Kraftwerk "Tour de France Soundtracks" (2003)

Tour de France Soundtracks

release date: Aug. 4, 2003

format: cd

[album rate: 3,5 / 5] [3,46]

producer: Ralf Hütter, Florian Schneider

label: EMI - nationality: Germany

Track highlights: 2. "Tour de France Étape 1" - 3. "Tour de France Étape 2" - 7. "Aéro Dynamik" - 9. "Elektro Kardiogramm" - 12. "Tour de France" (4 / 5) (officiel video)

11th and final studio album by Kraftwerk released a full twelve years after The Mix (1991) - and seventeen [!] years after Electric Cafe (1986), which stands as their most recent album with completely new material. This final outing is also the band's only album with a line-up consisting of Ralf Hütter and Florian Schneider together with the two new members of Fritz Hilpert (who in '87 replaced Wolfgang Flür) and Henning Schmitz, who after ' The 91 album replaced Fernando Abrantes (who had only just replaced Karl Bartos). The album is as all the band's albums from '74 and onwards also released in a remastered 2009 version, and for that, it was issued with the shorter title, Tour de France for the simple reason that it had been created to the occasion of the 100th anniversary of the first Tour de France. At the same time, it also happens to be the 20th anniversary of the band's first edition of the title track. The album consists of 12 compositions with a total running time at approx. 56 minutes.

Stylewise, the band here presents a new sound based on basic elements from their previous albums but now with an implementation of techno, for which the band itself is seen as a major inspiration, and which in a way provides the music with a breath of fresh air. Most lyrics are written in collaboration between Ralf Hütter and French songwriter Maxime Schmitt.

The album was generally met by positively reviews and it ended up topping the German albums chart as the band's only. It reached number #7 in Sweden, number #21 in the UK, and a position as number #3 on the US Top Dance/Electronic albums chart, although it didn't chart on the Billboard 200, as the band's only album to date. A total of four tracks were selected for single releases: "Tour de France 2003" (Jul. 2003), which contains four different versions of the title track - none of which appear on the album (which basically is in keeping with the multiple versions of the original "Tour de France" single from '83), "Elektro Kardiogramm" (released as a promo single) in a 'Radio Mix' version, "Aéro Dynamik" released in 2004 as "Aerodynamik" for a single with the track in four different mixes, again, all of which differ from the album version and "Aerodynamik + La Forme Remixes" released 2007. The first single peaked at number #50 on the German singles chart, which was bettered by a number #20 in the UK.

The album stands as Kraftwerk's final with new material, although several releases have followed, e.g. the live album Minimum-Maximum from 2005, the box set Der Katalog (2009), the live box set 3-D Der Katalog (2017) and most recently, the exclusively digital release Remixes (2020). The band has maintained regular live tours up to the present day, despite one of the band's founders, Florian Schneider left the band in 2009 and then later in 2020 died at the age of 73.

The title track has iconic status and fits fantastically as an underlay for cycling, but the album is a slightly odd conglomerate with few other highlights and quite a bit of filler material, but it's nevertheless still worth to know off.

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

The Go-Betweens "Bright Yellow Bright Orange" (2003)

Bright Yellow Bright Orange
release date: Feb. 24, 2003
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,66]
producer: The Go-Betweens
label: Trifekta - nationality: Australia

Track highlights: 1. "Caroline and I" - 2. "Poison in the Walls" - 3. "Mrs. Morgan" - 6. "Crooked Lines" - 8. "Make Her Day"

8th studio album by The Go-Betweens released 2½ years after The Friends of Rachel Worth (Sep. 2000) is once again with a changed line-up in the 'supporting roles' of a band that is essentially no more than a duo-project. Now officially, the band is back as a quartet with the two founders at the front, the songwriters and composers Robert Forster and Grant McLennan, who are both credited on vocals and various guitars (Forster is also credited on organ and piano). As on the predecessor, they are here backed by bassist Adele Pickvance, who is also credited on keyboards and backing vocals, and then new member Glenn Thompson is seen on drums, electric guitar, organ, keyboards, and backing vocals. Beyond these, only a small duo of string instrumentalists are credited musical contributions.

Stylistically, there are no major changes since the 2000 revival release, but as a positive contrast, this is a much more cohesive collection of songs, with the two songwriters actually sounding like they've been working together on the new tracks and not 'only' have met in the studio with a handful of their own individual tracks, as they had become accustomed to in the years after their break-up in '88. The album contains an expected even number of 10 new tracks, which typically indicate five songs by Forster and five by McLennan, only this time they don't make a big fuzz about telling us who wrote what song. Instead, all tracks are credited Forster / McLennan, although they are believed to have contributed roughly equally with lyrical and musical contributions. They match each other in unison - and not that they didn't do that before, but it's as if they rise together on more optimistic notes, and perhaps the title suggests exactly what is seen on the cover - the only album by the band without actual photos of the band members - a reflection of a lighter lyrical content. Fact is, many of their earlier songs were woven and soothed in bittersweet melancholy. In contrast, they here sort of narrate in lighter spheres adding tailored vocal harmonies and chamber pop arrangements. The only thing I miss are a number of distinctive strong songs, and seen as a whole the album is perhaps a bit too cohesive with the two songwriters tiptoeing along more or less down the same path on golden rays of sunshine.

