Beth Hart "37 Days" (2007)

37 Days
release date: Jul. 30, 2007
format: cd / cd (2008 reissue)
[album rate: 3,5 / 5] [3,62]
producer: Rune Westberg & The Beth Hart Band
label: Universal Music Group - nationality: USA

Track highlights: 1. "Good as It Gets" (live) - 4. "Over You" (4 / 5) - 5. "Sick" - 6. "Face Forward" - 9. "Easy" - 11. "Missing You"

4th studio album by Beth Hart released four years following Leave the Light On (2003) is exclusively issued in the EU and comes in various versions with a slightly differing tracklist. A 2008 and 2011 reissue contains an additional three bonus tracks both of which strangely have the fine "Over You" exchanged with "Beautiful Child".

Mogwai "The Hawk Is Howling" (2008)

The Hawk Is Howling

release date: Sep. 2008

format: digital (10 x File, MP3)

[album rate: 3 / 5] [3,22]

producer: Andy Miller

label: Wall Of Sound / [PIAS] Entertainment Group - nationality: Scotland, UK

Track highlights: 1. "I'm Jim Morrison, I'm Dead" - 2. "Batcat" - 3. "Danphe and the Brain" - 5. "The Sun Smells Too Loud" - 10. "The Precipice"

6th studio album by Mogwai following 2½ years after Mr. Beast (Mar. 2006) and 2 years after the two soundtrack albums Zidane: A 21st Century Portrait - a documentary for which Mogwai exclusively made the music score - and The Fountain - a fictional film by Darren Aronofsky with musical score composed by Clint Mansell and music written in collaboration with Mansell, Mogwai, and The Kronos Quartet.

The Hawk Is Howling comes with 10 brand new compositions and a total of 63 minutes of playing time that doesn't add much new to the band's discography - neither in terms of stylistic improvements, nor in adding great compositions to the band's vast tracklist. The track Batcat was chosen for ep release in a slightly alternate version together with two other compositions (released Sep. 2008) including one song with lyrics by Roky Erickson. It's as if they try to relaunch themselves by looking slightly too much in the rearview mirror. There are certainly elements from their first albums out with soft / hard, or slow / fast contrapositioning together with piano / electronic parts, and at the same time a few new albeit out-of context of the full experience we hear temptations of more traditionally 4-4 metric composed songs and something that could be inspired by say Sigur Rós, but everything just sounds too familiar. Perhaps they have been inspired or provoked by their experiences in making two soundtrack albums 'cause they throw in long bits of ambient-like harmonies, and also turn to noise rock metal but don't really succeed well in establishing a coherent whole - perhaps for the first time they really lack consistency. That said, the album still contains some really fine music and Mogwai never sound like anyone else.

Not recommended.

[ bandcamp ]

[ allmusic.com, The Guardian 4 / 5, PopMatters 3,5 / 5, 👍Q Magazine 3 / 5, Pitchfork 4,5 / 10 stars ]

Keld & The Donkeys "Det er så skønt" (1967)

Det er så skønt, 7'' single

release date: 1967

format: vinyl (X 9005)

[single rate: 2,5 / 5] [2,44]

producer: ?

label: HMV / EMI - nationality: Denmark

Tracklist: A) "Det er så skønt" - - B) "Hvorfor er alt nu forbi"

Single release by Keld & The Donkeys. The A-side is credited 'Ubert-Prod - Keld Heick' and it's a cover of a song by Ubert-Prod (alias for Swedish songwriter Ebbe Nilsson), and the song was originally released as a single by Swedish schlager / pop-group Sten & Stanley as Det är så skönt in 1966 - Sten & Stanley was a quintet consisting of the three brothers Nilsson: Sten, Ebbe, and Per together with Stanley Granström and Bo Carlén.

