Mariza "Fado em mim" (2002)

Fado em mim [debut]

release date: Apr. 2002

format: cd (2016 reissue)

[album rate: 4 / 5] [3,88]

producer: Jorge Fernando, Tiago Machado

label: Warner Music Portugal / Parlophone - nationality: Portugal

Track highlights: 1. "Loucura" - 2. "Poetas" - 3. "Chuva" - 4. "Maria Lisboa" - 5. "Ó gente da minha terra" - 6. "Que Deus me perdoe" - 8. "Terra d'água" - 9. "Oiça lá ó Senhor Vinho" - 11. "Oxalá" - 12. "Barco negro"

Studio album debut by Portuguese Mariza (aka Marisa dos Reis Nunes) originally released on Dutch label World Connection residing in Haarlem.

Mariza skyrocketed into Portuguese fame via this very album, although, no national label paid any interest in the music as she was an unproven artist; however, Mariza has soon become one of the most valued performers of the traditional fado.

Fado em mim is not only the essence of a national genre, it's also beautifully arranged and displaying elegance and sophistication on the highest level.

Highly recommended.

[ allmusic.com 4 / 5 stars ]

Roland Gift "Roland Gift" (2002)

Roland Gift [debut]
release date: Mar. 2002
format: cd
[album rate: 3,5 / 5] [3,68]
producer: David Z, Ben Barson, Roland Gift
label: MCA Records - nationality: England, UK

Track highlights: 1. "Tell Me You Want Me Back" (4 / 5) - 2. "Looking for a Friend" - 3. "It's Only Money" (4 / 5) (live ?) - 5. "A Girl Like You" - 7. "Superhero" (4 / 5) - 8. "Lady DJ" - 11. "If We Ain't Got Love"
[ full album ]

Solo album debut (and so far only) album by Roland Gift - former lead vocalist of Fine Young Cannibals released on American label, MCA with primary American producer David Z (aka David B. Rivkin), who also worked with FYC on a number of songs for the band's final studio album The Raw & The Cooked (1988).
The album doesn't fall far from the works by FYC, although, it's clearly more polished building on 'pop soul' and pointing at a more (adult) mainstream audience. The album was made while Gift stayed in the US, but unfortunately, also while MCA went through management changes being merged and absorbed by bigger companies (and dissolving in 2003), which meant that the album was practically released without promotion.
Critics were hard on the album claiming that it's without strong songs like "She Drives Me Crazy" and that it simply lacks dynamics. And yes, how could he run away from the ultimate success of Fine Young Cannibals?! The trio had kicked in the door on the world, and then just slipped out the back. Even more than a decade as an actor didn't make it any easier - Gift will forever be linked with FYC and the fact that they couldn't continue as a band after experiencing the downside of the success.
I actually listened to the album shortly after its release, and was completely astonished as to why they never played the album or any of its songs on the radio stations. This is simply too good not to be played. It may not be as strong as the two studio albums by Fine Young Cannibals - but lesser will do more than just fine, and frankly Mr. Shankly, why at all compare a soloist with the works of his former band? Its's completely unjust not to evaluate this album for primarily one of the strongest and most characteristic voices coming out of Britain - ever.
Recommended.

Elvis Costello "When I Was Cruel" (2002)

When I Was Cruel
release date: Apr. 23, 2002
format: digital
[album rate: 3,5 / 5] [3,48]
producer: The Imposter
label: Island Records - nationality: England, UK

Track highlights: 1. "45" - 2. "Spooky Girlfriend" - 3. "Tear Off Your Own Head ( It's a Doll Revolution)" - 5. "Soul for Hire" - 7. "Tart" - 10. "Alibi" - 12. "Daddy Can I Turn This?"

17th studio album by Elvis Costello released after an unusual long hiatus of six years since the predecessor All This Useless Beauty (1998), which ended up as his final album with The Attractions. The album is produced by "The Imposter" - in this case represented by Costello, Ciaran Cahill, Leo Pearson, and Kieran Lynch - and not to be confused with The Imposters, which basically is his "new" backing band trio consisting of Steve Nieve and Pete Thomas from The Attractions and new bassist Davey Faragher. In reality, Costello and long-time bassist of The Attractions, Bruce Thomas, weren't exactly on speaking terms with one another and Costello had used both keyboardist Steve Nieve and drummer Pete Thomas on other solo releases for years. During the live tour after his '96 album with The Attractions, Costello finally announced that it would be his last performances with his old backing band, and by 2001 Costello began recording sessions with his new backing band, The Imposters. Before this, he made the collaborative album For the Stars (2001) together with classical opera singer, mezzo-soprano, Anne Sophie von Otter credited 'Anne Sophie von Otter Meets Elvis Costello' and released by Deutsche Grammophon.