Expectedly, Bright Yellow Bright Orange was met by positive reviews and was even nominated, without winning, Best Album at the Australian Music Awards but The Go-Betweens now sound like they have found their footing and are back on course again. And nevertheless, it's always a pleasure to hear new songs with this classic songwriting duo.

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

Bill Frisell "The Intercontinentals" (2003)

The Intercontinentals

release date: Apr. 15, 2003

format: digital (14 x File, FLAC)

[album rate: 4 / 5] [3,92]

producer: Lee Townsend

label: Nonesuch - nationality: USA

Track highlights: 1. "Boubacar" - 2. "Good Old People" - 4. "Baba Drame" - 5. "Listen" - 7. "Procissão" - 8. "The Young Monk" - 10 "Yála" - 11. "Perritos"

Studio album by Bill Frisell following his 2002 album The Willies is like most of his albums on Nonesuch produced by Lee Townsend and the majority of the tracks are composed by Frisell, although, this one also contains four by others and one traditional; however, the biggest change on this is probably the boldest inclusions of world music on any album by Frisell, which is also seen on the list of personnel and then it's also referred to in the album title. Several tracks honour famous musicians of world music, e.g. the first track "Boubacar", a tribute to Malian guitarist Boubacar Traoré, who again is composer of track #4. The album feature Malian percussionist Sidiki Camara, also on djembe, Brazilian guitarist and percussionist Vinicius Cantuária, Greek oud and bouzouki player Christos Govetas, American violinist Jenny Scheinman, and stable Frisell slide and pedal steel guitarist Greg Leisz. Yes, this is indeed an intercontinental fusion, and the title of the album also became the name of this very ensemble, initially formed in 2001.

The album was met by international acclaim and is a perfect example of Frisell's continued journey to explore new musical soil. The album nicely balances African blues, latin grooves and rhythms, world music, and American roots music with ever-present americana.

Highly recommended.

[ allmusic.com, PopMatters 4,5 / 5, The Penguin Guide to Jazz Recordings 3,5 / 4, Mojo 4 / 5 stars ]

Elvis Costello "North" (2003)

North
release date: Sep. 23, 2003
format: cd
[album rate: 3,5 / 5] [3,42]
producer: Elvis Costello and Kevin Killen
label: Deutsche Grammophon - nationality: England, UK

18th studio album by Elvis Costello following 1½ year after When I Was Cruel is more of a solo album than most of any all his studio releases. Despite having what seems as a full orchestra of strings and brass musicians supporting him and also appearances by all of The Imposters: Steve Nieve, Pete Thomas, and Davey Faragher, the album comes out as a quiet and very ballad-like collection of vocal jazz compositions. Also, the majority of the song titles reveal an album with full attention on love ballads. Apparently, the album both reflects Costello's broken relationship with Cait O'Riordan as well as his newfound love with Canadian pianist and jazz vocalist Diana Krall, whom he married Dec. 2003.

The album bonds nicely with his two collaboration projects, the live album Deep Dead Blue (1995) with Bill Frisell as well as Painted From Memory (1998) with Burt Bacharach - and mostly with the latter by also having a full orchestra as backing band. Having said that, it's not an album that reflects his splendid ability to arrange and compose music - it's really like stretching his hands out to Krall and stating: "You know, I did all that but I can also make really soft vocal jazz and jazz pop music - really much like you do!", which some critics noted by referring to the style as closer to what Krall normally released than was the case with Mr. Costello.

Best thing here is the songwriting.

[ allmusic.com 3,5 / 5 stars ]

BEST OF 2003:Sun Kil Moon "Ghosts of the Great Highway" (2003)

2018 reissue

Ghosts of the Great Highway [debut]
release date: Nov. 4, 2003
format: 2 lp vinyl (2018 reissue - gatefold) / 2 cd (2007 reissue)
[album rate: 4,5 / 5] [4,65]
producer: Mark Kozelek
label: Rough Trade / Caldo Verde - nationality: USA

Tracklist: 1. "Glenn Tipton" (4 / 5) - 2. "Carry Me Ohio" (5 / 5) (acoustic live) - 3. "Salvador Sanchez" (5 / 5) (live) - 4. "Last Tide" (4 / 5) - 5. "Floating" (4 / 5) - 6. "Gentle Moon" (5 / 5) (live) - 7. "Lily and Parrots" (4 / 5) - 8. "Duk Koo Kim" (5 / 5) (live) - 9. "Sí, Paloma" (4 / 5) - 10. "Pancho Villa" (4 / 5) - *11. "Gentle Moon" (acoustic)

*Bonus track on 2018 vinyl issue - The 2007 2 cd issue contains 6 bonus tracks.