This single was part of my parents' record collection, and it's a single I knew of at age 6-10 but never really enjoyed - probably because it's styled as schlager music.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

The Raveonettes "In and Out of Control" (2009)

In and Out of Control

release date: Oct. 6, 2009

format: digital (11 x File, FLAC)

[album rate: 4 / 5] [3,84]

producer: Thomas Troelsen & The Raveonettes

label: Fierce Panda - nationality: Denmark

Track highlights: 1. "Bang!" - 2."Gone Forever" - 3. "Last Dance" - 4. "Boys Who Rape (Should All Be Destroyed)" - 5. "Heart of Stone" - 7. "Suicide" - 9. "Breaking Into Cars" - 10. "Break Up Girls!" - 11. "Wine"

4th studio album by The Raveonettes following two years after Lust Lust Lust (Nov. 2007) has been made with hot producer Thomas Troelsen. Songwriter Sune Wagner released an acclaimed solo album debut with a bunch of songs written in Danish in his own name in 2008. Much to the usual formula this new album here consists of eleven tracks that doesn't challenge the total album length - even for vinyl releases. Here, the songs come to an end after 37 mins.

Now with Troelsen as co-producer of the album and as co-composer of 7 songs his presence is noticed on the overall sound, making this the band's most pop-founded album to date. Skillfully, Wagner and Foo still maintain their trademarks holding Troelsen on a tight leash, which secures a noticeable change to a modernised 60s sound, or a shift towards a contemporary pop / rock-style with enough influence from 60s surf rock to make it a certified product by Sharin Foo / Sune Wagner. In addition, Foo and Wagner fronts the cover in a b/w photo but for the first time without assimilating a style of the 1950s or 60s.

Stylewise, there's the usual garage rock revival and surf rock vibe runing through the whole album but it's done with a new twist leaning on modern pop-productions, and it works quite nicely. The album starts off with five fine songs that put this on a new high and although the whole affair fades somewhat in the second half, the album still stands as the duo's so far best.

Recommended.

[ allmusic.com, PopMatters 3,5 / 5, Pitchfork 6,9 / 10, The Guardian, Alternative Press 4 / 5 stars ]

I Break Horses "Chiaroscuro" (2014)

Chiaroscuro

release date: Jan. 21, 2014

format: digital

[album rate: 3,5 / 5] [3,58]

producer: Maria Lindén

label: Bella Union - nationality: Sweden

Track highlights: 1. "You Burn" - 2. "Faith" - 3. "Ascension" - 4. "Denial" - 7. "Disclosure"

2nd studio album by Swedish duo I Break Horses following the 2011 debut album Hearts consists of 9 cuts with a total running length of just under 46 minutes.

Maria Lindén is the band's multi-instrumentalist, who has also composed the music, while the lyrics have been created in collaboration with percussionist Fredrik Balck.

Chiaroscuro is a markedly different from Hearts, which largely departed from a familiar scene crowded by bands such as My Bloody Valentine and Jesus and Mary Chain, and which was an album you would be tempted to label as shoegaze revival. Compared to that, this new album sounds as the music from a completely different artist. Here, the duo steps into the keyboard universe of electropop filled with keyboards, synthesizers, sequencers, drum programming, and various software programs as elementary instruments. In this way, the guitar has stepped much into the background or is completely out of a soundscape, which is far from a copy, but in terms of style nevertheless builds on music that reminds of The Knife, Crystal Castles, Cocteau Twins, and Beach House (another Bella Union band). If you enjoyed the band's grinding 90s sound, you will probably be disappointed or think that it's completely different people behind the music here, but just as the debut was Lindén and Balck, Chiaroscuro is made by the same duo, and it also proves how inspiration is a thing you collect from various places.

It's both a happy-go-lucky pop atmosphere, certified dance beats, and gloomy timbres without losing a sense of coherence. It's a fine and artistically challenging album that may not be called the best of the year, but Chiaroscuro garnered international praise and is quite an exciting and original follow-up to Hearts.

[ allmusic.com, Drowned in Sound 4 / 5, PopMatters, Uncut 3,5 / 5, Gaffa.dk 5 / 6 stars ]

Grant McLennan "In Your Bright Ray" (1997)

In Your Bright Ray

release date: Jul. 1997

format: cd

[album rate: 4 / 5] [3,86]

producer: Wayne Connolly

label: Cortex - nationality: Australia

Track highlights: 1. "In Your Bright Ray" (4 / 5) - 2. "Cave In" - 3. "One Plus One" - 5. "Malibu 69" - 6. "Who Said Love Was Dead" - 8. "All Them Pretty Angels" (4 / 5) - 10. "Down Here" - 11. "Lamp by Lamp" - 12. "Do You See the Lights?" - 13. "The Parade of Shadows"

4th and final studio album by Grant McLennan following three years after the double album Horsebreaker Star (Dec. 1994) - in between these two albums he shortly returned to the duo-project Jack Snow together with The Church frontman Steve Kilbey and assisted by drummer Tim Powless (also The Church) and together they released the loose follow-up album Snow Job in '95 after which they shelved the project. Prior to the recordings of this album (Dec. '96), McLennan found his way back to performing with Robert Forster but plans about reforming their old band were still in the melting pot as Forster and Karin Baümler were about to become parents and McLennan was busy touring with his new album and writing new music for his new band, Far Out Corporation.