Musically, the album is a typical Costello studio release representing a huge blend of styles and influences. it's quite far from his '96 album and in some places sound as a fusion of his many collaborative works during the past decade with elements of rock & roll, alt. rock, jazz fusion, pop / rock and more traditional singer / songwriter material, and then there's also new styles involved when he experiments with trip hop and / or sampling as small delicate touches here and there, and ultimately, he only once again proves what a fine composer he is 'cause lyrically, he is always more than ordinarily interesting.

It's not a favourite - I simply find it too much of a fusion carpet with too many orientations.

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

C.V. Jørgensen "Fraklip fra det fjerne" (2002)

Fraklip fra det fjerne

release date: May 27, 2002

format: cd

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

producer: Kasper Winding

label: Columbia - nationality: Denmark

Track highlights: 1. "Alverdens turbulens" - 3. "Kort proces" - 4. "Mit lille reservat" - 5. "Neon nok" - 6. "Flimmer fra en fjerner" - 8. "Endnu en vinter" (med Steen Jørgensen) - 9. "Dagdriverdrømme" - 10. "En stor dag"

13th studio album by C.V. Jørgensen and his final album with new material for the time being. The album was released eight years after the critical acclaim Sjælland (1994). It's the second consecutive album with Kasper Winding in the role of producer and on the album, in addition to Winding, it's only recurring performances by guitarist Aske Jacoby and drummer Gert Smedegård, who most recently participated on I det muntre hjørne (1990) and who may probably be C.V.'s most used musician since the his beginning in '74. Aske Jacoby and Per Both play guitar on some tracks, just like C.V. again is credited with the instrument on most tracks, while Kasper Winding once again is credited as bassist and multi-instrumentalist. Other new musicians include the two Swedish musicians Gustav Ljunggren on pedal steel and mandolin, as well as Jesper Nordenström on keyboards, while Flemming Agerskov plays trumpet as a returnee from the '94 album. Text and music are solely credited C.V., while the music is arranged by Both, Valentin & Winding. The individual tracks are characterised by being recorded with different musicians, and several of these only participate on single songs, while it's exclusively C.V. and Winding, we hear on all ten tracks.

Eight years is a considerable time in between studio albums, and C.V. was perhaps even written off by many as an active musician. Following Sjælland, he somewhat turned down his touring life and withdrew from the spotlight, so that he now shows up with new material at all is actually a bit of a surprise. With the title - which is another word play ['Fraklip fra det fjerne' translates to 'Outtakes from afar'] - he basically jokes about his absence and perhaps indicates that these are mere glimpses of life from a self-chosen exile. It's not surprisingly an album on which C.V. cultivates the poetic, the ethereal and the introspective - as he demonstrated this style on the predecessor. A few tracks on that were predominantly electronic with a clear instrumentation taken from jazz with trumpet, double bass and percussion, and that approach is lived out in full bloom on this new one. The lyrics are not entirely positive. Again, they bear the mark of C.V.'s eye for social criticism and new trends, which in particular characterised his earlier albums. However, it's far from the wordy narrative threads of his early stage, but instead, it's much more based on his own life and identity. At the same time, it's performed in his more recent lyrical style, where the narrative is subordinated linguistic means. However, there is plenty of sulkiness, e.g. on "Endnu en vinter" ['Yet Another Winter']: "Jeg føler mig en anelse gudsforladt - & skriger på frelse hver eneste nat - Det hele er blevet mig for sammensat - Mon jeg nærmer mig endnu en vinter", ['I feel somewhat forsaken by God - and (I) scream for salvation every single night - It's all become too complex for me - I wonder if I'm heading towards another Winter' (my translation)], and on "Dagdriverdrømme" ['Dreams of Lazybones']: "Mit ego har spillet fallit - Mit jeg er ikke længere mit - Mit æresord er i miskredit" ['My self-esteem is failing - My own self is no longer mine - My word of honour is being discredited' (my translation)]. However, it's not only pure pessimism as for instance on the end track "En stor dag" ['A Great Day'], where he might narrate about turning his back on everything: "Det er som er jeg ramt af et trylleslag - Jeg har svært ved at huske mine nederlag - Dagen er reddet & kysten er klar - Jeg er den der er skredet så skaf en vikar" ['It's as if I've been hit by the wave of a magic wand - I find it difficult remembering my defeats - I'm out of the woods & coast is clear - I'm out of here, so find a replacement' (my translation)]. That's is how the album ends, and since then, C.V. hasn't released any new material. However, he has continued his concert life, at intervals, where his old stables have been rearranged and adapted to his new musical style.