Studio album debut by Sun Kil Moon originally released on Jetset Records (reissued in 2007 as a double cd containing 6 bonus tracks issued on Kozelek's own label Caldo Verde Records and reissued in 2018 by Caldo Verde in the US and by Rough Trade in the UK). The album follows 2½ years after the Kozelek-led band Red House Painters' final album Old Ramon (Apr. 2001).

This is gentle, voluminous music only requiring ears that will find... joy. "Mark Kozelek & Co." you could call it, since Kozelek was founder, singer, composer, guitarist and bandleader of Red House Painters before Sun Kil Moon, and his solo albums are hard to distinguish from both bands' releases. Despite the fact that Kozelek wrote both music and lyrics, this album stands out, however, being the most electrified indie folk rock of "his" albums so far. Apart from Kozelek the band consists of two bassists, Jerry Vessel (former bassist of Red House Painters) and Geoff Stanfield, as well as two drummers, Anthony Koutsos (former drummer of Red House Painters) and Tim Mooney. Guitarist Phil Carney of Red House Painters is not credited on the album but he would join Sun Kil Moon on a later point, although only for live performances.

Mark must have a certain fascination for boxing, it appears. The band name Sun Kil Moon is a direct reference to the Korean boxer, Sung-Kil Moon, and three of the tracks on this album are named after boxers who faced untimely deaths - the "ghosts of the great highway", presumably. Salvador Sanchez was a Mexican boxer who died in a car crash in 1982; "Duk Koo Kim" [an absolutely amazing track lasting 14:30 min.] is the moniker [real name is Kim Deuk-Gu] of the Korean boxer who died after a knock-out in a title match against Ray "Boom Boom" Mancini that put him in a coma in 1982 - a sad story of tragic deaths, which had serious effects on both Mancini and Kim's mother; and Pancho Villa [aka Francisco Guilledo] died after a tooth extraction in 1925. The two tracks "Salvador Sanchez" and "Pancho Villa" have the exact same lyrics and song structure but the first is with electric guitar and the latter is only with acoustic guitar. Although, most music by 'Kozelek & Co.' normally is quiet folk-oriented music, he is influenced or inspired by heavy metal and hard rock. The track "Glen Tipton" is simply named after the guitarist of the British heavy metal band, Judas Priest, and his earlier solo debut album What's Next to the Moon (Feb. 2001) only features Kozelek's musical adaptations of AC/DC songs (insofar, he has only kept the lyrics but completely altered the music).

Musically, this is indie rock and folk rock with a fine balance of swirling electric guitar-arrangements as well as subtle and gentle parts with strings and acoustic instrumentation. Sometimes it's raw energy that may be influenced by Neil Young with Crazy Horse without plagiarism, other times it's more in the domain of Simon & Garfunkel or Nick Drake, sometimes to Spanish composer Andrés Segovia; but most of all, it's without confining bonds to others with a highly original style embracing it all.

I really enjoy his more quiet acoustic guitar folk-based releases but they do have a tendency to sound a bit much alike - this one, however, is simply out of this world altogether fantabulous.

Imho, this is no less than the best album of a decade and naturally a highly recommend listen.

[ allmusic.com, Pitchfork, Uncut 4 / 5, 👎Rolling Stone 3,5 / 5, 👉Sputnikmusic 5 / 5 stars ]

2003 Favourite releases: 1. Sun Kil Moon Ghosts of the Great Highway - 2. Rufus Wainwright Want One - 3. Bo Kaspers Orkester Vilka tror vi att vi är

Shaun Ryder "Amateur Night in the Big Top" (2003)

original cover

Amateur Night in the Big Top [debut]

release date: Sep. 2, 2003

format: digital (2012 reissue)

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

producer: Pete Carroll, Stephen Mallinder, Shane Norton

label: Offworld Sounds - nationality: England, UK

Track highlights: 1. "The Story" - 2. "Long Legs (Parts 1, 2, 3)" - 3. "Scooter Girl" - 6. "Northern Soul Brother (Shapeshifter)"

Studio solo debut album with the subtitle "Clowns and Pet Sounds" by Shaun Ryder [aka Shaun William George Ryder], or: a collaboration album credited 'Amateur Night in the Big Top' consisting of Shaun Ryder, Shane Norton, Pete Carroll, and Stephen Mallinder. Well, that's what it was originally; however, in 2012 the album was re-issued as Shaun Ryder's solo debut. Dunno about ownership rights but I do know this: being literally the [exact] same album, it should still reflect that, but it doesn't, and that's where ownership rights enters the big picture. Anyway, by the end of Happy Mondays' partecipation [which also happens to be the end of The Happy Mondays' second incarnation] in the "Big Day Out" festival tour of Australia in 2001, Ryder gathered up in a studio in Melbourne, Australia with Norton, Carroll and Mallinder, who composed, mixed and produced music to Ryder's semi-autobiographical lyrics, and within a week's time they were left with this, which was subsequently released on the small Australian label. When re-issued in 2012 it seems Ryder had gained the ownership rights to release it as his solo debut, although, he didn't regard it as a genuine attempt to make a solo effort.

