2 / 5 stars ]

Siouxsie and the Banshees "Downside Up" (2004)

Downside Up (compilation)

release date: Nov. 19, 2004

format: digital box set

[album rate: 4 / 5]

producer: various

label: Polydor / Wonderland / Universal - nationality: England, UK

A compilation by Siouxsie and the Banshees as a 4-disc box set, which is described on the sticker on the front cover:

"B-Sides & Rarities Box Set

55 tracks on 4 CDS All digitally remastered
34 tracks on CD for the first time!

Includes a 76 page booklet with an introduction by Siouxsie

Annotations by all 3 members of the band for each track

Full lyrics for all tracks
982 182-3"

55 tracks and 3 hours and 50 minutes of total running time - which should ensure a sensation of being covered with rare takes etc. And it is a rather comprehensive release, which luckily includes fine comments from Siouxsie, Severin, and Budgie as additional material for each track.

Collector's item.

Atoms for Peace "Amok" (2013)

Amok [debut]
release date: Feb. 25, 2013
format: digital
[album rate: 3 / 5] [3,22]
producer: Nigel Godrich
label: XL Recordings - nationality: England, UK

Track highlights: 1. "Before Your Very Eyes" - 2. "Default" - 3. "Ingenue" - 7. "Judge, Jury and Executioner" - 9. "Amok"

Studio album debut by project-band Atoms for Peace consisting of Radiohead frontman Thom Yorke on vocals and guitar, and that band's most frequently used producer Nigel Godrich on programming, Red Hot Chili Peppers Flea on bass, Joey Waronker of Beck and R.E.M. on drums, and with Mauro Refosco of Forro in the Dark (and David Byrne backing band) on percussion.
According to various magazines the band intended a sound and style, which took its inspiration in African funk, and drum and percussion-based music as exemplified by Fela Kuti; however, to me, this mostly falls in a much closer relation to the works by Radiohead and Thom Yorke with a supplement of a more advanced rhythm section... at times. More than the mutual work of a super-group, it mostly turns out as a [Radiohead] Yorke and Godrich project with what is quite familiar to that. Now, it's not bad - it's just really really close to the solo debut album Eraser by Yorke and e.g. Amnesiac by Radiohead, and in that way I don't feel it brings much new to the table. "Ingenue" is THE highlight here and the rest somewhat appears a bit anonymous.
[ allmusic.com, Rolling Stone 4 / 5, Slant 3,5 / 5, Sputnikmusic 3 / 5 stars ]

Bruce Springsteen "The Promise" (2010)

The Promise [Archival] (compilation)
release date: Nov. 16, 2010
format: 2 cd
[album rate: 3,5 / 5] [3,42]
producer: Bruce Springsteen, Jon Landau, Steven Van Zandt
label: Columbia Records - nationality: USA

2 disc compilation album by Bruce Springsteen consisting of 21 previously unreleased songs recorded from 1977-78 drawing from the Darkness on the Edge of Town sessions. The album is sold separately but is also available as part of the box set The Promise: The Darkness on the Edge of Town Story, a 6-disc set, which includes 3 CDs and 3 DVD or Blu-ray discs. It contains a remastered version of the Darkness on the Edge of Town album, The Promise [this album], a documentary titled "The Promise: The Making of Darkness on the Edge of Town", and 2 DVDs of live performances. Which is to say: pretty extensive material.
The Promise really documents Springsteen's gifts as a composer. The tracks are vivid and original leftovers that could easily have been released in '79 or '81 when he didn't release new material.
[ allmusic.com 4,5 / 5 stars ]

Feargal Sharkey "Feargal Sharkey" (1985)

Feargal Sharkey [debut]

release date: Nov. 11, 1985

format: vinyl

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

producer: David A. Stewart

label: Virgin Records - nationality: Northern Ireland, UK

Track highlights: A) 1. "A Good Heart" (5 / 5) (video) - 2. "You Little Thief" - 4. "Ashes and Diamonds" - 5. "Made to Measure" - - B) 1. "Someone to Somebody" - 2. "Don't Leave It to Nature" - 5. "It's All Over Now"

