Nena "Irgendwie, Irgendwo, Irgendwann" (2005)

Irgendwie, Irgendwo, Irgendwann (compilation)

release date: 2005

format: cd

[album rate: 3,5 / 5]

producer: various

label: Sony BMG - nationality: Germany

Compilation album by German neue-welle band Nena released somewhat simultaneously with the release of Nena, the solo artist's eight studio album Willst Du mitt mir gehn (Mar. 2005). The background to this is probably given the fact that Nena signed with Warner in 2002, when she released the album Nena Feat. Nena, an album of old songs in new versions but previously issued by Polydor (now owned by Sony BMG) and also the compilation Irgendwie, Irgendwo, Irgendwann mostly concentrating on Nena the soloist's career but also containing tracks by Nena the band. I guess, Sony BMG were provoked to show they owned the rights to release the band's original songs, so they simply used the title used by Warner, which they could rightfully claim is taken from one the band's biggest hits - originates from Feuer und Flamme (Jun. 1985).

Anyway, this is a decent compilation, which also proves that the band was much more than the 'Ballons' song.

The Cranberries "Wake Up and Smell the Coffee" (2001)

US cover

Wake Up and Smell the Coffee
release date: Oct. 21, 2001
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Stephen Street
label: MCA Records - nationality: Ireland

Track highlights: 1. "Never Grow Old" - 2. "Analyse" (4 / 5) - 3. "Time Is Ticking Out" - 5. "This Is the Day" - 6. "The Concept" - 7. "Wake Up and Smell the Coffee" - 9. "I Really Hope" - *14 "Cape Town"
*Bonus track on US issue

5th studio album by The Cranberries is the band's first and only issued on MCA Records, and it's a welcomed return to initial producer Stephen Street. With Benedict Fenner the band had produced the predecessor Bury the Hatchet from 1999, which marked a bit of a return to their original sound and with this new one, they have in a way continued that tour towards their former best moments that are found on the band's first two albums.
Street is the secure and also the right choice for this band. As he was an important part in the stylistic changes with The Smiths, he seems like the gathering figure, who knows the band's strengths - and perhaps even better than the band members themselves. There's a fine balance of energetic rock, spacious keyboard- / synths-founded dream pop and the more guitar-based jangle pop, all of which has to make room for O'Riordans introspective ballads. I think, Fenner also handled that part well on the '99 album, but on To the Faithful Departed from '96, Bruce Fairbairn proved the difficult project as he didn't suffice to adjust the chemistry to ensure a successful balance.
Dolores O'Riordan has taken an even stronger role as primary songwriter on this new studio release. On the band's previous albums most songs were written and composed in a collaboration work with guitarist Noel Hogan - she would then write 3-4 songs entirely on her own and the remaining songs would have lyrics by O'Riordan and music by Hogan. Here, it's basically the reversed way: 5 songs together with Hogan and 8 songs on her own, i.e. on the standard 13 tracks album. Musically, it doesn't shine through at all, but in retrospect it may perhaps indicate what would happen in the near future, as the band would embark on its longest hiatus with O'Riordan, Hogan and Lawler will all dedicate precious time on other projects, which includes two full solo albums by O'Riordan.
Wake Up and Smell the Coffee may be the most overlooked album by The Cranberries, and personally, I think of it as somewhere between the '96 and the '99 album - it's nor their best, nor their worst and is worth more than just a glance.
The front cover is made by Storm Thorgerson and Peter Curzon at Hipgnosis, who also made the cover for Bury the Hatchet.
[ allmusic.com, Slant, Q Magazine 3 / 5, Blender 4 / 5 stars ]

original cover

Laura Marling "Once I Was an Eagle" (2013)

Once I Was an Eagle

release date: May 27, 2013

format: digital (16 x File, FLAC)

[album rate: 4 / 5] [3,76]

producer: Ethan Johns

label: V2 - nationality: England, UK

4th studio album by Laura Marling following 1½ years after A Creature I Don't Know (Sep. 2011) is her third consecutive album with Ethan Johns as producer. The album appears as the continued deal from the predecessor by presenting an even more quiet and less orchestrated collection of songs, and it's also an album where the list of performing musicians is the so far most restricted as it only count Marling on vocals and guitar together with bassist Rex Horan, cellist Ruth de Tuberville, and Ethan Johns on drums. It's a 16 tracks record with a total running time exceeding 63 minutes, which means it was released on vinyl as a double lp.