It's not really in style with the music of Happy Mondays, nor that of Black Grape for that matter, which does suggest that Ryder wasn't really in control of the composing part. It's mainly an electronic and big beat-styled collection of songs with some neo-psychedelia to it. It's not all bad, but it does reflect some quick-mass-up-in-the-studio-recordings, and according to Ryder and his recollection of the recordings as described in his auto-biography "Twisting My Mellon" he was having a bad time, wasn't up for new studio sessions, and mostly was heavily influenced by his substance abuse, which he thinks is quite obvious when listening to the album.

It's too bad, Ryder was down and out while babbling along 'cause fact is, he is a gifted narrator, but it does at times remind you of similar destinies in the music industry.

Not all bad, but somewhat unfocused and somewhat tedious after the first three tracks.

Not recommended.

2012 reissue

Mogwai "Happy Songs for Happy People" (2003)

Happy Songs for Happy People

release date: Jun. 9, 2003

format: digital (9 x File, MP3)

[album rate: 3,5 / 5] [3,64]

producer: Tony Doogan

label: PIAS] Recordings - nationality: Scotland, UK

Track highlights: 1. "Hunted by a Freak" - 3. "Kids Will Be Skeletons" - 6. "Ratts of the Capital" - 7. "Golden Porsche" - 8. "I Know You Are but What Am I?"

4th studio album by Mogwai released a litttle more than two years after Rock Action follows closely on the musical pattern laid out on the predeccesor with an incorporation of electronic music that never takes dominance over the band's electric guitar sound. The album consists of 9 compositions with a playing time just over 41 minutes, (again) making it one of the band's shortest albums.

[ bandcamp ]

[ allmusic.com, The Guardian, NME, 4 / 5, 👍Pitchfork 3,5 / 5, Mojo 5 / 5, Rolling Stone 3 / 5 stars ]

Beth Hart "Leave the Light On" (2003)

Leave the Light On
release date: Oct. 21, 2003
format: cd / cd (2005 reissue) / digital (2006 reissue)
[album rate: 3,5 / 5] [3,68]
producer: Beth Hart
label: Koch Records - nationality: USA

Track highlights: 1. "Lifts You Up" (live) - 2. "Leave the Light On" (5 / 5) (live 2008) (live 2006) - 3. "Bottle of Jesus" - 4. "World Without You" - 5. "Lay Your Hands on Me" - 9. "Monkey Back" - 11. "I'll Stay With You"

3rd studio album by Beth Hart comes in a number of different issues with highly differing track listings, but the original album consists of 11 tracks and is without later issues containing "Learning to Live" (released as a single in 2005) and "Over You" (included on her 2007 album 37 Days).
The album is a strong release containing a number of fine powerful songs showcasing Hart's dynamic range, and then the heavy metal influence has been exchanged for electric blues rock.
In many ways you could argue that the many various reissues perhaps should be regarded as compilation albums; however, the 2006 German reissue on vertigo is a mighty fine release; although being an almost completely different release than the original issue.

Amy Winehouse "Frank" (2003)

original cover

Frank [debut]
release date: Oct. 20, 2003
format: 2 cd (2008 reissue - Deluxe Edition)
[album rate: 4 / 5] [3,94]
producer: Gordon Williams; Salaam Remi
label: Universal Island - nationality: England, UK

Track highlights: Disc 1) 1. "Intro / Stronger Than Me" - 2. "You Sent Me Flying" - 3. "Know You Now" - 4. "Fuck Me Pumps" - 5. "I Heard Love Is Blind" - 7. "(There Is) No Greater Love" (aol live session) - 8. "In My Bed" - 9. "Take the Box" - 11. "What Is It About Men?" - 12. "Help Yourself" - 13. "Amy Amy Amy / Outro" - 'Brother' (hidden track) / 'Mr Magic (Through the Smoke)' (hidden track) - - Disc 2) 1. "Take the Box" (Original Demo) - 2. "You Sent Me Flying" (Original Demo) - 3. "I Heard Love Is Blind" (Original Demo) - 4. "Someone to Watch Over Me" (Original Demo) - 5. "What Is It" (Original Demo) - 6. "Teach Me Tonight" (live) (Hootenanny) - 9. "Stronger Than Me" (live) (Later With Jools Holland) - 10. "I Heard Love Is Blind" (Live at the Concorde, Brighton) - 11. "Take the Box" (Live at the Concorde, Brighton) - 12. "In My Bed" (Live at the Concorde, Brighton) - 13. "Mr Magic" (Janice Long Session) - 14. "(There Is) No Greater Love" (Janice Long Session)

