Kraftwerk "The Mix" (1991)

2009 remaster

The Mix

release date: Jun. 11, 1991

format: cd (2009 remaster)

[album rate: 3,5 / 5] [3,38]

producer: Ralf Hütter, Florian Schneider

label: Kling Klang / EMI - nationality: Germany

10th studio album by Kraftwerk following a full five years after Electric Cafe (1986) isn't officially a compilation, although it may perfectly appear as that since it's dedicated to compositions stemming from all of the band's studio albums beginning with Autobahn (1974) right up to the most recent studio album Electric Cafe (1986). Ralf Hütter has offered his thoughts on why it's not to be considered a compilation or let alone a remix album, as others would claim. He states that these tracks are an expression of the band's live versions of well-known songs, all of which have been subjected to reshaping during the many years of performances. Since '86 percussionist Wolfgang Flür has left the band and as of '87, he was practically substituted by Fritz Hilpert. In 1990, Karl Bartos also left the band, after which Fernando Abrantes took over in his place and on the album here, but Abrantes left shortly after the release only to be replaced by Henning Schmitz.

Incidentally, 2009 is the year in which Kraftwerk reissued all of the it's essential albums in newly remastered editions - like this one - and they also reissued the box set Der Katalog (2004) with a back cover label '12345678', indicating the band's 8 studio albums from 1974 to 2003. Regardless Hütter's explanation, and intention, it doesn't change the fact that the tracks on The Mix have all been taken from previously released studio albums, and yes, they are here in completely new remixed versions. The album consists of 11 tracks and has a total running length of 65 minutes.

From both Autobahn (1974) and Radio-Aktivität (1975) only the respective title tracks have been included; from Trans Europa Express (1977) three tracks are included: the title track, "Abzug" and "Metall auf Metall"; from the album Die Mensch-Maschine (1979) only "Die Roboter" has found its way the this; from Computerwelt (1981) we again find three selected tracks: "Taschenrechner", "Computer Liebe", and "Heimcomputer", and from Electric Cafe (1986) only the song "Music Non-Stop" is included. With a bit of quick math, that sums up to only ten tracks, and that's because, in addition to album tracks, there's also room for "Dentaku", which is a Japanese version of "Taschenregner" in a slightly different version, originally featured as a B-side to the single release.

The album received a slightly luke-warm reception, but still landed at number #7 in Germany and at number #15 in the UK. Kraftwerk also released the new versions of "Die Roboter" and "Radio-Aktivität" as the two (promotional) singles from the album.

The Mix is a fine album without dazzling. However, I think that especially the earliest compositions have been altered and given a more modern sound in such a way that they certainly don't stand as improvements to the originals. Later well-known tracks have been exposed to a little bit of everything, and at the end, the album is mostly for fans and connoisseurs, as others will be better served with the original versions. And of course you're are free to think what you want about all their fine tracks they have passed on and not included here. You may ask yourself why on Earth they didn't just release a double album, when there's plenty of material to revisit? It's certainly not an essential release, which basically functions more as bonus material - an appendix you can easily do without.

[ allmusic,com, Mojo 3 / 5, Q Magazine, Uncut 4 / 5 stars ]

org. cover

Les Negresses Vertes "Famille nombreuse" (1991)

Famille nombreuse
release date: (Nov.?) 1991
format: vinyl (gatefold) / digital
[album rate: 3,5 / 5] [3,68]
producer: Sodi & Clive (aka Clive Martin)
label: Delabel / Razzia Disques - nationality: France

Track highlights: 1. "Famille heureuse" - 2. "Perpétuellement vôtre" - 6. "Sous le soleil de Bodega" - 8. "Hou ! Mamma mia..." - 9. "Infidèle cervelle" - 10. "La France a ses dimanches" - 12. "Car c'est un blouze"

2nd studio album by French band Les Negresses Vertes, which here enlists eleven members, although the cover photos only counts ten members. Prior to this, the band featured on the international Cole Porter tribute album Red Hot + Blue from 1990 with their version of "I Love Paris".

Here, the band attempts to continue in the same style from Mlah (1989), but nevertheless with more polished arrangements, which lacks the rebellious streak that caused the band to be compared to Madness and The Pogues. However, the album does succeed in presenting a more common tone, where Mlah pointed in various directions and also reflected music from a sea of ​​styles, and in that regard Familie nombreuse is an album that roughly stays on the same ground throughout. It's original, but in my mind it's missing that extra kick the debut contained. Having said that, the music here is by no means poor, but at times sticks out as slightly uninspired, although I personally find that the album actually improves in the latter half - perhaps simply because these songs share some of the traits from Mlah.