Fraklip fra det fjerne was generally well-received, apart from a few critics who poked fun at his isolated life at his 'own preserve'. At the Danish Music Awards 2002, C.V. Jørgensen eas awarded IFPI's Honorary Award, while at the following year's nominations the album was on the list of Danish Album of the Year, which on that occasion was handed Saybia's debut album The Second You Sleep.

Nowadays, the album marks a fine poetic end to perhaps the one of the finest careers in Danish popular music. The album doesn't reach the level of his albums of the past two decades, but it's nevertheless original and artistically justified. However, as no other, C.V. Jørgensen has left his lasting mark in Danish music history by the release of several unique and diverse albums of high quality.

The front cover is once again credited C.V.'s girlfriend Annemarie Albrectsen. Since this, other albums have been issued, which include the two fine double live albums Så live som muligt (2003) and Sange fra scenen (2012), as well as number of compilations. The documentary "C.V. Jørgensen - skygger og skønhed" by Jens Folmer Jepsen was issued in 2006 (DR2 pre-presentation). Since 2011/12 circulating rumours have announced that he was in the process of recorded new songs, but now a decade onwards it's unfortunately still without any visible proof.

[ Gaffa.dk 4 / 6 stars ]

The Breeders "Title TK" (2002)

Title TK
release date: May 20, 2002
format: digital
[album rate: 3,5 / 5] [3,52]
producer: Steve Albini
label: 4Ad Records - nationality: USA

Track highlights: 1. "Little Fury" - 2. "London Song" - 3. "Off You" - 4. "The She" - 5. "Too Alive" - 6. "Son of Three" - 7. "Put on a Side" - 10. "Forced to Drive" - 12. "Huffer"

3rd studio album by The Breeders released 9 years [!] after the predecessor, the successful and acclaimed Last Splash. The title is a general expression for "title to come". A small decade without releasing noteworthy new material has its grounds, and the band is also a whole new set of people. The Breeders has always been a Kim Deal project-band - an outlet for her writing creativity. Pixies, which was her main band had been buried by frontman Black Francis in early '93, which should've given Deal room for playing with The Breeders, but Kelley Deal's drug abuse probably got in the way for the project. Anyhow, Kim founded the band The Amps (also with drummer Jim Macpherson), and The Breeders was a shelved project. Basically, what happened was that The Amps, who had been on tour since the release of the debut album Pacer in '95, had its name changed to The Breeders at some point in '96. The Amps consisted of Deal / Macpherson and with Luis Lerma on bass and Nate Farley on guitar. Deal had awaited Josephine Wiggs and Kelley's return but when Wiggs announced she was not in a position to rejoin The Breeders, Kim simply changed the band's name, which would hand them a broader repertoire, and with the addition of violinist Carrie Bradley the band now played as The Breeders. By late '98 Kelley rejoined while Macpherson left, and in 2000 both Lerma and Farley had left. Rumour has it that it wasn't just Kelley, who had a drug abuse - Kim had her problems and made regular studio work a challenging task, a point that was confirmed by Mark Freegard, who co-produced Last Splash when he found it impossible to work with Kim on sessions that should have been first takes on a follow-up album in '97. In '99 Kim had written new songs and to avoid conflicts with other musicians, she intended to make a solo album. She recorded several songs playing all instruments herself with Kelley in a supporting role but the idea of having to tour made her decide to find a group to play with. In 2000 the Breeders was a project consisting of the Deal sisters assisted by bassist Mando Lopez and guitarist Richard Presley from hardcore punk band Fear, and with Jose Medeles on drums.
Naturally, after 9 years and a lot of U-turns along the way this is not just the follow-up to the fine 93 album. How could it possibly be that? My reaction to the album was not a positive one. I had looked for news about the band and simply found it sheer stupidity not to release a follow-up within the first 5 years - they just didn't understand the importance of that 2nd album. And when it finally came, it was so far from the strengths of Last Splash. I had no idea of what the band had been through, but it's not really a bad album after all. It's biggest asset is that once you get the feel of it, it has a very uniform sound. I think, intentionally, it sounds more like session recordings - or even demo versions - without additional production editing or mixing to make it sound more vivid and alive, which in many ways link it more directly than almost any releases of the 90s to the proto-punk of the late 1960s and early 70s and with bands like Velvet Underground, The Stooges and Patti Smith.
It's not really a great album, but it certainly is a strong and individualised collection of songs, which in a most natural way bonds with Pixies, The Amps, all the 'noise rock' bands but also the whole grunge rock era of the 90s. And that's also a kind of a weakness 'cause by 2002 it does already sound dated - as something that should have been released in the mid-90s when proto-punk references were much more present. Regardless of being a Kim Deal project band, The Breeders has proven with Title TK that it's the most natural link between noise pop and alt. rock of the modern era and art rock and proto-punk some 30 years earlier, and in that respect this album is worth more than just a listen or two.
[ allmusic.com, The Guardian, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]