Solo studio album debut by Feargal Sharkey after the disbandment of The Undertones, Jul. 1983. The band's last two albums Positive Touch (1981) and Sin of Parade (1983) already showed the band's move from melodic punk rock via power pop and into a bolder mainstream pop / rock scene, and Sharkey's solo effort basically just takes another step into sophisti-pop arrangements with strong contributions from Dave Stewart, Patrick Seymour, Michael Kamen, Nathan East, Olle Romo (Eurythmics backing band), Martin Chambers (of Pretenders), and Debra Byrd. Unquestionably, Stewart's presence ensures a sound that doesn't fall far from that of Eurythmics, and that's both the album's strength and a bit of a pitfall, as many artists sought to replicate the sound and the success of Eurythmics. "A Good Heart" written by Maria McKee deservedly became a massive hit, and much sayingly, the best tracks here are written by others, counting: "A Good Heart", "You Little Thief", "Made to Measure", "Someone to Somebody", and "It's All Over Now". Sharkey has that fabulous vocal that just makes it more than generic pop. It's Northern pop soul, which puts him alongside someone like Paul Young; alas Sharkey soon tired of the music business and withdrew from the limelight shortly after his follow-up Wish (Mar. 1988).

Elvis Costello & The Attractions "All This Useless Beauty" (1996)

All This Useless Beauty
release date: May 14, 1996
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Geoff Emerick and Elvis Costello
label: Warner Bros. Records - nationality: England, UK

Track highlights: 1. "The Other End of the Telescope" - 2. "Little Atoms" - 3. "All This Useless Beauty" (4 / 5) - 4. "Complicated Shadows" - 5. "Why Can't a Man Stand Alone?" - 6. "Distorted Angel" - 10. "You Bowed Down"

16th studio album by Elvis Costello following Kojak Variety (1995) is his first in a decade since Blood & Chocolate (1986) but also his final to feature his old backing band The Attractions on all tracks [see Brutal Youth]. And then it's also his last studio album on the Warner Bros. Records label (a best of album, Extreme Honey, subtitled "The Very Best of Warner Brothers Years" from '97 would be his final issue releasing him from his contract with Warner).

All songs here is a collection of songs that Costello intentionally wrote for other artists to record and two of the these were written and composed with other artists: track #1 with Aimee Mann, and track #7 with Paul McCartney.

It's not a return to the sound and tempo of former albums delivered together with The Attractions, but it's neither a follow-up to other recent releases, where he has experimented with classical material and roots rock, country and traditional folk. Before his '95 album he released the acclaimed Brutal Youth (1994) with reminiscences of his heydays with his renowned backing band, but not really in that neighbourhood either. Then what is it? To compare with former Costello works it sits somewhere in between - and could be described as the combination of three albums: the stripped-down and pure Brutal Youth, the softer Mighty Like a Rose (without the heavy arrangements) and the personal, much varied, and yet unique sound of Spike.

Personally, I had stopped following new material from Elvis after his '95 album. My impression at the time was that he had peaked long before that and had his best years behind him, Although, what years they were! 'Cause no mater what, how could he come up with anything new without risking to to fail?! At this point in his massive career, he has been around all corners of genres and styles, he had covered and played with music greats. And perhaps that's what he cleverly unfolds here when he mix EVERYTHING he has done and showcases his 'roots rock' fascination, perfections his Dylanesque composer skills, points to popular music icons of the sixties and plagiarises his older self in completely new tones. It's all Costello, and he can do anything. I still think his best years were back then in the '70s and 80s, but nevertheless, I should have paid this album some attention in '96 'cause fact is, it's much better than many of his other recent releases and up there close to his '94 album. It contains many strong compositions - perhaps not as musical originals but as a songwriter, boy, he really still delivers.

[ allmusic.com, NME 3,5 / 5, Rolling Stone, Uncut, Q Magazine 4 / 5 stars ]

Easy "Magic Seed" (1990)

Magic Seed [debut]
release date: 1990
format: vinyl (MNWP 208) / digital
[album rate: 4 / 5] [3,78]
producer: John Fryer
label: MNW - nationality: Sweden

Track highlights: A) 1. "Castle Train" (4 /5) - 2. "He Brings the Honey" (4 / 5) (live) - 3. "Cloud Chamber" - 4. "Damn Sugar" (5 / 5) - 5. "Sunny Day" (4 / 5) - - B) 3. "Between John & Yoko" - 5. "Magic Seed" (4 / 5)

Studio album debut by Swedish indie pop band Easy formed in 1987, Jönköping, Sweden. The band went through some changes in the line-up during the 1990s but here the band is a quintet made up by Johan Holmlund on vocals, Tommy Ericsson on guitar, Anders Petersson on keyboards and guitar, Rikard Jormin on bass, and with Tommy Jonsson on drums.