Familie nombreuse [meaning 'large family'] is the band's final with the its front figure, lead vocalist, and one of its major songwriters: Helno Rota, who died of an overdose in '93 (at the age of 29), after which the band's line-up changed considerably. The band continued to release albums up until around 2001, after which they have been less active. However, around 2018 and up to the 30th anniversary of this very album, Les Negresses Vertes (reformed with several of the original members) resumed their live performances, playing tracks from Mlah in particular (see here and here - and here a promotion spot for their tour).

[ 👎allmusic.com 2 / 5 stars, Popdose review ]

EMF "Schubert Dip" (1991)

Schubert Dip [debut]
release date: May 7, 1991
format: digital
[album rate: 3 / 5] [2,86]
producer: Pascal Gabriel & Ralph Jezzard
label: Parlophone - nationality: England, UK

Track highlights: 1. "Long Summer Days" - 5. "I Believe" - 6. "Unbelievable" (4,5 / 5) - 7. "Girl of an Age"

Studio album debut by Gloucester-based electronic quintet EMF [aka Epsom Mad Funkers] consisting of lead vocalist & guitarist James Atkin, Derry Brownson on keyboards & samples, Ian Dench on keyboards & guitars, Zac Foley on bass, and Mark Decloedt on drums.
EMF released the single "Unbelievable" in Nov. '90, and it was an immediate hit around the world reaching #3 on the UK singles chart list (#1 in the US), and it possibly paved the way for the recordings for this full-length album.
Musically, EMF is part of the baggy / madchester, alt. dance scene, which includes bands like The Stone Roses, Happy Mondays, Stereo MCs, Inspiral Carpets, and James. Sampling plays a major role in the music by EMF and most songs are held in an uptempo electronic and alt. dance-style.
Schubert Dip received mixed reviews but still peaked at #3 on the national albums chart list; however, "I Believe" is the only song that comes close to their hit single and the album is really nothing more than just above mediocre. I have occasionally played it in its entirety and always concluded that it's an uneven collection of songs that do not match albums by Happy Mondays, The Stone Roses or most other acts of the genre, but "Unbelievable" is one hell of a tune.
[ allmusic.com 3 / 5 stars ]

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 ]

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 - for two full-length albums after which Paul Webb founded his own (acclaimed) project Rustin Man, and Tim Friese-Greene initiated his solo project Heligoland. Both .O.rang and Heligoland expose some of the experimental ideas you'll find resonating with Spirit of Eden and Laughing Stock.
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 - plus €100,- and up for VG+ ]

1999 cd remaster

Dire Straits "On Every Street" (1991)

On Every Street
release date: Sep. 2, 1991
format: digital
[album rate: 2,5 / 5] [2,72]
producer: Mark Knopfler, Alan Clark
label: Vertigo Records - nationality: England, UK

Track highlights: 1. "Calling Elvis" - 4. "Fade to Black"

6th and final studio album by Dire Straits released more than 6 years after Brothers in Arms (May 1985).
The album doesn't reveal new stylistic influences, and it seems the band has come to a halt in more than one sense. Yes, the album faired more than well - it was after all released after a highly successful album and fans had to await new material for quite a while. So, the album of course sold millions of albums world wide, though critics weren't impressed.
I didn't listen to the album in its full length until after the new millennium, and honestly it didn't appeal to me one bit. I had heard the single releases from the album: "Calling Elvis", "Heavy Fuel" and the title track and found all of them more than just plain reproduction. Another three singles from the album were released but little did they do to the overall impression of a band that literally had no more to offer the world. The best fairing single "Calling Elvis" is country rock and blues-shaped and "Heavy Fuel" sounds too much like an attempt to make a follow-up to "Money for Nothing", but without success. Several tracks are like remakes of pieces of familiar compositions from the band's last two albums - long progressive intermissions with Knopfler showcasing his capabilities as the gifted guitar-player he truly is, but all in all, the album sounds like 'everything on repeat'.
The end of the band that many had feared during the long hiatus after the band's fifth album was announced in 1995 after another long brake, and Knopfler finally initiated his solo career which saw him take on more classic styles and genres that may have been impossible as a member of Dire Straits.
Not recommended.
[ allmusic.com 2 / 5, Rolling Stone 3 / 5 stars ]

Julian Cope "Peggy Suicide" (1991)

Peggy Suicide
release date: Apr. 22, 1991
format: cd
[album rate: 4 / 5] [4,06]
producer: Julian Cope, Donald Ross Skinner
label: Island Records - nationality: England, UK