Tom Waits "Alice" (2002)

Alice
release date: May 4, 2002
format: cd (6632-2)
[album rate: 3,5 / 5] [3,48]
producer: Kathleen Brennan, Tom Waits
label: ANTI- - nationality: USA

Track highlights: 1. "Alice" - 5. "Kommienezuspadt" - 7. "Table Top Joe" - 11. "Reeperbahn" - 12. "I'm Still Here" - 13. "Fish & Bird"

15th studio album by Tom Waits following three years after the acclaimed Mule Variations (1999) is released simultaneously with the album Blood Money, which contains music by Waits to the play "Woyzech" by Georg Büchner in a theatrical adaptation directed by Robert Wilson, which premiered at Betty Nansen Theatre in Copenhagen, Nov. 2000. In this regard, Alice is not just one of Waits' more regular studio releases - as I initially thought of it. The 2002 album Alice is actually Waits' new recordings to his own music written and composed for the the play 1992 play "Alice", which he also made with Robert Wilson. Both albums have lyrics and music by Kathleen Brennan and Waits and they are both released on ANTI-. And as has become a bit of a habit, the couple, Waits and Brennan, also co-produced the album together.

The album follows closely in the same style as Mule Variations and like that has a bit of a return feel picking up some of his more laid-back albums with focus on vocal jazz as contrary to his more noisy albums of the '90s. The title track is a mighty fine and mellow tune, and the album's best song, although, it really sounds a lot like "Soldier's Things" from Swordfishtrombones (1983). And that's really also the album's most evident weakness - that it sounds much like a mix of what we've heard before from '83 and up until '99, and in that sense Waits doesn't deliver what he always sat out to do: to never repeat himself.

Compared to Blood Money the album contains songs in a gentler ballad-like style, which could be refered to as a more feminine tone.

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

Tom Waits "Blood Money" (2002)

Blood Money
release date: May 4, 2002
format: cd (6629-2)
[album rate: 3 / 5] [3,18]
producer: Tom Waits and Kathleen Brennan
label: ANTI- - nationality: USA

Track highlights: 1. "Misery Is the River of the World" - 5. "God's Away on Business" (official video) - 9. "Starving in the Belly of a Whale" - 13. "A Good Man Is Hard to Find"

14th studio album by Tom Waits is his music to the play "Woyzech" [an album title Waits rejected as he apparently thought noone would know who that was, and Brennan suggested "Blood Money", 'cause that's what the play is basically about], which premiered at Betty Nansen Theatre in Copenhagen, Nov. 2000. The album is released simultaneously with the album Alice both written, composed and produced by Tom Waits and (wife) Kathleen Brennan.

Stylistically, the music doesn't add new angles nor new elements to the music by Waits but it emphasises his experimental cabaret music, which seems to lean on the music by Kurt Weill, and while the songs themselves are not bad, they simply sound like pieces you've heard before.

Comparing the album to Alice this appears more angry and masculine as a person's wry position to all the bad things about the world.

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

David Sylvian "Camphor" (2002)

Camphor (compilation)
release date: May 27, 2002
format: 2 cd (LTD.)
[album rate: 2,5 / 5]
producer: David Sylvian
label: Virgin Records - nationality: England, UK

Compilation album by David Sylvian. This is rather different from the compilation album Everything and Nothing from 2000 as this is concentrating on Sylvian's more experimental instrumental compositions only and not trying to include all of his many projects into one. The album was released as a single-disc album and a Limited Deluxe Edition with three long bonus tracks. The 'normal' edition feature two tracks from Dead Bees on a Cake (1999), three from the album Rain Tree Crow (1991) with former Japan members, and one track from the solo album Alchemy: An Index of Possibilities (1986).
I don't think, Sylvian's best work is in his instrumental compositions, which explains the 2,5 stars, but the album works fine as a whole, and in that way the music is listenable in one long take.
[ allmusic.com 1,5 / 5 stars, Pitchfork Media 66 / 100 ]

Kent "Vapen & ammunition" (2002)

Vapen & ammunition
release date: Apr. 15, 2002
format: cd
[album rate: 4 / 5] [4,12]
producer: Kent, Martin von Schmalensee, Zed Nagrano
label: RCA / BMG Sweden - nationality: Sweden