Stylewise, it's dominated by accompanying strings, guitar, bass, and cello focusing on acoustic instrumentation. Together with the light arrangements it comes out as naked and with strong bonds to traditional folk. This kind of choice relies much on melody, lyrics, and vocal performance, and this is where Marling lives up to her potential and comes through with her best work to date. The album does rely on the listeners patience but given that, along with time and attention, it may unfold as a much rewarding experience. Despite her young age (23), imho, this is Marling's most mature collection of songs that some will probably find strongly introspective when comparing to songs on her previous albums. The apparent bonus is that Marling has matured as a songwriter, as a narrator, and as a musician, which makes this her so far best. In retrospect, I don't find this her absolute best, as I can't help thinking of Joni Mitchell as a strong influence, but of her first four albums, this is definitely her most coherent release and one to give more than one chance.

Recomended.

[ 👉allmusic.com, Rolling Stone 3,5 / 5, 👍The Guardian, Spin 4 / 5, 👉Pitchfork 8,1 / 10, NME 4,5 / 5 stars ]

a-ha "Stay on These Roads" (1988)

Stay on These Roads
release date: May 3, 1988
format: cd
[album rate: 3,5 / 5] [3,28]
producer: Alan Tarney
label: Warner Bros. - nationality: Norway

Track highlights: 1. "Stay on These Roads" - 2. "The Blood That Moves the Body" - 6. "The Living Daylights"

3rd studio album release by a-ha released nearly two years after Scoundrel Days is exclusively produced by Alan Tarney.
Stylistically, the trio sticks to the soft side of pop / rock, and with this the production side has improved considerably.
The result is imho an album that's better than I thought back then. Here you'll find some fine songwriting and well-played instrumentation. a-ha always represented nicely composed music and they are instrumentally skilled musicians. The music is not really my style and taste but this is not bad, I just can't listen to it for that long but both the title track for the 007-film, "The Living Daylights" and the first track are truly fine songs. Without rising high in my ratings, I think, this album is easily their so far best.

The Raveonettes "Pretty in Black" (2005)

Pretty in Black

release date: May 2, 2005

format: cd

[album rate: 3,5 / 5] [3,66]

producer: Richard Gottehrer, Sune Rose Wagner

label: Columbia - nationality: Denmark

Track highlights: 1. "The Heavens" - 3. "Love in a Trashcan" - 5 . "Uncertain Times" - 6. "My Boyfriend's Back" - 7. "Here Comes Mary" - 11. "You Say You Lie" - 12. "Ode to L.A."

2nd studio album from The Raveonettes follows two years after the debut and is like that produced by veteran sound technician Richard Gottehrer in collaboration with Sune Wagner of the band. All except track #6 - a cover of a 60s song by The Angels written by R. Gottehrer, Bob Feldman, Jerry Goldstein - are credited Wagner, who is now credited as multi-instrumentalist handling synths, guitar, bass, drums, percussion and programming. Sharin Foo is exclusively credited as vocalist and on percussion. Additionally, a few recurring musicians also participate. This include guitarist Manoj Ramdas and drummer Jakob Hoyer, who both played on the band's ep debut as well as on Chain Gang of Love. Other than that, the album feature a few prominent guest artists, which count The Ronettes' legendary vocalist Ronnie Spector on vocal [track #12], Velvet Underground legend Maureen Tucker on drums on four tracks, and Suicide instrumentalist Martin Rev credited 'The Instrument' [guitar].