In Your Bright Ray is McLennan when he shines the brightest. The album contains 13 songs all by McLennan with a total running time right on 50 minutes, and it's recorded with Australian producer and multi-instrumentalist Wayne Connolly (from The Whipper Snappers - he also produced for Underground Lovers and Died Pretty) and drummer Tim Powless (from The Church and Jack Frost) together with guitarist Brett Myers (from Died Pretty) and bassist Maurice Argiro (from Underground Lovers).

Musically, this is probably McLennan's cleanest rock-album - with a sheer amount of jangle pop. Imho, this is easily McLennan's best solo album. Where the predecessor was his boldest singer / songwriter album this is something as unusual from this gifted bard as a lush and bright pop / rock album and primarily a collection of uptempo songs where McLennan shows his worth as one of Australia's best songwriters ever. It documents what Robert Forster meant, when he described Grant as ahead of him. Forster claimed that where he had to work hard to write his stuff and to come up with a good song - for Grant, it just came naturally - like opening a hose.

Highly recommended.

[ allmusic.com 4 / 5, Gaffa.dk 5 / 6 stars ]

Sinéad O'Connor "Universal Mother" (1994)

Universal Mother

release date: Sep. 12, 1994

format: cd

[album rate: 3,5 / 5] [3,52]

producer: Sinéad O'Connor, John Reynolds, Tim Simenon, Phil Coulter

label: Ensign - nationality: Ireland

Track highlights: 2. "Fire on Babylon" - 3. "John, I Love You" - 4. "My Darling Child" - 6. "Red Football" - 7. "All Apologies" - 10. "All Babies" - 14. "Thank You for Hearing Me"

4th studio album by Sinéad O'Connor following two years after the covers album Am I Not Your Girl? (Sep. 1992). The album counts 14 tracks of which O'Connor is credited as producer of twelve. John Reynolds is the second main co-producer and he's credited on ten tracks. Phil Coulter is credited as co-producer on seven, and Tim Simenon on three tracks. Track #5 (a 20 seconds recording of Jake) is credited then six-year-old Jake Reynolds (son of O'Connor and John Reynolds), and the first track is un-credited being an excerpt of a recorded speech by Germaine Greer. Before this O'Connor made the featuring song "You Made Me the Thief of Your Heart" for the '93 film "In the Name of the Father" by Jim Sheridan and starring Daniel Day-Lewis. The song was released as a standalone single in early '94 and it remains one of O'Connor's best charting songs reaching number #4 on the singles chart list in Ireland.

The album falls more directly into a sequence from the 1990-album with the actual '92-predecessor as more of a side-step - a project-release of sorts. Universal Mother once again showcases O'Connor's personal life in writings. She apparently puts everything into lyrics and into songs - she has openly admitted that her music has been therapy for her, and it's quite obvious that she has chosen to use her own lived life as source to her lyrics. Stylistically, there are huge differences between these three albums, and the progress is near extreme. The debut was unpolished, raw, and full of energy, and it was proof of an upcoming mega-star. The gigantic follow-up was held in mainstream pop / rock-territory -embrasing both uptempo bangers and heartfelt ballads but held together in majestic arrangements, and it already showed a huge artistic leap presenting a much more mature side to her talent. To that, Universal Mother extends the musical scope by being more of a quiet, simple, and introvert outing. Of all of her albums so far, this is her most obvious not mainstream-dedicated release - as if stating: this is my personal album - this is for me, my family, and for my son (alone), and it's almost like an album delivered from a seasoned artist, who has delivered so much over the years and now choose to concentrate on what first and foremost really matters in her life. And effectively, it's only been seven years since her debut!

It's no secret that O'Connor has found much inspiration in reggae and in the Rastafari culture - this has been apparent on B-side tracks and ouutakes from her second album, and she has often cited the Bob Marley-popularised song "War" as an anti-war / anti-racism declaration of sorts when performing live.