Track highlights: 1. "Sundance Kid" - 2. "Pärlor" - 3. "Dom andra" (4,5 / 5) - 5. "Hur jag fick dig att älska mig" (5 / 5) - 6. "Kärleken väntar" (4,5 / 5) - 7. "Socker" - 8. "FF" (4 / 5) - 10. "Sverige" (4 / 5)

5th studio album by Kent, who really has slowed down on the realisation time. Maybe they were inspired by the success of spending longer time in the studio with the predecessor. The fact is that it took the band three years working on this, and expectations were way up after the fine '99 album, and in my mind, this even betters the acclaimed Hagnesta Hill. The music is more subdued, and contains several great ballads, in a sense making it more Swedish in an almost Bergman way. I think, they went from trying to make English-versioned albums from 1997-2000, and having little success with that they then went 100% in the making of a Swedish album. Also, the music is a turn to a more electronic sound.
The album wasn't unnoticed as Kent won the Swedish Rockbjörnen (prize founded by Swedish newspaper Aftonbladet) and Grammis (The Swedish Grammy given by Phonographic Industry Sweden) in 2002 for Album of the Year, and Joakim Berg won the prize as both Best Songwriter and Best Composer, and internationally, they also won the prize as Best Nordic Act at MTV Europe Music Award 2002. The album is the band's best-selling album to date topping the album charts in Sweden, Norway, and Finland, and with that they realised they were able to be successful singing in Swedish only. Also, the three singles issued from this fared better than before. "Dom andra" was issued Mar. 18, and it is the band's first number #1 single in Sweden [of a total of only 6 top-charting singles and eps in the band's long career with 11 studio albums topping the national chart list]. The second single, track #6, wasn't issued until July and the last, track #8, had its release in November - both peaked at number #2 on the singles chart list.
Vapen & ammunition is simply the band's so far best album.
Highly recommendable.

<  show lyrics >

~ ~ ~

"Hur jag fick dig att älska mig"

"Kylan blev min vän
Min ursäkt för att gömma mig igen
I musiken och Ziggy blev min bror
När du fann mig satt jag hjälplös vid ett bord
Jag som nyss föll till en obegriplig jord
Du blev min räddning så obegripligt stort

::Att du vill vara min

Du var aldrig rädd
För dom som kallat mig ”En skada redan skedd”
Du är musiken och Ziggy han förstod
Att jag som alltid varit stum behövde ord
Jag som tvekat, jag som aldrig vågat tro
Att jag har nånting så obegripligt stort

::Att du vill vara min

Ett under att du ser mig
Att du fortfarande ser mig
Ett under att du ser mig
Som någon som kan ge dig nånting
Som får dig att vilja vara min

::Att du vill vara min
::Att du vill vara min"

~ ~ ~

"Kärleken väntar"

"Brinn pengar brinn
Jag lovar du betyder nånting
Du orkar ta dig igenom det här
Du räcker till, så var den du är

Brinn pengar brinn
Jag vet att du är värd någonting
Du är hoppet i ett IQ-fritt land
Du är drömmarna jag drömmer ibland

:Visst känns det som att kärleken väntar

Brinn hjärtat brinn
Du vet du kan förändra allting
Det blåser genom staden i natt
Hör du sanningen, den lät som ett skratt

Brinn hjärtat brinn
Vår fiende är rädd om sitt skinn
Det räcker med en gnista ett bloss
Dom skulle vilja vara som oss

:Visst känns det som att kärleken väntar

[solo]

:Visst känns det som att kärleken väntar
:Visst känns det som att kärleken väntar"

~ ~ ~

"Sverige"

"Sverige, Sverige älskade vän
En tiger som skäms
Jag vet hur det känns
när allvaret har blivit ett skämt
När tystnaden skräms
Vad är det som hänt

Välkommen, välkommen hit
Vem du än är var du än är

Duka din veranda till fest
för en långväga gäst
I landet lagom är bäst
Vi skålar för en midsommar till
Färsk potatis och sill
Som om tiden stått still

Välkommen, välkommen hit
Vem du än är var du än är

Regnet slår mot rutorna nu
men natten är ljus i ett land utan ljud
och glasen glittrar tyst på vårt bord
Lika tomma som ord
Visst är kärleken stor

:Välkommen, välkommen hit
:Vem du än är var du än är"

~ ~ ~

Pearl Jam "Riot Act" (2002)

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

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

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

Olesen-Olesen "Anonyme melankolikere" (2002)