The album reveals a stylistic progression towards slower love song territory, and the songs are generally a bit longer. Like the debut, it contains 13 tracks but as opposed to the former's total running length at 33 minutes this one clocks in at 44:30 minutes. The songs are more traditionally composed with broader arrangements without losing the quality of a distinct sound. There's now definitely a stronger inspiration from Motown, country, and general pop songs of the early 60s, although, some tracks still reveal the bond to garage rock and surf rock. The front cover is like the debut held in cinematic b/w style as if situated in the 50s or 60s, only this time with the added 'technicolor' [added colours] style, and the title could suggest a hint at the 80s (Howard Deutch) popular film "Pretty in Pink" with its own references to the 50s and early 60s.

I believe this was the first full-length by the band that I listened to at the time of the release, and I recall finding it good, although, I didn't purchase the album until a few years later. I think, I initially still hoped Sune Wagner would produce stronger alt. rock music, and it took some time before I just accepted his retro-infused style of American twang and reverb, and then back in 2005, the band really stood on its own when pop music was overwhelmed by retro-waves in terms of synth pop and a new wave of post-punk revival flourished on both sides of the Atlantic. And Pretty in Black is far from those tendencies. The album was, however, genereally met by positive reviews and in retrospect it stands as a more original collection of songs than you'll find on the debut.

Recommended.

[ 👎allmusic.com 2 / 5, Pitchfork 6,8 / 10, PopMatters 3,5 / 5, NME, Rolling Stone, Uncut 4 / 5 stars ]

Neil Young "Living with War" (2006)

Living with War
release date: May 2, 2006
format: digital
[album rate: 3 / 5] [3,46]
producer: Neil Young, Niko Bolas and L.A. Johnson
label: Reprise Records - nationality: Canada

Track highlights: 1. "After the Garden" - 2. "Living with War" (3 / 5) - 4. "Shock and Awe" - 5. "Families" - 6. "Flags of Freedom" (3 / 5)

29th studio album by Neil Young. It's like Greendale considered conceptual. It's seen as Young's comment and criticism of the US administration's military engagements around the world. It's something as rare these days as a genuine protest rock album. The idea is good, his intentions the best, but the music is... weak. I think, he intentionally has made it sound raw and has taped the tracks as live recordings, and despite the above highlighted tracks, it mostly lacks great tunes. However, the album was nominated 3 Grammy awards in 2007. In my mind, it contains a couple of fine songs and a bunch of odd ones.
[ allmusic.com 3,5 / 5, Rolling Stone 4 / 5 stars ]

Kate Bush "The Red Shoes" (1993)

The Red Shoes
release date: Nov. 2, 1993
format: cd
[album rate: 3 / 5] [3,18]
producer: Kate Bush
label: EMI - nationality: England, UK

Track highlights: 1. "Rubberband Girl" - 2. "And so Is Love" - 3. "Eat the Music" - 6. "Lily"

7th studio album by Kate Bush released 4 years after The Sensual World (Oct. 1989). Once again Bush comes out with a mainstream pop / rock album, and in my mind, it's not a hugely inspiring album without being bad or mediocre. Like the predecessor, The Red Shoes reached number #2 on the national albums chart list - number #28 in the US making it her highest ranked album there.
The album would prove to be her last studio release for the following 12 years. Privately, Bush had gone through a break-up with Del Palmer in the early '90s and she found together with guitarist Dan McIntosh, whom she married in '92. Personal loss and a difficult life-style as an international pop star had her retire from the spotlight from early '94, after which she led a completely anonymous life paying attention to her family life until she finally released Aerial in 2005.
Apparently, Kate Bush wasn't satisfied with the production and arrangements of especially this album, which resulted in 7 alternate tracks released on her 2011 album Director's Cut.
[ allmusic.com 2 / 5, Rolling Stone 4 / 5 stars ]

Dire Straits "Brothers in Arms" (1985)

Brothers in Arms
release date: May 1, 1985
format: cd
[album rate: 3,5 / 5] [3,38]
producer: Mark Knopfler, Neil Dorfsman
label: Vertigo Records - nationality: England, UK