I didn't pay much attention to Universal Mother when it arrived. I had grown tired from O'Connor's mainstream pop / rock, as well as seing her on par with e.g. Sting, Bono, and other prominent celebrities acting as victims, eager to show their stand with the surpressed wherever they were fighting their own causes against injustice or inequality. Their mutual message and position was by no means wrong, it's just that their obvious personal wealth somehow made it easy to reject them as geniune representatives.

The album isn't a bad one. It's full of sincerity and some downright great songs but it's also obvious that O'Connor has chosen a new strategy in her artistic journey. There's no longer a naive desire to reach out to as many as possible by shouting loud and energetic. Instead, it's more of a personal diary containing reflections on life as a mother, life in the media mill, her own role with relationships, and a life with as well as alongside religion. There are strip-naked songs about her personal love affairs: some directed at John Reynolds as an ex-husband, the father of their son, a poorly-hidden message to one-night stand Peter Gabriel (track #14), the strong hommage to Kurt Cobain, and interspersed: songs of love and protection to her son, Jake. It's an album filled with hope and despair and ultimately, it also reveals her position as a most fragile individual. It's crammed up with emotion and tension, and it appears like she comes better through with her messages when holding back on the fire, which so obviously burns within.

I think, the album has matured rather well over the years, and when looking back on her life, and apart from her first two great albums, this is one of her more solid releases of her entire career. Personally, and in all of O'Connor's discography, I rank the album as her seventh best overall.

Recommended and definitely worth checking out.

O'Connor is herself credited the front cover painting.

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

Laura Marling "Short Movie" (2015)

Short Movie

release date: Mar. 23, 2015

format: digital (13 x File, FLAC)

[album rate: 4 / 5] [3,84]

producer: Laura Marling, Matt Ingram, Dan Cox

label: Virgin - nationality: England, UK

Track highlights: 1. "Warrior" - 2. "False Hope" (live) - 3. "I Feel Your Love" - 5. "Strange" - 6. "Don't Let Me Bring You Down" - 7. "Easy" - 8. "Gurdjieff's Daughter" (studio session) - 9. "Divine" - 12. "Short Movie"

5th studio album by Laura Marling follows two years after Once I Was an Eagle (May 2013), and it marks a strong stylistic turn. It's not that Marling has made an album in an entirely different genre or style, but the album may come as a bit of a surprise to those familiar with her most recent albums from 2011 and 2013 with focus on light and subtle instrumentation. Short Movie sees Marling embarking on a more outward and more electrified side of indie folk. There's still room for quiet and introspective songs but also a counter-balanced aggressiveness, which actually suits her singing voice and her other songs in a refreshing way. Not to compare with other artists, but some songs had me thinking of an energy I find in Martha Wainwright and also in PJ Harvey - again without comparing 'cause Marling makes all songs here sound exactly as her own, which they are, but she comes out as a more multi-facetted artist in the most positive way. Once again, Marling proves her worth as a songwriter and as vocalist and this new album, is my new preferred Laura Marling album.

Highly recommended.

[ allmusic.com, Rolling Stone 3,5 / 5, Pitchfork 7,4 / 10, The Guardian, NME, Spin, Exclaim! 4 / 5 Stars ]

Eddie Skoller "En enkel sang om frihed" (1970) (single)

En enkel sang om frihed, 7'' single

release date: 1970

format: vinyl

[album rate: 3 / 5] [2,76]

producer: John Friis

label: Philips - nationality: Denmark

Tracklist: A) "En enkel sang om frihed" - - B) "Den grå dame" (live in 2006)

Single release by Danish folk pop and entertainer Eddie Skoller (aka Edward Ralf Skoller) from his early career as folk troubadour and singer / songwriter shortly before breaking as musical and comic entertainer. The title track is a song by Bobby Darin titled "Simple Song of Freedom", not issued by Darin until '71, and here with (more or less directly translated) Danish lyrics by Skoller.