Anonyme melankolikere
release date: Apr. 2, 2002
format: cd (melo 001)
[album rate: 3,5 / 5] [3,68]
producer: Olesen-Olesen
label: Melodika - nationality: Denmark

Track highlights: 1. "Anonyme melankolikere (som folk er flest)" - 2. "På Eik Skaløes Plads" - 3. "Sådan skulle livet altid være" - 4. "Husråd og mundheld" - 5. "Alle linier er optagede" - 6. "I en storm af metaforer" - 10. "Ikke langt herfra"

4th studio album by Olesen-Olesen follows two years after Dagens gerning is the brothers' first release on their own new-founded label Melodika. It's self-produced and contains 10 tracks with a total running time at just over 41 mins.
Musically, it doesn't represent major changes, although, it appears as less orchestrated when comparing to Der er brev fra Onkel Bob i Amerika (Sep. 2000).
The album is another truly fine release of well-known Danish folk rock and singer / songwriter melodies, and an overall more subdued and laid-back album, and perhaps more sinister compared to the duo's most recent album.
I really enjoy this album too, which simply was completely ignored at the time of its release. At this point of their career, I guess the brothers Olesen must have seen the irony of what may have felt like a continuous artistic acclaim that doesn't always go hand in hand with commercial success. The duo has nearly always been met by fine reviews but at the same time never succeeded in selling more than a few hundred copies of their albums. I think, Olesen-Olesen is one of the best Danish artists in the late '90s and in the new millennium up until the duo's disbandment in 2007. This album only verifies that.
[ Gaffa.dk 4 / 6 stars ]

Lisa Ekdahl "Heaven, Earth and Beyond" (2002)

Heaven, Earth and Beyond (compilation)
release date: 2002
format: digital
[album rate: 3 / 5] [3,18]
producer: various
label: RCA Victor - nationality: Sweden

Compilation album by Lisa Ekdahl with tracks from both her two studio releases with Peter Nordahl Trio: When Did You Leave heaven from '95 and Back to Earth from '98; and then a few previously unreleased songs, and some of the tracks from her most recent studio album: Lisa Ekdahl Sings Salvadore Poe from 2000, thus with the consequence that the selected material here is mostly vocal jazz and in the style of bossa nova and latin jazz.
I must confess that I still don't like it much when Ekdahl sings in English and in the style of bossa nova. Perhaps I think so, because so many other artists do (and did) well in the genre, or simply because Lisa Ekdahl's voice makes it noting more than indifferent, and both traditional vocal jazz and bossa nova may be very fine but brought into a sphere of jazz pop and or folk pop is simply not the best mix, imho.

U2 "The Best of 1990-2000" (2002)

The Best of 1990-2000 (compilation)
release date: Nov. 5, 2002
format: 2 cd (Deluxe Edition)
[album rate: 3 / 5]
producer: various
label: Island Records - nationality: Ireland

Best of compilation album by U2, which comes in a standard single disc version and a 2-disc Deluxe Edition with the addition of a disc titled "Best of - The B-sides", completely as was the case with the band's first best of album The Best of 1980-1990 & B-sides (Nov. 1998). Where the band with the '98 album focused on their most recent two albums, this is a bit of an extended mix. The tracks both cover the band's last four albums of the 1990's - and two of these, Zooropa (1993) and Pop (1997) do represent an artistic low-point, but the album also contains four new songs: the fine "Miss Sarajevo" recorded and released for the U2 / Brian Eno-project band, Passengers' album Original Soundtracks 1 (1995), "Electrical Storm (William Orbit Mix)" (it also features the original version!), "Hold Me, Thrill Me, Kiss Me, Kill Me" made for the "Batman Forever" film by Tim Burton (1995), and "The Hands That Build America (Theme From 'Gangs of New York')" made for Martin Scorsese's 2002 film "The Gangs of New York".
As was the case in '98, the album is not really a compilation of U2's best compositions from the decade, although, several of the songs would be expected on a best of album. Strange decisions have led to the idea concerning "The Best of the B-sides" disc - too many odd mixes of original songs have been included to make it much worth. You get some, and then you get a lot of oddness, you just didn't hope for.
[ 👍allmusic.com 3 / 5, 👍Pitchfork 5,6 / 10, Rolling Stone 4 / 5 stars ]

Alanis Morissette "Under Rug Swept" (2002)

Under Rug Swept
release date: Feb. 26, 2002
format: digital
[album rate: 3,5 / 5]

Track highlights: 1. "21 Things I Want in a Lover" - 2. "Narcissus" - 3. "Hands Clean" - 4. "Flinch" (4 / 5) - 6. "Precious Illusions" - 9. "You Owe Me Nothing in Return" - 10. "Surrendering" - 11. "Utopia"

5th studio album release by Alanis Morissette following Supposed Former Infatuation Junkie (1998.
Now this is a better release than her '98 album. I think, many people actually missed this one out because of sheer disappointment with her follow-up to her extremely popular Jagged Little Pill (1995). The '98 release sold really well coming after such massive success, despite the fact that it was really a lesser album, so people may have concluded that she only did one great album, but I actually really like this one. "Hands Clean" and "Precious Illusions" were the single releases from the album but it's "Flinch" that really lifts the level.