I don't remember why or where I came across the album but it's most likely a puchase from the early 1990s. I was hooked on shoegaze and dream pop and this is a great example of just this kind of music. Somehow the band succeeded in making a deal with the Swedish indie pop label MNW and hired the hot British producer John Fryer to produce the album. Most likely, I found his name on the back of the cover and knew it couldn't be all bad. At this point he had already produced albums for Cocteau Twins, Modern English, This Mortal Coil and Peter Murphy among others. I played this very album quite a lot for a period of time and I never really understood why the band never gained more recognition. Especially the A-side of the album is great. The sound is a bit one-dimensional in the long-run but it really consists of enough fine compositions to be a legendary ep of the genre. It's the only album I know of by Easy but they have many other studio albums. Their most recent release is a non-label album from 2014.

Recommended.

Pearl Jam "Riot Act" (2002)

Riot Act
release date: Nov. 12, 2002
format: cd
[album rate: 3 / 5] [2,88]
producer: Adam Kasper, Pearl Jam
label: Epic Records - nationality: USA

Track highlights: 1. "Can't Keep" - 6. "I Am Mine" - 7. "Thumbing My Way" - 9. "Get Right"

7th studio album by Pearl Jam with new producer, Adam Kasper, sounds very much like Pearl Jam, and also the continued story of a band still in search of a sound. The predecessor's experimental approach is continued here, although, this is more restrained with art rock-reminiscence. The album echoes two tragedies: nine deaths in front of the scene at the Roskilde Festival in 2000 while Pearl Jam played, and the 9/11 terrorist attack in 2001. At the same time, it's also a near political uproar against the Bush administration. The writing process exemplifies the band's struggles, as all members bring their individual material to the recording studio after which the band then rework these sketches until a satisfactory result is met - a working process they initiated on the much better Yield; however, this process is also reflected in highly varied compositions without any strong bonds. The most successful compositions are as usual those written by Eddie Vedder, whereas the others bring about the more experimental songs.
In a way, the album contains stronger compositions, is more coherent than Binaural and No Code, but still feels like an unfinished bunch of songs where an overall goal is somewhat blurred.
I don't find that the album contains any really great songs and basically just think of it as another mediocre and easily forgettable release by Pearl Jam.
[ allmusic.com 4 / 5, Rolling Stone, Q Magazine 3 / 5, The Guardian 2 / 5 stars ]

Radiohead "The King of Limbs" (2011)

The King of Limbs
release date: Feb. 18, 2011
format: cd
[album rate: 3 / 5] [2,98]
producer: Nigel Godrich
label: TBD Records - nationality: England, UK

8th studio album by Radiohead is an originally self-released album produced by Nigel Godrich following 3½ years after the acclaimed In Rainbows (Oct. 2007). The album marks a turn to a stronger experimental composing process with recordings of studio sessions as is without having written down chords or lyrics prior to the sessions - pure improvs, that is, and with additional post-production of sampling and (other) programming.
I really enjoyed In Rainbows and consider it the band's best, and perhaps therefore I find it hard to really embrace this one. The album appears to continue in a similar lane, but they're not the same. It's simply too much of the same: compositions going on and on without a clear aim other than to dwell at a sudden impulse but lacking sufficient framework to call it distinct compositions to my liking. As all good improvs, the album reflect good ideas and moments of synergy but it sort of drowns in a following moment. Yes, these guys are truly talented musicians, but this is not... I mean... I may aso write stuff with a beginning, not sure where it takes me... was that a middle section? Here's a new statement, and here comes an end! Did that make much sense?
The King of Limbs sounds like Radiohead, and it sure is, I guess, but I like 'em so much more when they pursue fully structured ideas. Best track here is "Lotus Flower", which sounds like an outtake from In Rainbows.
[ allmusic.com, 👉NME 3,5 / 5, Rolling Stone, Q Magazine, The Guardian 4 / 5 stars ]

John Mayer "Heavier Things" (2003)