This single was part of my parents' record collection, and it's a single I knew of at age 6-10 but never really enjoyed - probably because it's touching on schlager music.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Sinéad O'Connor "Fire on Babylon" (1994) (single)

Fire on Babylon, cd single

release date: Aug. 1994

format: cd

[album rate: 3,5 / 5] [3,58]

producer: Sinéad O'Connor, John Reynolds

label: Ensign / Chrysalis - nationality: Ireland

Tracklist: 1. "Fire on Babylon" - 2. "I Believe in You" - 3. "House of the Rising Sun" (2,5 / 5) - 4. "Streets of London"

Single by Sinéad O'Connor with the title track taken from the forth-coming album Universal Mother (Sep. 1994). "Fire on Babylon" is a song written and composed by O'Connor and John Reynolds with the three remaining songs being cover versions. And that alone makes this single quite interesting. Track #2 is a song by Bob Dylan, and this rendition presumably stems from the recording sessions to Am I Not Your Girl? (1992), as it's produced by Phil Ramone. Track #3 is by Alan Price, and track #4 is by Ralph McTell, and they're both co-produced with Phil Coulter.

I really like this type of cd singles, as they appear to continue the way many artists previously used the 12'' vinyl format as a way to showcase that little extra. The worst single issues are the ones that only come with an additional song or accompanying ones that you will find on the same album, or on some other, and then at times you see a combo with one or two songs from an album with an additional live version, however, this type with rare recordings and / or cover versions are surely the best.

The track "Fire on Babylon" is a great song by O'Connor and it's (only) the album version here, but the actual gems on this are the covers, where "I Believe in You" and "The Streets of London" works the best.

Orchestral Manoeuvres in the Dark "The Punishment of Luxury" (2017)

The Punishment of Luxury
release date: Sep. 1, 2017
format: cd
[album rate: 4 / 5] [3,78]
producer: OMD
label: 100% Records - nationality: England, UK

Track highlights: 1. "The Punishment of Luxury" - 2. "Isotype" (4 / 5) - 4. "What Have We Done" (4 / 5) - 5. "Precision & Decay" - 9. "One More Time"

13th studio album release by OMD is the band's third after the reformation though the line-up has changed after drummer Malcolm Holmes collapsed at a concert during the band's live tour after English Electric (2013) in Toronto, 2013. Holmes recovered but soon after left the band and was replaced by Stuart Kershaw, who also played on Liberator (1993). Stylistically, it's not a big move into new territory, neither is it an album which incorporates new styles - in fact it's modelled much in the same expression as the predecessor from 2013. It's, however, the first album since Crush (1985) to be written and composed solely by the duo McCluskey / Humphreys as was the normal procedure on the band's first six studio albums.

Like the 2013 album, this one was met with in a general positive spirit, which hasn't been seen welcoming since Dazzle Ships (1983). The album peaked at #4 on the UK albums chart list making it the band's third highest charting studio album - ever.

I perfectly understand the positive reviews - of course fine charts must always be considered in a broader perspective, as also the 2013 album was well-received, as well as the fine live album Architecture & Morality / Dazzle Ships (5.16) from (May) 2016, which of course attracts more attention to new material.

Now, where it took me a few years to digest the previous album this one had an immediate appeal, and frankly, I find it bettering the 2013 album. Not with a broad margin, but as a whole, it's quite an accomplishment. It has the same fine balance between signature sound and contemporary synthpop, which goes perfectly hand in hand. McCluskey's voice sounds as if he had only just finished Dazzle Ships, and the songs are a fine combo of classic OMD pop-material and more experimental electronic synthpop sending tribute to both Kraftwerk, Jarre and their contemporaries of New Order. I like it. It's goood.

Imho, the album is top-10 material of 2017, and not to forget: it's bettering the last 33 years of OMD studio albums, which naturally makes it recommended.

[ allmusic.com, Uncut, PopMatters 3,5 / 5, The Press, Classic Pop 4 / 5 stars ]

Sigur Rós "Route One" (2017)

Route One

release date: Dec. 2017 (re-released Apr. 27, 2018)

format: digital (8 x File, FLAC)

[album rate: 3 / 5] [3,12]

producer: Sigur Rós

label: self-released - nationality: Iceland

Remix album by Sigur Rós, or at least a special type of remix album. The band broadcast their more than 1300K road trip around Iceland's ring road in the Summer of 2016 live on YouTube, while using software to make continous remixes of one original composition - "Óveður". Eight of these were then selected for this remix album.

I find the project fascinating, especially as a full audio-visual experience but as is often the case with soundtracks, the audio part alone may suffer from the missing dimension, and that's what I find is at stake with Route One. The compositions are not only instrumentals but they're also held in a mostly ambient style, which makes the end result quite coherent but also challenging as a full listen from start to finish.