Track highlights: 1. "Pristeen" - 3. "East Easy Rider" (4 / 5) - 5. "Hanging Out & Hung Up on the Line" - 6. "Safesurfer" (4 / 5) - 7. "If You Loved Me at All" - 12. "Head" - 14. "Beautiful Love" - 17. "The American Lite" - 18. "Las Vegas Basement"

7th studio album by Julian Cope released on Island Records officially follows My Nation Underground (1988); however, in between these, Cope released the two lo-fi albums Skellington (1989) and Droolian (1990), which may be regarded as his protest to the record company's desires concerning the promotion and the artistic direction following his '88-album. In that regard, these two parenthetic releases may be seen as the necessary valves / extremes paving way for a new charachteristic sound and style for Cope.

With 18 tracks and a total running time exceeding 75 minutes Peggy Suicide simply stands as Cope's most fascinating album to date. It feature a vast bunch of musicians - some of which are reappearing guests from previous albums and some usual suspects, such as Donald Ross Skinner, Mark 'Rooster' Cosby and Ron Fair, and apart from these the album also sees former The Smiths' drummer Mike Joyce on three compositions.

The style manifested here (for the first time) is Cope's own original blend of alt. rock incorporating psychedelic rock, space rock, and neo-psychedelia are all traits of his music following this very release. The album contains beautiful ballads, hard rock energy, and complex arrangements - altogether held in place by fascinating stories and / or catchy hooks. Furthermore, the stylistic cocktail builds on traditionel rock & roll, blues rock, and glam rock, and the whole album is a genuine conceptual manifest, thematically touching on religion, spirituality, women's rights, ecology, global critisism and consumerism. 'Peggy Suicide' is Cope's image and conception of Mother Earth after humans has ravaged the planet. All themes are a compound, which he brings with him on successive albums.

It's quite a strong statement, alone in how it's all staged together but also in the way the single tracks are arranged in relation to one another. And the compositions are all treated with textual explanations by Cope in the included cd-inlay and in place of lyrics. You'll notice clear elements of progressive rock here and there, but more than speaking of specific styles, the whole album appears as a narrative with chapters, repeating motifs and themes already revealed, after which they resurrect in new contexts.

Quite understandably, Peggy Suicide is included in "1001 Albums You Must Hear Before You Die", as Cope's only. The album is no less than his best ever and naturally highly recommended.

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

Big Country "No Place Like Home" (1991)

No Place Like Home

release date: Sep. 16, 1991

format: cd

[album rate: 3,5 / 5] [3,38]

producer: Pat Moran

label: Vertigo - nationality: Scotland, UK

Track highlights: 1. "We're Not in Kansas" - 3. "Dynamite Lady" - 4. "Keep on Dreaming" - 5. "Beautiful People" - 9. "You, Me and the Truth" - 10. "Comes a Time"

5th studio album by Big Country following three years after Peace in Our Time (Sep. 1988). Before this, drummer Mark Brzezicki had left the band in early '90 and prior to the recordings of the album but he nevertheless works as sessions drummer on the album.

Stylewise, the album comes out as something aiming at the American market - a bit like the predecessor, where the Celtic rock tone has been put in the background of a bolder r&b appeal. In terms of sales numbers, the album didn't deliver - neither nationally, nor as something for the American market - and it simply took the band further into anonymity. Following poor album sales the band was released from its contract with Mercury and the band subsequently disbanded for a short period of time, until Stuart Adamson returned to Watson and Butler, free from label control and with an opportunity to do what they themselves believed was their path in music, they saw a chance to give it another try.

I have only come across this album in retrospect and I see the dead-end they had round up in at this point of their career. The album is, as in all cases with music by Stuart Adamson, far from without potential. It just wasn't arranged, produced, and mixed in the most original way. The best tune here, "We're Not in Kansas" also made it to the follow-up in a an even better arranged version alongside "Ships". The album is not the place to start when looking this band up, and it remains a lowest point in the band's total discography of eight studio albums featuring founding member Stuart Adamson.