Studio album debut by Amy (Jade) Winehouse (born Sep. 1983 in Southgate, London) originally released on Island Records is made with several producers where the two main forces are Gordon Williams (aka 'Commissioner Gordon') and Salaam Remi (aka 'The Chameleon'), who are both credited as producers of six of the standard album's thirteen compositions either alone or together. Winehouse herself, Matt Rowe, Jimmy Hogarth and Jony Rockstar are all credited as co-producers.
Stylistically, the album represents a huge mix of styles and genres with vocal jazz, rhythm & blues, and soul at the core of most compositions, although, it's difficult not also to mention pop soul and neo-soul and perhaps the all-American standards of the '50s and '60s as one of the major inspirational sources. Also, the album title both refers to Winehouse's lyrics as well as directed at one of her childhood idols: Frank Sinatra.
Winehouse has written the majority of the lyrics and composed the songs in collaboration with either Salaam Remi (5 songs), and Gordon Williams (3 songs) or Donovan Jackson (3 songs) plus a variety of others. The album also contains two classic jazz compositions (tracks #6 and 7).
The Deluxe Edition of the album contains a Bonus disc of 18 additional songs - consisting of B-sides, live recordings and extended mixes of songs from the album.
The album went as high as to number #13 on the UK charts, and although, none of the four single releases from the album made it any higher than #57 on the national singles charts, the album was nominated the Mercury Prize in 2004 and Winehouse was awarded the Ivor Novello Award for her songwriting and she was nominated British Female Solo Artist and British Urban Act at the Brit Awards 2004.
Following Winehouse's death, the album re-entered the album charts and went to number #3.
Frank is the fine and yet somewhat incoherent debut by one of Britain's most talented songwriters and vocalists of the modern era. She sings with ease and so much soul that it's a thrill - despite, production-wise, being a bit messy, as if it can't decide whether it's made for the vast pop masses or the lovers of vocal jazz - Winehouse herself was dissatisfied about the album, which she among other things described "a shambles" made by idiots. You really have to grant her that the included demos on the Bonus Disc support her by revealing the strength of several songs have been over-produced beyond recognition. Eg. the brilliant demo of "You Sent Me Flying" is completely without the tenderness and vocal power on the original album, and the same quality may also be said about the other four demos. It just seems too many chefs were involved in the making of her debut album. They simply didn't realise the kind of magic they were holding in their hands, so they "had to" re-arrange and produce the raw material into something else. Unfortunately.
That said, Frank is still the very very fine debut by Amy Winehouse.
[ allmusic.com, The Guardian 4 / 5, PopMatters 3,5 / 5, Rolling Stone 2,5 / 5 stars ]

2008 2-Disc
Deluxe Edition

Outkast "Speakerboxxx / The Love Below" (2003)

Speakerboxxx / The Love Below
release date: Sep. 23, 2003
format: 2 cd
[album rate: 4 / 5] [3,86]
producer: André 3000, Big Boi [Outkast]
label: Arista - nationality: USA

Track highlights: Disc 1: 2. "Ghetto Musick" - 5. "The Way You Move" (feat. Sleepy Brown) - 9. "Church" - 13. "Knowing" - 16. "Reset" (feat. Khujo & Cee Lo Green) - - Disc 2: 4. "Happy Valentine's Day" - 5. "Spread" - 7. "Prototype" - 9. "Hey Ya!" (5 / 5) - 10. "Roses"