One of the band's lesser releases.
In May 2018, Route One was followed by the project Liminal, which was an attempt to make an 'endless mixtape' they would add new pieces to over time, and in Sep. 2018 the band made an announcement that drummer Orri Dýrason had left the band - practically leaving the band reduced to a duo of Jónsi and Georg Hólm.

Elvis Costello & The Brodsky Quartet "The Juliet Letters" (1993)

The Juliet Letters
release date: Jan. 19, 1993
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Brodsky Quartet, Elvis Costello and Kevin Killen
label: Warner Bros. - nationality: England, UK

Studio album by the music crossover-project featuring pop / rock artist Elvis Costello and British classical string ensemble (the) Brodsky Quartet consisting of Ian Belton and Michael Thomas on violin, Paul Cassidy on viola and Jaqueline Thomas on cello.

The album was released to mostly positive reviews and the project also perfomed live to critical acclaim. I just don't think it works that well. Costello performs songs from his most delicate jazzy corner à la "Almost Blue" / "Shipbuilding" with the string quartet as instrumental appendix trying to fit in, or simply communicate that this is true art. I find it boring, uninspiring altogether, and see it as more of a media stunt he pulled through.

[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

The Durutti Column "Short Stories for Pauline" (2012)

Short Stories for Pauline
release date: Jun. 18, 2012
format: cd (fbn 36)
[album rate: 3,5 / 5]

Track highlights: 1. "At First Sight" - 2. "Duet" - 3. "College" - 4. "Invitations" - 5. "Destroy, She Said" - 6. "Model" - 7. "Journeys by Vespa" - 8. "Take Some Time Out" - 9. "A Silence" - 10. "Mirror A" - 11. "Cocktail" - 12. "Telephone Call" - 13. "Mirror B" - 14. "A Room in Southport"

23rd studio album release by The Durutti Column issued on Factory Benelux and produced by Vini Reilly. It's hard to fit in the category of new material as all tracks are from what was an abandoned album that Reilly worked on back in 1983, and which could/should have been his fourth studio album with the same title as here, and therefore it carries the original production number fbn36. Instead, Factory Records, or i.e. manager Tony Wilson, persuaded Reilly to work on what became the neo-classical Without Mercy (1984). That album only consists of two tracks but one will find that the tracks contain themes and pieces that has been incorporated from various tracks on this, the abandoned album. Some of the tracks have previously been released on a compilation album titled Lips That Would Kiss (1991), also by Factory Benelux.
[ official release info, see here ]
[ allmusic.com 4 / 5 stars ]

George Harrison "My Sweet Lord" (1970) (single)

My Sweet Lord, 7'' single

release date: Nov. 23, 1970

format: vinyl (F 2995)

[single rate: 4 / 5] [4,08]

producer: George Harrison & Phil Spector

label: Apple Records - nationality: England, UK

Tracklist: A) "My Sweet Lord" (4,5 / 5) - - B) "Isn't It a Pity"

1st single release by George Harrison taken from his solo album debut All Things Must Pass (Nov. 27, 1970). The single was released in the US as a double A-side single and international issues as regular two-sided 7'' singles.

This song is likely to be Harrison's best loved single - being highly valued as a stand-out work from his first album while creating a clash with his mangement as he didn't want to issue any singles from his album. Perhaps, just as importantly, the single is highly treasured because the single mix of the song differs from that found on the album.

During the Winter of 1970/'71, the release became an international number #1 single-hit, and the first to top the singles charts by any of the four ex-Beatles members. The song itself must have been the best possible promotion for the critical acclaim and commercial success of his double album, although, Harrison probably still didn't just see it as a sales stunt.

The copy I own is a first issue pressing from Denmark, which also played a central role as Harrison appears to have written and composed the song while on tour in Copenhagen, Dec. '69.