Heavier Things
release date: Sep. 9, 2003
format: cd
[album rate: 3,5 / 5] [3,44]
producer: Jack Joseph Puig
label: Aware / Columbia - nationality: USA

Track highlights: 1. "Clarity" - 2. "Bigger Than My Body" - 3. "Something's Missing" - 5. "Come Back to Bed" - 7. "Split Screen Sadness" - 8. "Daughters" - 9. "Only Heart"

2nd full length studio album by Mayer with a new producer. Soundwise, the album mostly continues where Room for Squares ended. The dominance of pop / rock is evidently here - intended or not, it's pretty slick, although, I believe it's supposed to have a more gritty touch - also with reference to the title someone must have thought that it should be "Mayer on the rocks". A few tracks turn out with more focus on rock, but it really is with a narrow margin. "Bigger Than My Body" and "Something's Missing" are typical: They could have been rockier compositions but you need looking glasses to spot the big differences. Perhaps the strongest variation from his 2001 album is the intention to add elements from jazz, fusion rock and blues rock - you'll notice small guitar riffs, sound bits and horn sections here and there; only, they literally drown in dominating pop / rock arrangements and the (over-)produced touch of the album. There are attempts of applying a wider dynamic range with both uptempo and more laid-back compositions. "Something's Missing" comes close to the fusion rock by Andy Summers' post-Police period - in fact, I often find sound-bits with reference to The Police on this album. "Come Back to Bed" is a soft rock composition with horn sections, jazz and a more traditional blues feel that one will find on the predecessor. "Daughters" picks up the same variation in being a strong mellow acoustic piano- and jazz-founded ballad with strong emotions and it sticks out as that song, which makes you wonder if it really fits that well on this predominantly pop-release!? Once again, it has Mayer standing in more than one camp. Now, there's absolutely nothing wrong in playing both with strong energy and a soft lip, but the truly conflicting element is a fundamental question of direction when it comes to what audience you intend the album to appeal to. You cannot intentionally appeal to everyone, and if you make it too broad you end up losing more than you gain. On one hand the album contains more interesting compositions, sort of building on his debut ep Inside Wants Out (1999), but it also reveals the same problem of stylistically direction and taking a stand: What do YOU want this album to be Mr. Mayer? A composite of all styles and genres... well, then you may be on your way!
[ allmusic.com 3,5 / 5, Rolling Stone 4 / 5, Blender, Slant 3 / 5, Spin 2,5 / 5 stars ]

Natalie Merchant "Live in Concert" (1999) (live)

Live in Concert (live)
release date: Nov. 8, 1999
format: digital
[album rate: 3,5 / 5] [3,33]
producer: Natalie Merchant
label: Elektra Records - nationality: USA

3rd album release by Natalie Merchant is a live recording from a concert at The Neil Simon Theatre in New York, and the full title of the album is Live in Concert, New York City, June 13, 1999. It consists of 11 tracks with 7 written by Merchant, and it features a fine cover of Bowie's "Space Oddity", and an even better version of Neil Young's "After the Gold Rush".
All in all, it's a rather fine album, although, Merchant seem a bit too laid-back at times, but I do like the idea of releasing a full concert instead of picking live recordings from here and there.
[ allmusic.com, Rolling Stone, Q Magazine 3 / 5 stars ]

Robert Forster "Danger in the Past" (1990)

Danger in the Past [debut]

release date: Nov. 1990
format: cd (BEGA 113 CD)
[album rate: 3,5 / 5] [3,68]
producer: Mick Harvey
label: Beggars Banquet - nationality: Australia

Track highlights: 1. "Baby Stones" - 2. "The River People" - 3. "Leave Here Satisfied" - 4. "Heart Out to Tender" (live) - 7. "Danger in the Past" - 8. "I've Been Looking for Somebody" (4,5 / 5) - 9. "Justice"

Solo studio album by Australian songwriter Robert Forster after the disbandment of The Go-Betweens. The album is produced by Mick Harvey of The Bad Seeds, and Forster simply continues the contractual obligations with the record label who stood behind releases with his former band.

Harvey is also credited as multi-instrumentalist together with Hugo Race (former The Bad Seeds guitarist) and drummer Thomas Wydler from The Bad Seeds. Apart from these four only Karin Bäumler is credited for additional vocals.