[ 👎allmusic.com 2 / 5 stars ]

American Music Club "Everclear" (1991)

Everclear
release date: Oct. 1991
format: digital
[album rate: 3,5 / 5] [3,62]
producer: Bruce Kaphan, American Music Club
label: Alias Records - nationality: USA

Track highlights: 1. "Why Won't You Stay" - 2. "Rise" - 5. "Crabwalk" - 6. "The Confidential Agent" - 10. "What the Pillar of Salt Held Up"

5th studio album by American Music Club is a relatively quiet [often referred to as 'slowcore'] singer / songwriter, folk rock collection of songs with some country, and jangle pop influences. I think it's clearly the so far best album by the band.
[ allmusic.com 4,5 / 5 stars ]

Daniel Ash "Coming Down" (1991)

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

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

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

Kate Bush "Rocket Man" (1991) (single)

Rocket Man, 7'' single
release date: Nov. 22, 1991
format: vinyl
[single rate: 3,5 / 5] [3,38]
producer: Kate Bush
label: Mercury Records - nationality: England, UK

Tracklist: A) "Rocket Man (I Think It's Going to Be a Long, Long Time)" - - B) 1. "Candle in the Wind" (2,5 / 5) - 2. "Candle in the Wind (instr.)" (2 / 5)

Single release by Kate Bush, which was part of the Elton John / Bernie Taupin tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin (1991). I don't recall why or when I purchased this single, and I have never played it much.

Jan Garbarek "Star" (1991)

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

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

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

Wilmer X "Mambo feber" (1991)

Mambo feber
released: 1991
format: 2 lp vinyl / 2 cd
[album rate: 3,5 / 5] [3,68]
producer: Dan Sundquist
label: Hi Fidelity / EMI Svenska - nationality: Sweden

Track highlights: A) 2. "Möt mej i din djungel" - 3. "Blå Kongo" - 5. "En modig man" - 6. "Hon tar till vapen" - 7. "Vem får nu se alla tårar?" - - B) 1. "Mambo feber" - 3. "En kvinna i livet" - 6. "Älska mej gick inte alls" - 7. "Jag är ingen Romeo" - - C) 2. "Perssons gård" - 8. "En tusende gång" - - D) 1. "Sex kvinnor på ett tåg" - 2. "Har du sett min ängel?"

A fine double album by Wilmer X in their usual style of blues rock and rock & roll. This is like Bruce Springsteen in genuine Swedish.

Eva Dahlgren "En blekt blondins hjärta" (1991)

En blekt blondins hjärta
release date: 1991
format: cd (STATCD29)
[album rate: 3,5 / 5] [3,65]
producer: Anders Glenmark
label: The Record Station / BMG - nationality: Sweden

Track highlights: 1. "Jag är gud"- 2. "Lev så" - 3. "Kanske för minnenas skull" - 4. "Guldlock" - 5. "Vem tänder stjärnorna" (4 / 5) - 6. "Allting om igen" - 7. "Kom och håll om mej" - 9. "Blå hjärtans blues" - 10. "Gunga mej"

8th studio album by Eva Dahlgren is truly something else than her previous album Fria världen 1.989 (1989). Although, Glenmark also produced the '89 album, this is much better produced. Luckily, the bold use of electric guitars and drums up front have been replaced by a more sophisticated spatial sound, and Dahlgren has accentuated her focus on more singer / songwriter material, which really suits her voice better than her (1980s Tina Turner) rocking anthems.
In Sweden, the album put Dahlgren on the top of pop in 1991 and she experienced the height of her musical career when she was awarded 5 prizes at the national Grammis awards for: 'Årets artist' ['Best Artist'], 'Årets kvinnliga pop / rockartist' ['Best Female Pop / Rock Artist'], and 'Årets album' ['Best Album of the Year'] for En blekt blondins hjärta. She also won the prize for 'Årets låt' ['Best Song of the Year'] for "Vem tänder stjärnorna?", and the prize for 'Årets kompositör' ['Best Composer']. In 1992, the album was released in an English version simply titled Eva Dahlgren - not to be confused with her second studio album from 1980 with the same title.

Robbie Robertson "Storyville" (1991)

Storyville
release date: Sep. 30, 1991
format: cd
[album rate: 3 / 5] [3,18]
producer: Robbie Robertson, Gary Gersh, Stephen Hague
label: Geffen Records - nationality: USA

Track highlights: 1. "Night Parade" - 5. "Day of Reckoning (Burnin' for You)" - 8. "Breakin' the Rules" - 10. "Sign of the Rainbow"

2nd solo album by Robbie Robertson following four years after his acclaimed debut.
Stylistically, the album is much more pop / rock-shaped than his '87 album, which paid more attention to americana. The track "Breakin the Rules" was made for the Wim Wenders '91 movie "Until the End of the World", and the song feature all three band members of the Scottish band The Blue Nile: Paul Buchanan, Paul Moore and Robert Bell, and Moore also plays keyboard on three other tracks.
The album sounds like the result of Robertson gathering much of his contemporary inspirational sources: The Blue Nile and their spacious art pop, and the production-sound and arrangements made by U2 on its most recent albums.
I have always felt that the album was too slick - the production and the structure of the songs echo too many familiar songs by others or sound as remakes of other songs by Robertson, thus making it a bit of a bland experience.