Back in the 70s I did enjoy this very song but somehow I also felt that I should appreciate it more 'cause I wasn't a huge fan. I think, I found it a bit too melancholic and repetitive - both traits are perhaps the reason I have come to treasure it much more as an adult. Harrison makes it simple and he carries much of a recognisable style from The Beatles without sounding like a tune coming from his former band. The song is both a simple one lyrically and with its bold chorus and yet musically, it's a complex compound of styles. There's a fine balance of psychedelic rock - here it's a conglomerate of folk rock, singer / songwriter, baroque pop, and pop / rock, and you can't really tell which style is the dominant one. It's tempting to stay with notion of 'psychedelic' but it seems too simplistic. All Things Must Pass is an iconic masterpiece, and "My Sweet Lord" is there as a highlight, to stress the fact that Harrison possessed much more than he was given a chance to lay open while being part of a band with two leaders. As much as I enjoy the various periods by The Fab Four, I just feel a more warm-hearted appreciation for Harrison's solo career, which I consider generally underappreciated.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Greyhounds "I (Who Have Nothing)" (1969) (single)

I (Who Have Nothing), 7'' single

release date: 1969

format: vinyl (SC 1106)

[single rate: 2,5 / 5] [2,68]

producer: ?

label: Scan-Disc - nationality: Sweden

Tracklist: A) "I (Who Have Nothing)" - - B) "Theme From the Wild Angels"

Single release from Swedish rock band Greyhounds. The A-side is credited 'Mogul - Donida - Leiber - Stoller'. Now, I know who Leiber & Stoller are. Mogul was a moniker for Italian songwriter Giulio Rapetti and Carlo Donida was an Italian composer and together they made the song "Uno dei tanti" ['One of the Many' / 'One Among Many'], which was transposed to English with new lyrics by songwriter-duo Jerome Leiber & Mike Stoller. The Italian song was originally performed by Joe Sentieri in 1961, and the translated version was initially performed by Ben E. King in 1963 [see more info on other versions here]. The B-side is credited Mike Curb, who made music to Roger Corman's 1966 film "The Wild Angels". There's not much other info on the vinyl labels or on the cover, which has identical sides, but the band appears to consisting of lead vocalist Bo Hellström, guitarist Roger Blomdahl, bassist Rolf Ahlin, keyboardist and vocalist Willy Björkman, and drummer Hasse Andersson.

This single probably comes from my older brother's record collection. I think, the cover somehow signals more than their music - and they could have only just watched Dennis Hopper's "Easy Rider", which premiered Jul. 1969, but most certainly knew of Corman's "The Wild Angels", in which the B-side original is found - and they try really hard to pose as a Swedish Steppenwolf copy.

I recall putting the single on the turntable as a kid and being disappointed about not really finding any enjoyment in it. Now, some five decades later, I still don't find much pleasure from it.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

The Last Shadow Puppets "Everything You've Come to Expect" (2016)

Everything You've Come to Expect
release date: Apr. 1, 2016
format: digital
[album rate: 3 / 5] [3,16]
producer: James Ford
label: Domino Recording Company - nationality: England. UK

Track highlights: 1. "Aviation" (live on Later) - 2. "Miracle Aligner" - 4. "Everything Youve Come to Expect" - 7. "Sweet Dreams, TN"

2nd studio album by project-band The Last Shadow Puppets consisting of (Arctic Monkeys front figure) Alex Turner on vocals and guitar, Miles Kane (from The Rascals) also on vocals and guitar, Zach Dawes on bass and keyboards, and with (producer) James Ford (of Homelife and Simian) on drums and percussion. 'Super-group' this project has been labeled, although, only Turner has been in a highly successful band, but yes, Ford has mainly put his name down as a hot producer for Arctic Monkeys, Klaxons, Beth Ditto, Florence and the Machine and Mumford & Sons to mention just the most famous artists, and Dawes is a new member on this album.
Stylistically, this is somewhat far from Arctic Monkeys being more chamber pop, psychedelic pop and melodic pop / rock-orientated. The album has generally been met by positive reviews by most major critics. I just don't find it that interesting. Admitted, it's above mediocre but there are too few fine songs here to call it anything near great. The production side is fine - very neat and polished - but the songs are just too anonymous and soothing in big arrangement production for my liking. And then I just find that it builds a bit too much on The Divine Comedy and former heydays with Scott Walker and Lee Hazlewood.
It's like Alex Turner going with the jet-set.
[ allmusic.com, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]

Moby "Everything Was Beautiful, and Nothing Hurt" (2018)

Everything Was Beautiful, and Nothing Hurt
release date: Mar. 2, 2018
format: cd
[album rate: 3,5 / 5] [3,56]
producer: Moby
label: Little Idiot - nationality: USA