The story goes that before breaking up with The Go-Betweens and after ending their one-year world tour, Forster had relocated to Berlin to be with Karin Bäumler - his future wife (May 1990-) - before returning to Brisbane to initiate what should have been the band's follow up to 16 Lovers Lane (1988) and immediately upon the decision to end the band (Dec. '89), he then returned to Berlin and initially began writing new songs for a duo-project - or perhaps a continuation of The Go-Betweens - as a duo with Grant McLennan, but instead the songs solidified as Forster's solo album debut. Berlin was a second home to The Bad Seeds, so it was natural to contact Harvey and then the inclusion of two other Bad Seeds members was at hand, you may say.

Although, all songs are credited Forster alone, the album as a whole have many similarities with the works by Nick Cave and the Bad Seeds. Only tracks #1, #2 and #9 with a bolder / more typical 'jangle pop' / 'folk rock' guitars actually sound like songs that you could find on albums by The Go-Betweens, but the remaining six of the album's nine songs all share some of the same influences from 'blues rock' as albums by The Seeds by having that dark tone and wry sentiment to it. At the same time the album is also a 'singer / songwriter' release but it's quite easy to imagine Nick Cave substituting Forster's vocal and then you'd simply have a late 90s album by Cave, who at this point made more 'punk rock' / 'blues punk' albums, and on the other hand it's even imaginative to think that Cave was influenced by this when turning his / their music towards a bolder 'singer / songwriter'-style, which may be heard on his albums of the second half of the 1990s.

That said, the songs here are typical Forster material about (his new-found) love with realistic everyday narrations dealing with relationships - he and Grant ("Leave Here Satisfied") and about Karin ("Heart Out to Tender", "I've Been Looking for Somebody"), and he makes sure not to try to replicate Cave's voice but instead cleverly keeps to his own usual melancholic vocal.

The songs, the style and the production sound all makes this anything but a discontinued journey of The Go-Betweens or the follow-up to their fine '88 album. Instead it marks a fine start of Forster's solo career.

[ allmusic.com 4 / 5 stars ]

The Cure "Wild Mood Swings" (1996)

Wild Mood Swings
release date: May 7, 1996
format: digital
[album rate: 2,5 / 5]
producer: Steve Lyon, Robert Smith
label: Fiction Records - nationality: England, UK

Track highlights: 1. "Want" - 2. "Club America" (3 / 5) - 3. "This Is a Lie" (3 / 5) - 6. "Mint Car"

10th studio album by The Cure was four years under its way, the longest time so far between the band's studio albums (but also the time the band has spent ever since on new studio albums). The band almost dissolved after Wish (1992) as band members left, was replaced and left again. By 1994 and the rehearsals for a new album the band solely consisted of co-founder Robert Smith and (new member) Perry Bamonte. Simon Gallup and Roger O'Donnell rejoined the band by the end of '94, and during the recording process of the album drummer Jason Cooper entered the band. The style is something new for the band as it's more mainstream pop / rock based, which perhaps explains the poor reception it faced. I actually, find it somewhat interesting, although, it's evident that it really lacks hit singles.
[ allmusic.com 3 / 5, Rolling Stone 2 / 5 stars ]

BEST OF 1991:Talk Talk "Laughing Stock" (1991)

org. vinyl cover

Laughing Stock
release date: Nov. 19, 1991
format: vinyl (847 717-1) / cd (1999 remaster)
[album rate: 5 / 5] [4,86]
producer: Tim Friese-Greene
label: Verve / Polydor - nationality: England, UK

Tracklist: 1. "Myrrhman" (5 / 5) - 2. "Ascension Day" (5 / 5) - 3. "After the Flood" (4,5 / 5) - 4. "Taphead" (4 / 5) - 5. "New Grass" (5 / 5) - 6. "Runeii" (5 / 5)