5th studio album by Outkast originally released by LaFace Records is like the predecessor Stankonia a release where André 3000 [André Benjamin] and Big Boi [Antwan Patton] has taken increasingly more control. The album is the band's most ambitious to date - released as a double disc cd with two hours and 14 mins. playing time. Unable to agree on which musical shape or direction to settle for led the duo to the decision to release two albums as one, where André and Big Boi would have the final say for their own disc on the double release. Big Boi is credited as songwriter on the majority of the songs on disc 1, labelled "Speakerboxxx", and André 3000 as songwriter on the songs on disc 2, "The Love Below".
The "Speakerboxxx" disc is the genre-wise most hip hop-styled collection and perhaps the disc where Outkast sounds the most like themselves keeping to known ingredients and continuing from where the left on Stankonia, although, with Outkast you know they explore and incorporate a great deal. They also use a lot of sampling, which is done very nicely. On "The Love Below" they thread on new territories, experiment and expand the genre further than before by implementing jazz and funk. André 3000 takes the band into the discotheque, and with songs like "Hey Ya!" and "Roses" they enter the charts everywhere, but it's also the most diverse and most experimental disc on the album.
The album is the band's best-selling album to date topping the US Billboard 200 list but also selling Diamond (which is 10 x Platinum; the album actually sold 11 x Platinum in the US alone: more than 11 million copies), and it received wide-spread acclaim and won three Grammy Awards, including Album of the Year; and it's enlisted on numerous best of lists, including "1001 Albums You Must Hear Before You Die" as the second by the band.
The album was my first with the band, and for some time, I thought of it as their best, but after becoming familiar with their earlier albums and style, I think of it as a fine but rather peculiar and difficult great achievement.
Highly recommendable.
[ allmusic.com 4,5 / 5, Blender, The Guardian 5 / 5, NME, Rolling Stone 4 / 5 stars ]

Natalie Merchant "The House Carpenter's Daughter" (2003)

The House Carpenter's Daughter
release date: Sep. 16, 2003
format: cd
[album rate: 3 / 5] [3,18]
producer: Natalie Merchant
label: Myth America Records - nationality: USA

Track highlights: 1. "Sally Ann" - 2. "Which Side Are You On?" - 5. "Weeping Pilgrim" -7. "Bury Me Under the Weeping Willow"

4th studio album by Natalie Merchant is her first album release on her own independent label, Myth America Records and it has the subtitle "A Collection of Traditional & Contemporary Folk Music". It marks a substantial change in style towards traditional folk as a majority (7 out of 11) of the tracks are traditionals rearranged by Merchant. The remaining 4 tracks are covers, which means that the album doesn't contain songs written by Merchant herself.
It's a very scraped down album with only few instruments - some songs appear as vocal with strings only, and it may only appeal to people who prefer traditional folk. I don't really enjoy this much, and think of it as Merchant's roots album. Yes, Merchant has a fine singing voice, but I don't think she challenges that instrument particular well on this, which is a bit of a pity.
[ allmusic.com, Uncut 4 / 5, Rolling Stone, Mojo 3 / 5 stars ]

Olesen-Olesen "Hårdnakket idyl" (2003)

Hårdnakket idyl
release date: Oct. 27, 2003
format: cd (melo 002)
[album rate: 4 / 5] [3,86]
producer: Henrik Olesen and Troels Bech
label: Melodika - nationality: Denmark

Track highlights: 1. "Studier af skyer" (4 / 5) - 2. "Ved en å" (4,5 / 5) - 4. "Jeg ser det ske" - 5. "I det hus du kalder dit hjem" - 10. "Udsatte egne" - 12. "Schade" - 13. "Ved godt mod" (4 / 5)

5th studio album by Olesen-Olesen is the band's second release on its own label, Melodika, and this time the brother's Olesen have put the production responsibility in the hands of younger brother Henrik and Troels Bech (from The Poets) who is also credited as co-arranger.
The musical style of Olesen-Olesen is rather unique, although, all their albums are slightly different from one another. This is the band's so far most quiet singer / songwriter and folk rock release, and this time, it's also more simple with less focus on chamber pop elements. The music seems reduced to a more simple form and the lyrics are concentrated on a country-side lifestyle focusing on discreet everyday details. I find it very enjoyable.
[ Gaffa.dk 6 / 6 stars ]

David Sylvian "Blemish" (2003)

Blemish
release date: May 2003
format: cd
[album rate: 3 / 5] [3,08]
producer: David Sylvian
label: Samadhisound - nationality: England, UK

Track highlights: 1. "Blemish" - 8. "A Fire in the Forest"

6th studio solo album by David Sylvian. The album is released on Sylvian's own label Samadhisound (as the label's first release) after leaving Virgin Records for whom he has released his solo albums since his very first solo album in 1984. This is not the "normal" Sylvian solo sound, if ever there was one. Usually, a solo album from his hands is in the style of art pop and sophisti-pop with more or less jazz to it but here he excels in electronic art pop and glitch, although, I guess the overall sensation is one of experimental. The album consists of 8 tracks with track #1 lasting more than 13 minutes. The music was primarily recorded during improvisational sessions live in a studio with few people to support him. Jazz guitarist Derek Bailey feature on three compositions (#2, #5, #7), co-written by Bailey, and Austrian electronic guitarist Christian Fennesz has co-written, arranged and features on the end-track. The music is not easily digested but has its moments, and it was generally met with positive reviews and I find it more than just interesting.
[ allmusic.com 4,5 / 5 stars ]

Robin Guthrie "Imperial" (2003)