Cornershop "Handcream for a Generation" (2002)

Handcream for a Generation
release date: Apr. 1, 2002
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Tjinder Singh
label: Wiiija Records - nationality: England, UK

Track highlights: 2. "Staging the Plaguing of the Raised Platform" (live on Later) - 3. "Music Plus 1" - 4. "Lessons Learned from Rocky I to Rocky III" - 6. "Motion the 11" - 10. "Spectral Mornings"

4th studio album by Cornershop follows 4½ years after the acclaimed When I Was Born for the 7th Time (1997) is the band's final album on the Wiiija label. With this the band introduces a sound built more on indietronica, electronica with a bolder use of samling combined with the usual blend of indie rock and South Asian Music with a stronger dance appeal. Guitarist Noel Gallagher and bassist Guigsy [aka Paul Francis McGuigan] both of Oasis make guest appearances on two different tracks (#10 and #4 respectively).
For some time I found this poor or mediocre, and of little interest compared to the break-through album When I Was Born for the 7th Time, which preceded this, but it's more than just Okay, actually. With Cornershop one must realise that Tjinder Singh and Ben Ayres, the two founding members, always have sought to move on and to create new music - including new mixtures of sound. The change of style on this album comes out as a more big beat / house-inspired sound - I hear Chemical Brothers and or Underworld in tracks like "Music plus 1" and "Spectral Mornings" but also classic disco inspiration, which only adds to the band's soundscape. Cornershop already represents a huge blend of funk, soul, reggae, and rock - mostly garage-inspired rock. It's Western popular music on one side and Asian-inspired folk on the other with a fusion of Indian folk / Punjabi folk music.

Handcream for a Generation may require more than a few listens to sink in. At least it took me some time to fully understand that it's much better than my initial verdict told me. I really enjoy it and have come to think of it as one of the band's better albums.
[ allmusic.com, Rolling Stone 3,5 / 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. Aside from that, there's also a synthpop or electronic influence present, and it's really hard to label the style, as it's a rather huge mix of influences, and one 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 your musical career.
The album was met by positive reviews, many 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 lesser album. 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 ]

Siouxsie and the Banshees "The Best of Siouxsie and the Banshees" (2002)

The Best of Siouxsie and the Banshees (compilation)

release date: Nov. 12, 2002

format: digital

[album rate: 3,5 / 5]

producer: diverse

label: Polydor / Wonderland - nationality: England, UK

2 CD best of album by Siouxsie and the Banshees released six years after the disbandment is basically the first release with the attempt to collect the band's best tracks. It's quite obvious a pure record company's idea without intentions of trying to document what the band has really contributed with in a music historical perspective. And the selection of 'the best' compositions hasn't included advice, wishes, guidance from the band members. When you take a closer look at what may have been the trigger for Polydor / Universal 'suddenly' manufacturing an idea to release this album at this very instant, it's striking that former band members Sioux, Severin, and Budgie together with guitarist Knox Chandler met in April 2002 to discuss the preparation of a reunion tour, which they called the "Seven Year Itch tour", which took place in the Summer of 2002, and handpicked tracks from this tour ended up on the live album Seven Year Itch - Live (2003). And yes, the (former) record company then found a way to perhaps ride on the new interest for the band and to earn a little extra profit from that...

The Best of... consists of two CDs, where CD 1, with its 15 tracks mainly originate from the band's later years, and it has a total running length of approx. 57 minutes. CD 2, with 9 tracks, all of which are various extended editions or peculiar mixes, has a total running length of just under 65 minutes.

Let me cut to the conclusion: this is by no means the best of a band who has successfully changed style from album to album over almost two decades, starting out as a post-punk band with strong ties to punk, then becoming one of the most significant style-creating bands of the establishment of both gothic rock and later darkwave styles. Later on, they have progressed again as a distinct kind of pop and alt. dance group, and it's pretty much only this last chapter you'll find being exposed on this very release. The selected tracks are fine - as it's difficult to list fifteen tracks with a band, who have made so many fine songs, without it being automatically a successful selection, however, at the same time it is a somewhat strange experience listening through an album that starts with the band's commercial breakthrough - the cover "Dear Prudence", which, despite its qualities, in no way rightfully represents the band's original contribution to music history. Admittedly, a few well-known tracks from their early period have been included, but the jump from alt. dance tracks back to dark electric gothic rock, and then ending as it started with their most recent period, seems like the strangest journey.