Track highlights: 1. "So Far Away" - 2. "Money for Nothing" - 3. "Walk of Life" - 9. "Brothers in Arms" (4,5 / 5)

5th studio album by Dire Straits follows nearly three years after Love Over Gold (Sep. 1982) is another fine album, although, I had tired of the band, their sound, and the predictable style of Mark Knopfler. The huge single hit of the album "Money for Nothing" featuring Sting was never my cup of tea. The video, however, was rather neat. The title track is a great tour de force of Knopfler's but it doesn't save the album. This was my last vinyl acquisition of any album by the band. The album is the second by Dire Straits to be enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4 / 5 stars ]

The Cure "Wish" (1992)

Wish
release date: Apr. 21, 1992
format: cd
[album rate: 3 / 5] [3,08]
producer: David M. Allen, Robert Smith
label: Fiction Records - nationality: England, UK

Track highlights: 2. "High" (3 / 5) - 7. "Friday I'm in Love" (4 / 5) - 9. "A Letter to Elise" (3 / 5) - 10. "Cut" (3 / 5)

9th studio album by The Cure. After the exclusion of co-founder Lol Tolhurst and after Roger O'Donnell had decided to leave the band after only two years, they were in need of a new member, and Perry Bamonte who plays 6-string bass, guitar, and keyboards became official member of the band. Apart from that, The band plays in their usual synth pop dream pop and alt. rock combination with focus on keyboards and a heavy spacial sound. I didn't pay the album much attention back then, and have only purchased the album for digital download after 2010, mostly because I like the hit single "Friday, I'm in Love", which isn't enough to raise much over a mediocre album despite that I find it a bit more interesting as a whole compared to Disintegration (1989).
[ allmusic.com 2,5 / 5, Rolling Stone 4 / 5 stars ]

Roxy Music "The High Road" (1983) (live)

The High Road (live)
release date: Mar. 1983
format: vinyl (Mini LP - 2335 269)
[album rate: 4 / 5]
producer: Rhett Davies & Roxy Music
label: EG / Polydor - nationality: England, UK

Track highlights: B) 1. "Like a Hurricane" (other version) - 2. "Jealous Guy" (other version)

Live ep, or as stated on the front cover sticker: Live Mini LP containing 4 tracks with a total running time of 26 mins. was recorded live at the Apollo, Glasgow, Scotland, Sep. 30, 1982 during the band's Avalon Tour.
The two strongest tracks - for which the album is almost essential - are the two cover-versions on the B-side: a nearly 8 mins. powerful version of Neil Young's majestic "Like a Hurricane" - in itself by Young a fantastic composition, and Roxy Music do fine justice to the intensity of the song, and then the more than 6½ mins. cover of John Lennon's likewise classic "Jealous Guy" - two songs Roxy Music would often have on its set-list at concerts throughout the 80s.
The album has never been released in digital format but the same recordings have found their way to the lengthier live album Heart Still Beating (1990), which contains 14 tracks. Also, the abovementioned two covers have been produced and released on other releases but I think these two versions are some of the best renditions of these classics, which makes this very release such a solid one.

The Church "Gold Afternoon Fix" (1990)

from top to bottom:
Koppes, Kilbey, Ploog, Piper

Gold Afternoon Fix
release date: Feb. 22, 1990
format: cd
[album rate: 3,5 / 5] [3,32]
producer: Waddy Wachtel & The Church
label: Arista Records - nationality: Australia

Track highlights: 1. "Pharoah" - 2. "Metropolis" - 3. "Terra Nova Cain" - 4. "City" - 5. "Monday Morning" - 6. "Russian Autumn Heart" - 9. "Disappointment" - 10. "Transient" - 11. "Laughing"

6th studio album by The Church released almost two years after the international breakthrough album Starfish (Apr. '88) and the band's second album on Arista. With the same producer, the company has made attempts to ensure that The Church would follow roughly the same approach and repeat the success, although, the band reportedly had expressed a desire to work with Led Zeppelin bassist John Paul Jones to avoid similar negative experiences as adjacent during the recordings for the '88 album. Needless say, record companies are in a position of immense power and controlling recording settings. Internal conflicts led to the band's exclusion of drummer Richard Ploog after the album's release (apparently due to uncontrollable substance abuse) - some tracks were recorded with drum programming; yet Ploog is credited as the drummer.