Track highlights: 1. "Mere Anarchy" - 3. "Like a Motherless Child" - 4. "The Last of Goodbyes" - 5. "The Ceremony of Innocence" - 7. "Welcome to Hard Times" - 9. "Falling Rain and Light"

15th studio album by Moby [aka Richard Melville Hall] released on his own label and via Mute Records following the second release credited Moby & The Void Pacific Choir, More Fast Songs About the Apocalypse from 2017.
Stylistically, this is a return to his 'electronic' releases - as contrary to the 'dance punk' and 'synth punk' of releases with The Void Pacific Choir - and Moby has been around the 'electronic' scene for more than three decades exploring and incorporating genres and styles to satisfy himself more than his fans. That's always a good staring point, but as with someone like Neil Young it takes the artist off on many excursions - sometimes losing, sometimes gaining popularity, but I really like the attitude. With Moby I have felt a certain disappointment at times but this is no such instance. He reworks some familiar bits but mainly maintains a distinct sound, and it's really a nice journey. I like his touch on 'trip hop' combined with what sounds almost 'industrial' with an underlying bittersweet tone like one will find on his masterpiece Play from 1999, although, there's no real revisit to that, as it's more like a big combo of his many influences.
[ allmusic.com, Q Magazine, The Daily Telegraph 4 / 5, Rolling Stone 3,5 / 5 stars ]

Cornershop "Hold on It's Easy" (2015)

Hold on It's Easy
release date: Feb. 2, 2015
format: digital
[album rate: 3,5 / 5] [3,33]
producer: Tjinder Singh
label: Ample Play Records - nationality: England, UK

8th studio album by Cornershop follows nearly three years after Urban Turban - The Singhles Club.

This is something entirely different by being an easy-listening remake [thus the title] of the band's debut album Hold on It Hurts from 1993 and seems to be made exclusively by Tjinder Singh with the assistance of additional musicians and completely without steady band member Ben Ayres.

The album has only been issued in vinyl and digital download formats.

Hold on It's Easy is interesting with its alternate versions of familiar songs but it's nevertheless a somewhat strange and less powerful collection of songs, and the album may serve more in a collection for completionists.

Tracey Thorn "Record" (2018)

Record
release date: Mar. 2, 2018
format: cd
[album rate: 3,5 / 5] [3,48]
producer: Ewan Pearson
label: Unmade Road - nationality: England, UK

Track highlights: 1. "Queen" - 2. "Air" - 3. "Guitar" - 5. "Sister" - 8. "Face"

5th studio album by Tracey Thorn released on [her husband] the Ben Watt-founded label Unmade Roads comes 2½ years after her extensive compilation album Solo: Songs and Collaborations 1982-2015 (made as both 2-disc and single disc issues) and follows some 5½ years since her latest solo studio album Tinsel and Lights from 2012.
Stylistically, these new songs don't expose any new moves by Thorn. It's all made in a warm atmosphere of synthpop alt. dance, which mostly points back to her 2007 comeback solo album Out of the Woods, which is her latest album of pure synthpop, but in essence, the songs feel more like extended and well-known sophisti-pop of Everything but the Girl.
Despite not having released more than 5 albums in the span of 36 years - 3 of which have been issued since 2007, this new solo album is actually Thorn's best selling album to date peaking at number #15 on the national albums chart list, and the critical reception also seems to have welcomed the album as one of her best. Tracey Thorn is currently not "just" known for her musical output - be it her early stages with Marine Girls, her most famous contributions with Ben Watt and their project Everything but the Girl, or her solo releases - she is also columnist of New Statesman; and an acclaimed author of so far three books with the best-selling autobiographical debut from 2013, "Bedsit Disco Queen". Luckily, she hasn't completely abandoned music, and this her most recent album only demonstrates what a gifted musician she is.
It's not so much the songs themselves as the characteristic vocal of Thorn that makes these 9 songs shine. It's an album only touching 35 mins. running time, but Thorn sounds just as fresh and vibrant as on familiar albums of the 1980s or 1990s - there's simply no trace of the years gone by in that fine instrument of hers - and that's this album's biggest feature.
Record is a fine return of one of Britain's finest vocals.
[ allmusic.com, The Guardian, The Daily Telegraph 4 / 5, Rolling Stone 3,5 / 5 stars ]