Imperial [debut]

release date: Mar. 24, 2003

format: digital

[album rate: 3 / 5] [2,92]

producer: Robin Guthrie

label: Bella Union - nationality: Scotland, UK

Track highlights: 1. "Imperial" - 2. "Freefall" - 9. "Elemental"

Studio album debut as soloist by Robin Guthrie, former guitarist of Cocteau Twins and released on the label founded by Guthrie and former bandmate Simon Raymonde in '97 - their first release being Raymonde's only solo album Blame Someone Else (1997). It's been exactly seven years since the final album by Cocteau Twins and since then Guthrie has primarily produced and featured on other artists' releases. He also took part in the dream pop project Violet Indiana from 2000 to 2006 together with vocalist Siobhan de Maré, and they ended up releasing two full-length studio albums, some singles and two eps, but Imperial is Guthrie's first actual solo album.

Not surprisingly, it contains instrumental compositions built on guitar with bold use of reverb, echo and delay effects to create ten primarily ambient compositions.

Guthrie is an original guitarist and a unique sound wizard but an overall verdict of his spacious creations doesn't ring any bells shouting "masterpiece!" or "fantastic!". It's nice to hear from him (again) but I guess a lot of people and especially the old fans of the Twins had hoped for more; or just something else. It all sounds very fine, but with no obvious differences from track to track it quickly sounds like music for meditation or compositions with missing layers, or perhaps music for visual art. In fact, Guthrie would later on establish himself as productive composer of soundtracks, but until then, this is... a start.

[ 👌allmusic.com 3 / 5 stars ]

The Cardigans "Long Gone Before Daylight" (2003)

Long Gone Before Daylight
release date: Mar. 24, 2003
format: digital
[album rate: 3 / 5] [2,98]
producer: Per Sunding and The Cardigans

label: Stockholm Records - nationality: Sweden

Track highlights: 2. "You're the Storm" (3 / 5) - 7. "For What It's Worth" (3 / 5) - 9. "Live and Learn" (3 / 5)

5th studio album by The Cardigans. It took the band 5 years to put this album together and rumours had it that the band was history and no new material would be released. Vocalist Nina Persson was involved in her side-project A Camp and the bassist Magnus Sveningsson in his own project Righteous Boy, however, the band continues in the style from the predecessor, Gran Turismo with a slower more traditional pop / rock but also a new folk rock or country rock style that seem bound to an American musical tradition. In my opinion, this is their least interesting effort.
[ allmusic.com 2,5 / 5, Rolling Stone 3 / 5 stars ]

John Mayer "Heavier Things" (2003)

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

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

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

Lou Reed "The Raven" (2003)

The Raven
release date: Jan. 28, 2003
format: cd
[album rate: 2,5 / 5] [2,27]
producer: Hal Wilner, Lou Reed
label: Sire / Warner Bros. - nationality: USA

19th studio album by Lou Reed is an art rock conceptual album with songs based on the works by Edgar Allen Poe. The album was released in two different versions: a standard one-disc edition, which is the one I have and know of, and as a two-disc Deluxe Edition with a completely altered track listing. The album feature several mainly vocal guest artists including Antony Hegarty, David Bowie, Amanda Plummer, Steve Buscemi, Willem Dafoe, Elizabeth Ashley, and Laurie Anderson to whom the album is dedicated with the words: "To Laurie Anderson, a constant source of inspiration." All tracks are written solely by Reed. It's not his most accessible work, and it mostly seems somewhat pretentious - but he has been there before. I don't really enjoy it much, which is kind of sad 'cause to me this is his last studio album, although, he released the album Hudson River Wind Meditations in 2007 and the collaboration Lulu with Metallica in 2011. A few releases I still need to come by. I may not ever get in the mood to listen to the latter, though. The Raven is Reed as we know him, sometimes he is just not being very accessible but he always returns to form - only this time he checked out before showing his artistic level, which to me makes Magic and Loss his last really fine album.
Not recommended.
[ allmusic.com 3,5 / 5, Rolling Stone 3 / 5, Blender 2 / 5 stars ]

The Creatures "Hái!" (2003)

Hái!

release date: Oct. 20, 2003

format: digital

[album rate: 3,5 / 5] [3,62]

producer: The Creatures

label: Instinct / Sioux Records - nationality: England, UK

Track highlights: 1. "Say Yes!" - 4. "Godzilla!" - 5. "Imagoró" - 6. "Tourniquet"

4th and final studio album by the duo The Creatures - consisting of Siouxsie Sioux and her husband Budgie (aka Peter Clarke) following 4½ years after the acclaimed Anima Animus (1999). Siouxsie and the Banshees, in which both played, disbanded in 1996, but in 2002 the group reconvened for an abbreviated world tour, which resulted in the live album The Seven Year Itch - Live (May 2003), the final concert being played in Tokyo, after which Siouxsie and Budgie took the opportunity to stick around to record studio improvisations with taiko drummer Leonard Eto of the Japanese instrumental group Kodō, with whom Budgie had long wanted to play. Later in France, sequences from the recordings were mixed with Sioux's vocals, and a number of tracks were selected for the album here. Hai! exists in a variety of versions and may often be found as a double album - in vinyl edition with the same tracks as here on single CD, or as a 2CD version, where the album's second disc is dedicated instrumental versions of the standard album, but it's also released with the standard CD and a DVD of the full-length Tokyo improv with Budgie and Eto. The album was also reissued in 2004 with three bonus tracks.