Having followed the band from the beginning, this was my first real disappointment with their new music. My understanding was that the band had made a clear decision to make music with a wider appeal with their previous album, but upon hearing them try to repeat the success of music that was so close to the same output, didn't make things much better. With this, I gradually tired of the music by The Church, although, I still saw them as having unfulfilled potential - and the album is certainly not without fine moments, and the knowledge of their previous releases also made me continue to listen to the band, even though most often it was their older albums. With producer Wachtel at the helm here, you see the band playing large-scale tracks with heavy arrangements obviously adapted to satisfy the American market - it provides me with the image of being a driver of a mobile home on an American highway. It's no longer a question of being original or innovating - but what's left is the task of forging while the iron is still hot.

Gold Afternoon Fix was met by positive reviews, but it didn't quite reach the expected sales figures. The album peaked at No. #66 on the US Billboard 200 and at No. #12 in Australia, which isn't bad after all. The problem was that the band had seen better chart positions and that they were left with a negative experience with studio recordings and by being residents in Los Angeles. Richard Ploog left the group after this album and he was replaced for the upcoming live tour by Jay Dee Daugherty (of Patti Smith).

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

Bruce Springsteen "Devils & Dust" (2005)

Devils & Dust
release date: Apr. 26, 2005
format: cd
[album rate: 3 / 5] [3,16]
producer: Brendan O'Brien
label: Columbia Records - nationality: USA

Track highlights: 1. "Devils & Dust" - 2. "All the Way Home" - 4. "Long Time Comin' " - 9. "Leah"

13th studio album by Bruce Springsteen finds him releasing yet another quiet and primarily acoustic album, his third of its kind as the sequel that started with Nebraska (1982) and was continued with The Ghost of Tom Joad (1995). Although producer Brendan O'Brien is almost synonymous with alt. rock [Pearl Jam] he is still managing the production without co-pilot, and that is hard to tell if that choice make any difference.
I find this the least interesting of his three acoustic albums. Two or three tracks are not acoustic, which seems quite strange because the majority of the tracks are slow and minimally orchestrated ballads. At times he sounds more like Ry Cooder ('Maria's Bed') or Bob Dylan ('Long Time Comin' '), trying something new, and at other times he's just Springsteen doing what he knows - repeating himself.
The album was met by positive reviews topping the charts both in the UK and in the US, and it also secured Springsteen 5 Grammy awards.
Not really recommended.
[ allmusic.com 4 / 5, Rolling Stone 4,5 / 5 stars ]

Sällskapet "Sällskapet" (2007)

Sällskapet [debut]
release date: Mar. 28, 2007
format: digital
[album rate: 3 / 5] [3,18]
producer: Sällskapet
label: Sonet / Universal - nationality: Sweden

Track highlights: 1. "482 Mhz" - 4. "Nordlicht" - 8. "Järnstaden" - 9. "...den dan"

Studio debut album by the trio, Sällskapet [in English: The Company] founded in 2003 by primary vocalist Joakim Thåström, guitarist Pelle Ossler - also credited for bass and piano - and with keyboardist Niklas Hellberg - also credited for handling synthesizer and programming.
Thåström has been in and out of bands since his first trio, The Haters founded in 1977, and he must really enjoy the [creative] energies that may arise from working in a band or with a project-band. After closing the industrial metal-project Peace, Love & Pittbulls in '97, Thåström released the much-awaited return to a Swedish lyrical foundation with the solo albums Det är ni som e dom konstiga det är jag som e normal in '99, "Mannen som blev en gris" in 2002, and the acclaimed Skebokvarnsv. 209 in 2005 - and he could easily have continued a promising solo career, but it seems he has always been that sort of musician, who thrives on the search of new playgrounds for musical expressions.
And together with Ossler and Hellberg, for once, we find him in what appears to be a three-man project without Thåström in the lead. Yes, he is lead vocalist, but all musical and lyrical compositions as well as production is entirely in the hands of the band. Both Ossler and Hellberg played with Thåström on his latest two solo albums and Hellberg has worked with Thåström ever since the early 90s when they got together in Amsterdam and formed Peace, Love & Pittbulls.
Stylistically, Sällskapet is something else. Or: at least when comparing to what Thåström has been involved in since the 1970s. The music is in the electronic genre - far from what could be related to industrial styles as it may be referred to as minimal synth or minimal wave, and without being great, it's a fairly interesting and quite original release the three have put together.