5th and final studio album by Talk Talk originally released on the Polydor sub-label Verve Records. After the band's controversy with former label EMI, bassist Paul Webb left the band, officially reducing Talk Talk to a duo of Mark Hollis and drummer Lee Harris, but practically, Harris had left Talk Talk before recording the album. The band had become a one-man project, but Harris is still credited as band member because he was hired as session musician, and the 'real' duo of Talk Talk was rather one consisting of Hollis and producer, co-songwriter, and keyboardist Tim Friese-Greene, although he never was an official member of Talk Talk.
The music on Laughing Stock is the extended journey to what was initiated on The Colour of Spring (1986) and much bolder heard on Spirit of Eden (1988). It's like one long coherent composition, although, there are 6 tracks on the album. The music is inter-woven jazz rock, art rock, and / or experimental but ultimately post-rock compositions with thematic ideas as foundation to improvisations.
Of all the great Talk Talk albums, I have always loved this album the most. Alas, the vinyl pressing of the release is not impressively manufactured. The sound is too low and the quality of the record is poor. This is the sort of album you just need to own on optical disc because of the minimal and spatial sound. Hollis was never the arch typical star of the music industry - he always distanced himself from the media circus, be it TV, reporters and-the-like, and he only reluctantly agreed to make music videos to some of the band's singles - as he didn't believe in the whole idea of promoting music.
Laughing Stock was met by positive reviews but Hollis had no intentions of touring to promote the album, very much like it had been the issue with the previous album(s). By 1992 Hollis dissolved the band and withdrew from music to concentrate on his family. However, he would go on to release one critically acclaimed solo album, the eponymous Mark Hollis in 1998 - produced, only to fulfil the contractual obligations of the two albums record deal with Polydor. Unfortunately, he hasn't released music since. He was embraced as a gifted singer and songwriter, and although, he could have continued as a famous solo artist, producer and/or songwriter, Hollis just wanted no part of the business. Paul Webb and Lee Harris went on to launch their duo project .O.rang and Tim Friese-Greene initiated his solo project Heligoland.
Sigur Rós has played Talk Talk compositions when playing live, and alongside many bands of the mid- and late 90s (Mogwai, Recoil, Godspeed You! Black Emperor, Radiohead, Portishead - yes, the list goes on) they have found much of their inspiration in Talk Talk and especially the band's last two albums that have come to stand like cornerstones of the modern music era.
To me, Laughing Stock is an album that I have always listened to - never a year without it - and I find it a modern masterpiece.
[ allmusic.com, Sputnikmusic 5 / 5, Q Magazine, Select 4 / 5 stars ]

1991 Favourite releases: 1. Talk Talk Laughing Stock - 2. Van Morrison Hymns to the Silence - 3. Kitchens of Distinction Strange Free World


[ collectors' item - from ~ €85,- ]

1999 cd remaster

Paul Young "Rock Swings (On the Wild Side of Swing)" (2006)

Rock Swings (On the Wild Side of Swing)
release date: Nov. 6, 2006
format: cd
[album rate: 3,5 / 5] [3,44]
producer: Dieter Falk
label: Maxi Media - nationality: England, UK

Track highlights: 1. "Tainted Love" - 2. "Bennie and the Jets" - 4. "Why Does It Always Rain on Me" - 6. "The Boys of Summer" - 8. "Hungry Heart" - 10. "In the Ghetto"

8th studio album by Paul Young is his first album in 9 years. It's recorded, arranged, mixed and produced nearly only with Dutch musicians at Wisseloord Studios in The Netherlands and it's released on the small German label, Maxi Media (distributed by Sony BMG).
Although, being a studio release consisting of 13 tracks it only contains 1 original track written by Young and Steve Sidwell, who has also arranged most of the songs. Now, Paul Young isn't famous for writing a lot of great songs, but more famous for his singing qualities - yet, this is something different as all songs are arranged as swing band compositions. Instead of just singing classic standards (it does contain one standard - Irving Berlin's "White Christmas" (made famous by Bing Crosby with his version from the movie "Holiday Inn" from 1942), this is more like a selection of modern standards. The selection of songs is a mix from all genres and styles, and despite using songwriters from various decades [and centuries] and as diverse as Elton John, Metallica, Travis, George Harrison, Eminem, Bruce Springsteen, David Bowie, Lou Reed and Irving Berlin [geeh] the end result is remarkably uniform all thanks to the artistic arrangements.
Once you have accepted... (or: If you get to the point of accepting) the idea of using familiar songs and turned these into swing band standards, it's really an impressive accomplishment. As Paul Young comments in the inlay: "some [songs] were more of a challenge than others, when it comes to arranging them in a new style." and: "...the planning took longer, than the recording!" Yeah, I bet they did!
At first my favourites were songs like "Tainted Love" (written by Ed Cobb and song by Gloria Jones back in '65, but really first made famous by Soft Cell with its new wave and synthpop version from 1981) and Springsteen's "Hungry Heart" (heartland rock from The River, 1980), but as I got to hear it over again, it was just such a treat to hear that great singing voice of Paul Young just coming to terms with new material and adding his special touch that ultimately lifts these arrangements over most of mainstream pop these days. A britpop song like Travis' "Why Does It Always Rain on Me" sounds as an old classic standard in the hands of Young and Sidwell, and even the heavy metal track "Enter Sandman" by Metallica becomes more than digestable in this completely altered version. "In the Ghetto" was brought to international fame by one Elvis Presley, but here it's just as great - just completely different. The perhaps most difficult songs on the album are the two by David Bowie and Lou Reed: "Walk on the Wild Side" and "The Jean Genie", but they cannot disturb the sensation that the album is a much better release than some critics suggest.
Recommendable.
[ allmusic.com 3 / 5 stars ]