Two fine compilations were released during the band's lifetime: Once Upon a Time / The Singles from '81, which nicely documents the band's earliest music, and then Twice Upon a Time - The Singles from '92, which admittedly doesn't include tracks from the band's final album - but together these are a much better choice than The Best Of.

Not recommended.

[ allmusic.com 3 / 5 stars ]

BEST OF 2002:The Streets "Original Pirate Material" (2002)

Original Pirate Material [debut]
release date: Mar. 25, 2002
format: cd
[album rate: 4 / 5] [4,16]
producer: Mike Skinner
label: 679 / Locked On - nationality: England, UK

Track highlights: 1. "Turn the Page" (4 / 5) - 2. "Has It Come to This" (4,5 / 5) - 3. "Let`s Push Things Forward" - 5. "Same Old Thing" - 6. "Geezers Need Excitement" (4 / 5) - 7. "It's Too Late" (4,5 / 5) - 8. "Too Much Brandy" - 9. "Don't Mug Yourself" (5 / 5) - 11. "The Irony of It All" - 12. "Weak Become Heroes" (4 / 5)

Studio album debut by the Mike Skinner solo project The Streets, and what a great release that is! Skinner is THE dominant figure behind the project, he wrote all tracks for the album and produced it on his own.
The album was well-received and came in at number #10 on the British albums chart list, but in a few years time it gained even more recognition, and today it's one of the highest ranked albums of the decade.
Highly recommendable.
[ allmusic.com, Uncut, and Drowned In Sound 5 / 5, Rolling Stone 4 / 5 stars ]

2002 Favourite releases: 1. The Streets Original Pirate Material - 2. Interpol Turn on the Bright Lights - 3. Johnny Cash American IV: The Man Comes Around

Toots & The Maytals "Sweet and Dandy: The Best of Toots & The Maytals" (2002)

Sweet and Dandy: The Best of Toots & The Maytals" (compilation)
release date: 2002
format: digital
[album rate: 4 / 5]
producer: various
label: Trojan Records - nationality: Jamaica

A 24 track compilation album by Toots & The Maytals. It contains many of the band's best tracks but I don't find it a sufficient attempt. I mean, this band has released dozens of singles and albums that were only available in Jamaica. What is needed is an album that seeks out to collect the best of what they released, from being The Maytals, and in doing so pays the appropriate respect to the different styles and genres they went through, and I think this one misses out on that - 'cause fact is, Toots & The Maytals were not 'just' among the most important contributors in shaping reggae as a genre but also a prominent artist of ska, soul and rocksteady.
The album is slightly better than Island Jamaica's 2-disc album Time Tough - The Anthology from 1996, which contains almost twice as many tracks, but unfortunately put too strong focus on compositions from the 1970s that are not crucial.
Perhaps a better best of album to get hold of could be either Sanctuary Records 2002 2-disc album 54-46 Was My Number: Anthology 1964 to 2000, or the 2-disc album Pressure Drop: The Definitive Collection released on Trojan in 2008.

Paul Weller "Illumination" (2002)

Illumination
release date: Sep. 16, 2002
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Paul Weller, Simon Dine
label: Independiente Records - nationality: England, UK

Track highlights: 1. "Going Places" - 3. "Leafy Mysteries" - 4. "It's Written in the Stars" (4 / 5) - 6. "Now the Night Is Here" - 8. "One X One" (live) - 10. "All Good Books" - 12. "Standing Out in the Universe"

6th studio album by Paul Weller with a new producer marks a strong return to form. I really enjoy this album, which I find almost pars his so far best solo album, Wild Wood from 1993. This is not just the usual recipe. Here he challenges his talent - adds new layers to a solid style, sometimes more polished than ever, sometimes more naked and simple, and in other places just adding hints of new styles and by that producing a fine collection of soulful songs. He has turned to funk, blues, and (British) folk giving a edge to his albums over time, but I find his best when adding elements of soul. It's not sophisti-pop, which also has its source in soul, and by that could have put this closer to the music of The Style Council. It's more singer / songwriter, soul, and pop / rock in a fine blend. 

The album topped the UK album charts list.
[ almusic.com 4,5 / 5, The Guardian 4 / 5, Rolling Stone 3 / 5 stars ]