Arctic Monkeys "Fluorescent Adolescent" (2007) (single)

Fluorescent Adolescent, 7'' single
release date: Jul. 9, 2007
format: cd
[single rate: 3,5 / 5] [3,66]

Tracklist: 1. "Fluorescent Adolescent" (5 / 5) (Live on Jonathan Ross) - 2. "The Bakery" - 3. "Plastic Tramp" (3 / 5) - 4. "Too Much to Ask" (3 / 5)

Single release from Arctic Monkeys and their most recent album Favourite Worst Nightmare (2007). The music has changed a bit and become more mainstream but without losing their originality. The hit single track is mighty fine song that secured the band many hours of airplay on national radio and elsewhere around the world. The remaining songs are actually quite decent single tracks, and what's so typical about this band is how they just put one track from the album here, and the rest are brand new songs and no poor fillers.

Talk Talk "Natural History - The Very Best of Talk Talk" (1990)

Natural History - The Very Best of Talk Talk (compilation)
release date: May 1990
format: digital
[album rate: 4 / 5]
producer: Colin Thurston, Tim Friese-Greene, Rhett Davies
label: Parlophone / EMI - nationality: England, UK

Compilation album by Talk Talk is the band's first best of release issued by EMI as the band was sacked from the record label after having released Spirit of Eden (Sep. 1988), which was anything than what EMI had hoped for.
The original issue contains 12 tracks but as early as of Jul. 1990, 14 tracks re-issues were released for the Japanese and North American markets. In 2004, EMI re-issued the album as The Essential, although with an identical tracklist of the original 12 track issue. In 2007, EMI launched a 2-disc issue based on the original UK release containing a bonus DVD with video versions for the European market. This was reissued by EMI in 2013 - but now with the title Natural History 1982 - 1988. Talking about milking the sacred cow!
Needless say, the album is both an album for everyone else as well as a collectors' item. Lead vocalist and frontman of the band, Mark Hollis, alledgedly said of the album that EMI compiled the album entirely without the band's consent, and that he didn't like the idea of best of albums in the first place.
A year later, EMI also released the album History Revisited - The Remixes - once again made without having informed the band, and what's seems even worse: EMI had the 10 tracks remixed in new extended versions without involving the band when altering its music. As a consequence, Mark Hollis and the band sued EMI for having remixed their songs without asking for permission of the band - and the band won the case, which among other things meant that the company was obliged "to withdraw and destroy all remaining copies of the album" [VOX, 1998].
Natural History - The Very Best of Talk Talk is nevertheless a fine collection of songs, but as Mark Hollis also commented [in Melody Maker, Sep. 7, 1991] about an album he wouldn't release: "It certainly wasn't the selection of tracks I would have liked even if there had to be one".
[ allmusic.com 4,5 / 5 stars ]

Peter Murphy "Dust" (2002)

Dust
release date: Apr. 23, 2002
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Peter Murphy, Mercan Dede
label: Metropolis Records - nationality: England, UK