Gossip "A Joyful Noice" (2012)

A Joyful Noice
release date: May 11, 2012
format: vinyl / cd
[album rate: 3,5 / 5] [3,68]
producer: Brian Higgins, Gossip
label: Columbia / Sony Music - nationality: USA

Track highlights: 1. "Melody Emergency" - 4. "Move in the Right Direction" (4 / 5) - 5. "Casualties of War" - 7. "Get Lost" - 8. "Involved"

[reviewed Jun. 3, 2012]

5th and final studio album by Gossip follows three years after Music for Men (Jun. 2009) is made with English pop-producer Brian Higgins (from the songwriter / production-team Xenomania) and it contains eleven new compositions with a total running time just below 45 minutes.

Stylewise, the band has clearly turned towards a poppier style - with Xenomania, Higgins earlier worked with Pet Shop Boys, Kylie Minogue, Cher, Sophie Ellis-Bextor and many others producing bold pop-and dance-oriented music, which of course has an impact on Gossip's sound.

After reading several reviews on this release, I understand that some people might be disappointed after having released two dance-punk-influenced albums BUT this is much more than just a lesser Gossip release. First and foremost it's a much more coherent and mature album. Lead vocalist Beth Ditto utilizes all her voice's technical repertoire making it no lesser in that respect, and I find that she explores more deep territory in her lyrics. Yes, the punk rock-element is not as apparent as earlier and the popular music is becomes more present, making it more mainstream - and ouch, what a bummer... Or: no actually! As much as I like the harder punk rock-based alt. dance and alt. rock up-yours-attitude of the 2006 and 2009 albums this is on other terms nearly as successful an album simply because it's very much of a whole! This would be like imagining M People meeting Madonna with a nice funky twist of Red Hot Chili Peppers or something... I concede that it's no longer indie rock, nor punk rock revival but the resulting effect is modern dancable synth pop with an attitude, and it's far from a lesser release. Put it on the cd-player in your car - the kids love it and you'll soon find yourself singing along.

[EDIT Jul. 2016]

Unfortunately, A Joyful Noice is the band's final album as Ditto in Feb. 2016 declared that the band had split after which Ditto initiated a solo career.

Recommended.

[ 👍allmusic.com 3,5 / 5, Clash 3 / 5, PopMatters 2,5 / 5, Drowned in Sound 2 / 5 stars ]

Grimes "Art Angels" (2015)

Art Angels

release date: Nov. 6, 2015

format: digital

[album rate: 3,5 / 5] [3,55]

producer: Grimes

label: 4AD Records - nationality: Canada

Track highlights: 2. "California" - 3. "Scream" (feat. Aristophanes) - 4. "Flesh Without Blood" - 5. "Belly of the Beat" - 6. "Kill V. Maim" - 7. "Artangels" - 9. "Pin"

4th studio album by Canadian act Grimes [aka Claire Elise Boucher].

It's a refreshing and original bubblegum and art pop album with lots of tempo.