The The "Shades of Blue" (1991) (ep)

Shades of Blue, 12'' ep

release date: Feb. 1991

format: vinyl (655796 8)

[album rate: 3,5 / 5] [3,72]

producer: Matt Johnson

label: Epic Records - nationality: England, UK

Tracklist: A) 1. "Jealous of Youth" - 2. "Another Boy Drowning" (Live) - - B) 1. "Solitude" - 2. "Dolphins"

Ep release by The The is a non-album release in between Mind Bomb (Jun. 1989) and Dusk (Jan. 1993). The B-side contains two covers: "Solitude" (originally titled "(In My) Solitude"), a 1934 jazz standard credited Duke Ellington with lyrics by Eddie DeLange and Irving Mills, and the 1966 Fred Neil folk composition "Dolphins" (originally titled "The Dolphins", included on his second album Fred Neil from Dec. 1966 and also released as a single).

Red Hot Chili Peppers "Blood Sugar Sex Magik" (1991)

Blood Sugar Sex Magik

release date: Sep. 24, 1991

format: 2 lp vinyl (gatefold)

[album rate: 4 / 5] [4,12]

producer: Rick Rubin

label: Warner Bros. - nationality: USA

5th studio album by Red Hot Chili Peppers following two years after Mother's Milk (Aug. 1989) is the band's first after signing with Warner and the second to feature new guitarist John Frusciante and drummer Chad Smith.

Blood Sugar Sex Magik introduces a new sound of the band. Like Mother's Milk was a turn away from the psychedelic and funky acid-rock into something with a stronger heavy rock profile, Blood Sugar Sex Magik is yet again a move in a new direction. On this, they still play as a tight energetic unit, but where the predecessor was in a way more focussing on old school rock with a heavy metal influence, this appears as a conglomorate of psychedelic rock, funk rock, and punk rock with room for other stylistic influences and melody-based compositions but held together in an original soundscape of their very own.

The album was met by critical acclaim, overwhelming sales numbers and it basically sky-rocketed the band from theatre concerts to stadium arenas. Apparently, the success was more than Frusciante had ever wanted and he found it more than difficult to come to terms with the fact that the tight unit he had only just entered now was about to be promoted as a major act. Disillusioned, following the release and still well into a promotion tour, Frusciante eventually left the band in early '92 and was subsequently replaced by Arik Marshall for the rest of the tour.

The album is enlisted in "1001 Albums You Must Hear Before You Die". In retrospect (as of 2015), Blood Sugar Sex Magik remains the band's best album.

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

The Pogues "The Best of The Pogues" (1991)

The Best of The Pogues (compilation)
release date: Sep. 1991
format: cd
[album rate: 4 / 5]
producer: various
label: Pogue Mahone / Warner Music - nationality: UK

First best of album by The Pogues containing fourteen tracks.

Steve Miller Band "The Very Best of The Steve Miller Band" (1991)

The Very Best of The Steve Miller Band (compilation)
release date: 1991
format: vinyl (1992 reissue)
[album rate: 3,5 / 5]
producer: various
label: Arcade - nationality: USA

Best of compilation album by Steve Miller Band.

U2 "Achtung Baby" (1991)

Achtung Baby
release date: Nov. 19, 1991
format: vinyl (212 110) / 2 cd (2011 remaster)
[album rate: 4,5 / 5] [4,25]
producer: Brian Eno, Daniel Lanois
label: Island Records - nationality: Ireland

7th studio album by U2 is a return to the collaboration work with the producer-duo Daniel Lanois and Brian Eno. Three years' work pays off with this conceptual album. U2 always was a near conceptual band but this is form and content matter in artistic synergy.
The resulting sound of this modern classic simply changes the sound of everything that follows in the early '90s. However, it's also the final really great U2 album, imho. It's really difficult to pin out the best tracks, as it only contains one mediocre song ("Love Is Blindness") - the rest is solid gold. The album was really a huge improvement from Rattle and Hum (1988), and again they did what they had done in 1984 with The Unforgettable Fire (1984) as they altered the music scene with something highly original. The album also signals the end of an era, and after this they have never again been close to this artistic level, and to me this is their swan song. The album is naturally enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Q Magazine 5 / 5, 👍Rolling Stone 4,5 / 5 stars ]