6th studio album by Peter Murphy released seven years after Cascade (Oct. 1995) after which he released his so far only live album aLive Just for Love (2001). This is not only co-produced by a Turkish producer - the whole album is made with assistance of primarily Turkish musicians, which is clearly heard throughout an album where Murphy combines western popular music, the gothic rock, and even progressive rock in a mix with more traditional Turkish folk. Privately, Murphy married Turkish dance-director Ayhan Murphy in '92 and has since then lived primarily in Turkey. There's also a synthpop or electronic influence present on this album and it's really hard to label an overall style, as it's a rather huge blend of influences, and you might even call it world music. The album is Murphy's first studio album after parting with Beggars Banquet and this new album should perhaps also be seen in the light of being forced to rethink his musical career, and again, with his Turkish daily life in mind, it would be a natural consequence of living life with other influences.
The album was met by positive reviews, some found it an artistic achievement, whereas others, in search of a more traditional album and without luck in finding stand-out tracks, saw it as something lesser. I will not say that it doesn't work but I don't find it a strong nor very interesting album as such. It has an intense and warm feel but it doesn't appeal much to me.
[ allmusic.com 4 / 5, Q Magazine 3 / 5 stars ]

John Frusciante "The Will to Death" (2004)

The Will to Death
release date: Jun. 22, 2004
format: cd
[album rate: 4 / 5]

Track highlights: 1. "A Doubt" (4 / 5) - 2. "An Exercise" - 3. "Time Runs Out" (4 / 5) - 5. "Unchanging" (4,5 / 5) - 8. "Wishing" (4 / 5) - 12. "The Will to Death"

5h solo album by John Frusciante and his second in 2004. Together with its predecessor, Shadows Collide With People (Feb. 2004), and his seventh, Curtains (Feb. 2005), they form three really fine works of art, and they are his perhaps three best albums.

This very album was the first I ever listened to by Frusciante solo, and I only came across this wonder by chance. The music is not very different from his first release this year but it has a more raw and simple expression. In some ways, I think, it even betters anything by Red Hot Chili Peppers, although, it's also very unlike any album by the band.

Neil Young "Prairie Wind" (2005)

Prairie Wind
release date: Sep. 20, 2005
format: digital
[album rate: 3 / 5] [3,06]
producer: Neil Young, Ben Keith
label: Reprise Records - nationality: Canada

Key track: 5. "It's a Dream" (4 / 5)

28th studio album by Neil Young is a return to one of his 'comfort zones'. On this, he continues his acoustic singer / songwriter and folk tradition, initiated with Harvest and which had Silver & Gold as his most recent. The album was met by positive reviews and was nominated in two categories at the 2006 Grammy Award. I don't find it as interesting as Comes a Time or Harvest Moon but see it close to match Silver & Gold. Not great, nor bad, just middle of the road, quite alright.
[ allmusic.com, Rolling Stone 3,5 / 5 ]

Cornershop "Brimful of Asha" (1998) (single)

Brimful of Asha, cd single

release date: Feb. 16, 1998

format: digital (4 x File, FLAC)

[single rate: 4 / 5] [4,12]

producer: Tjinder Singh; Norman Cook (remix producer)

label: Wiiija Records - nationality: England, UK

Tracks: 1. "Brimful of Asha (Single Version)" - 2. "Brimful of Asha (Norman Cook Remix Single Version)" - 3. "u47's" - 4. "Brimful of Asha (Norman Cook Remix Extended Version)"

Single release by Cornershop is a four-track release of the band's best known song, which brought them international fame in the Summer of '97, when the single was first released in a 7'' version (August '97). The first Norman Cook Remix single was released in late '97 as single-sided or 3-track 12'' vinyl issues. The original single peaked at #60 on the UK singles chart list, but when re-issued with the Norman Cook remix [this], the single ended up as number #1 on the charts.

The original is a great 1997 song, but the speeded up Norman Cook Remix simply makes it another great tune. Both the single single remix and the extended version are impressive takes.