Musically, the album is possibly the band's most experimental, where familiar styles are hard to pinpoint. In a way it follows the recipe from the band's debut album Feast (1983) by being created in the encounter with another culture, and by trying to include this encounter in the music - and at the same time it's also a return to a more organic sound without the use of electronic instruments. Here, traditional pop structures are layered on top of Budgie and Eto's percussion / drums session, where a Japanese tradition clearly shines through. The focus is not on radio-friendly hits, but rather with respect for tradition and musical improvisation as a focal point. Nevertheless, they have succeeded in creating nine distinctly different compositions, each with their own individual expression and temperament.

The album garnered positive reviews despite the fact that it landed at number #157 on the UK albums chart. The track "Godzilla!" was released as the only single from the album a week before the actual album release.

Much to normal procedure regarding album releases by The Creatures, this one is filled with complex compositions as a very original release that sounds like nothing else and still manages to present music as something other than the usual radio-friendly muzak - reminding us of other radio-friendly tones. It is music on its own terms and something that demands the presence of a listener. My first few listens were special experiences, where the music contained good elements but felt distant. After several examinations, the ears and brain may have adjusted to the specialty - the original blend, and the music became present and almost intrusively intense. It's hard to pick the best tracks, because the album is great as a whole more than anything else.

In 2004, Siouxsie Sioux undertook an acclaimed solo tour - accompanied by Budgie and guitarist Knox Chandler of The Banshees - featuring tracks from both The Creatures and Siouxsie and the Banshees' back catalogue, which was released on film DVD under the title Dreamshow (2005). In 2007, Sioux announced that she and Budgie (Peter Clarke) had separated, which also meant an end to The Creature's career, and the same year Sioux released her (so far) only solo album, Mantaray.

Blondie "The Curse of Blondie" (2003)

The Curse of Blondie
release date: Oct. 13, 2003
format: digital
[album rate: 3 / 5] [2,86]
producer: Steve Thompson
label: Sanctuary Records - nationality: USA

Track highlights: 1. "Shakedown" - 2. "Good Boys" (live)

8th studio album by Blondie following the band's comeback album No Exit from 1999, an album that sold well, although, it wasn't really good. This is a better album but the album failed to chart, and I suspect the predecessor helped burying the (brand of the) band. Blondie tries hard to come out as a resurrected synthpop band with something to offer, but it's really far from essential.
[ allmusic.com, Blender, The Guardian 3 / 5, Rolling Stone, Slant 2 / 5, Uncut 5 / 5 stars ]

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John Mayer "Any Given Thursday" (2003) (live)

Any Given Thursday (live)
release date: Feb. 11, 2003
format: cd
[album rate: 3,5 / 5] [3,68]
producer: John Alagia
label: Aware / Columbia - nationality: USA

Track highlights, Disc 1: 2. "No Such Thing" - 3. "Back to You" - 4. "City Love" - 5. "Something's Missing" - 7. "Message in a Bottle" - 8. "Love Song For No One" - - Disc 2: 1. "Why Georgia" - 2. "Your Body Is a Wonderland" - 3. "My Stupid Mouth" - 7. "Neon"

1st live album by John Mayer is a double disc with a playing time above 1 hour and 40 mins. recorded Sep. 12, 2002, in Birmingham, Alabama as a 4-piece band consisting of John Mayer on vocals, guitars and keyboards, Michael Chaves on keyboards, guitars and backing vocals, David LaBruyere on bass and with Stephen Chopek on drums and percussion.
The album primarily features tracks from his studio debut and his forthcoming second album (to be released Sep. 2003) only. But however familiar the playlist may seem these songs come much more to life on this occasion proving what a talented artist Mayer really is. Both the two cover songs "Message in a Bottle" by The Police and "Lenny" by Stevie Ray Vaughan showcase Mayer as a man of rock music - pop / rock and blues rock. He pays tribute to two of his great influences, and he does that by making their songs vibrant and contemporary.
This album is easily Mayer's so far best. He's a fine instrumentalist - most people already knew that, but without the multi-layered studio sound he sounds so much better playing with charms, energy and skills, just having a good time picking his guitar and displaying his fascination for jazz and blues rock.
Highly recommendable.
[ allmusic.com 3 / 5 stars ]