Kate Bush "Aerial" (2005)

Aerial
release date: Nov. 4, 2005
format: digital (2 cd)
[album rate: 3 / 5]
producer: Kate Bush
label: EMI - nationality: England, UK

8th studio album by Kate Bush is a double cd released 12 years following The Red Shoes (1993). Disc 1 of the album is titled "A Sea of Honey" and disc 2, "A Sky of Honey". Bush had always been shy with the press giving few interviews and never touring with her music, and after her '93 album she concentrated fully on her family life. Such a lengthy break from making music, almost naturally means something else in terms of styles and inspiration when finally re-appearing.
Aerial was met with positive reviews, and on it she demonstrates a new-found blend of folk rock, celtic folk, and singer / songwriter version of the art pop spectrum. It's a quiet, almost ambient album, which requires attention, I guess. I just haven't been able to find it... yet.
[ almusic.com, Rolling Stone 4 / 5, The Guardian, The Observer 5 / 5 stars ]

Tom Waits "The Black Rider" (1993)

The Black Rider
release date: Sep. 1993
format: cd
[album rate: 3,5 / 5] [3,33]
producer: Tom Waits
label: Island Records - nationality: USA

Poster from the play

12th studio album by Tom Waits following one year after Bone Machine is also his final release of new material to be issued on Island Records. Shortly after his departure from Island, the label released the compilation Beautiful Maladies (The Island Years) (1998).

The Black Rider is a combination of material written and composed specifically for the album blended with tracks taken from the play / 'musical fable' "The Black Rider: The Casting of the Magic Bullets" (which premiered in 1990) - a collaboration between stage director Robert Wilson, Tom Waits, and beat author William S. Burroughs, who himself participates on the album's sixth composition.

As with Waits' later performances [Alice / Blood Money] in collaboration with Wilson, I never found this album particularly good - perhaps the staging was excellent, but the music does not work particularly well as a pure album release.

[ allmusic.com 2 / 5, Mojo, Q Magazine 3 / 5, Rolling Stone, Select 4 / 5 stars ]

The Killers "Live From the Royal Albert Hall" (2009) (live)

Live From the Royal Albert Hall (live)
release date: Nov. 2, 2009
format: digital
[album rate: 3,5 / 5]
producer: Matt Voss (live engineer)
label: Island Records - nationality: USA

4th album release by The Killers is the live recordings from two concerts Jul. 2009 at The Royal Albert Hall in London consisting of 17 tracks and a total running time at 78 minutes - the maximum running length on cds.
The album really just documents what a fine live band The Killers is. To prove the band started off playing post-punk they play a Joy Division cover of "Shadowplay", which is also found on their rarities album Sawdust (2007).
The album is also released on DVD, which is an even better release with nearly twice as many songs and only just documenting how well the band works live.
[ allmusic.com 3,5 / 5, Rolling Stone 4 / 5 stars ]

The Durutti Column "Vini Reilly" (1989)

Vini Reilly
release date: Mar. 1, 1989
format: vinyl (fact 244) / cd (2020)
[album rate: 4 / 5] [3,82]
producer: Paul Miller, Stephen Street, Vini Reilly
label: Factory Records - nationality: England, UK

Track highlights: A) 1. "Love No More" (4 / 5) - 2. "Pol in G" (5 / 5) - 3. "Opera I" - 4. "People's Pleasure Park" - 5. "Finding the Sea" - - B) 1. "Otis" (4 / 5) - 5. "Requiem Again" (4 / 5) - 6. "My Country" (4 / 5)
[ full album ]

7th studio album by The Durutti Column released on Factory Records and produced by Paul Miller, Stephen Street and Vini Reilly. This is one of my favourite albums by The Durutti Column, which may be the one if I was to pick just one of his brilliant works. Musically, it's a development from his 1987 release The Guitar and Other Machines but here the tracks are much more incorporated as one album instead of being a collection of single tracks. Somehow he succeeds in mixing classical compositions with art pop making his own unique modern classical style.
Finally, it's suggested, perhaps just to answer a lot of questions about the name of the band - "Yes, I am The Durutti Column". Prior to his work on this album, and after finishing his '87 album, Reilly was hired by ex-The Smiths vocalist, Morrissey to play guitar and keyboards on his debut album Viva Hate (1988) - also produced by Stephen Street.
The 2020 remastered 2 CD edition contains a number of live recordings, some of which previously were released as "Womad Live" as well as demo recordings.
Highly recommended.
[ allmusic.com 4 / 5 stars ]

[ collectors' item 'made in England' - from ~ €68,- ]