The Go-Betweens "16 Lovers Lane" (1988)

16 Lovers Lane
release date: Aug. 1988
format: cd (1996 reissue)
[album rate: 4 / 5] [4,03]
producer: Mark Wallis
label: Beggars Banquet - nationality: Australia

Track highlights: 1. "Love Goes On!" - 2. "Quiet Heart" - 3. "Love Is a Sign" - 4. "You Can't Say No Forever" (4 / 5) - 5. "The Devil's Eye" - 6. "Streets of Your Town" - 8. "Was There Anything I Could Do?" - 10. "Dive for Your Memory"

6th studio album by The Go-Betweens originally released by Mushroom Records in Australia and Beggars Banquet in Europe. Before recording the album, bassist Robert Vickers left the band and was replaced by John Willsteed - his only album with the band. The members credited here are: Grant McLennan on vocals & lead guitar, Robert Forster on vocals, rhythm guitar & harmonica, Amanda Brown on violin, oboe, guitar, vocals, tambourine (listed as "Oliver Tambo" on the sleeve notes, an in-joke of the band), John Willsteed on bass, guitar, Hammond organ & piano and with Lindy Morrison on drums. All compositions are credited McLennan / Forster.

The covers by The Go-Betweens have all been fronted by the band members, and the interesting thing about this particular cover is that three members have been put on the front and two on the back, and I always kind of thought the natural: here's the three original members of course and then the two new ones, put aside. But no! Actually you have Willsteed, McLennan and Morrison on the front and then Forster and Brown put (away) on the back.

Musically, the band continue its jangle pop style and pretty much takes off where they left with the promising Tallulah (1987) only with this being the band's so far boldest pop-shaped album with focus on harmony chorus-lines. In contrast to the '87 album there's a strong synergy between the individual songs by the two songwriters, and with this The Go-Betweens made its so far best album, hailed by music critics. After the release they supported R.E.M. on their Australian tour, and they did a complete world-tour. And when that came to an end, they were back at a new starting point - prepared to initiate the recordings for a follow-up album. Willsteed was fired from the band - apparently for heavy substance abuse, and the four remaining members were in the midst of rehearsing new songs, when the two founding songwriters both felt the lack of energy. McLennan and Forster met in a bar and Grant told Forster that he wanted out to which Forster immediately suggested that the two of them continued as a duo - the way they had started, and Grant agreed. So, only a little more than a year after the album release, Dec. 27, 1989, The Go-Betweens officially disbanded. Forster and Morrison were already in the process of ending their relationship when Amanda Brown had joined the band in '87, at a time when she and McLennan was a couple, and now upon learning about the McLennan / Forster decision to end the band, Amanda simply put an end to the McLennan - Brown affair. Amanda Brown and Lindy Morrison sought new musical bonds and together founded the (short-lived) band Cleopatra Wong in '91. However, the idea of starting a duo by the two main songwriters proved not to succeed at this point. McLennan had basically hit rock bottom after Amanda's leave, and when Forster left for Germany to be with his new-found love, Karin Bäumler in Berlin, the two friends simply continued writing new songs on their own, which eventually resultated in the beginning of two solo careers instead. For the next decade they made solo albums and were involved in various collaborative projects, and it wasn't until the year 2000 that they reunited to reform the band.

16 Lovers Lane is the only album by the band to be included in "1001 Albums You Must Hear Before You Die" and it's a must in any collection of modern pop / rock. For the first six months after the release, I actually mistook it for being a best of album - it's that solid and filled with great songs, but despite being praised by the press and other musicians the album sales didn't equal the artistic effort, which can only point to the people of the record company.

Although, it's not the very final of the band it is the band's last studio album with the original line-up, and it's also the last to feature drummer [Belinda] Lindy Morrison, who has been the stable drummer on all of the band's six studio albums and been a member since 1981. After artistically successful solo careers, McLennan and Forster revived the band in 2000, and by doing so they also introduced a new line-up with their seventh studio album The Friends of Rachel Worth.

Imho, 16 Lovers Lane is the absolute best by The Go-Betweens and highly recommended.

[ allmusic.com, Mojo, Uncut 5 / 5, Blender, Select 4 / 5, Rolling Stone, NME 3,5 / 5 stars ]

[ story behind the album ]

[ Amanda Brown's version of the disbandment ]

back cover featuring
Forster & Brown