Band of Horses "Infinite Arms" (2010)

Infinite Arms

release date: May 18, 2010

format: cd

[album rate: 3 / 5] [3,18]

producer: Band of Horses; Phil Ek (add. pro.)

label: Brown Records / Sony Music / Columbia - nationality: USA

Track highlights: 1. "Factory" - 2. "Compliments" - 3. "Laredo" (live on Letterman) - 5. "On My Way Back Home"

3rd studio album by Band of Horses following 2½ years after Cease to Begin (Oct. 2007) presents a completely new line-up where only founding member, lead vocalist and primary composer Ben Bridwell and (new) drummer Creighton Barrett re-appear on this. Keyboardist Ryan Monroe appeared on the former as additional musician and became a permanent member after the 2007 album, which had been completed as a trio together with guitarist Rob Hampton, who then left the band before commencing the recording sessions for this one. Hampton was replaced by new members guitarist Tyler Ramsey and bassist Bill Reynolds completing the new formation as a quintet.

Infinite Arms doesn't land far from the previous albums with its predominantly folk rock-foundation. What distinguishes this from the former releases is an addition and strings and brass arrangements, which I don't think improves the whole picture. Some songs could have fitted nicely on the 2007 album without straying far from that - mostly the above highlighted tracks, but what I feel lacks here is outstanding compositions, or: original new material. Bridwell mostly sings like the "old" Bridwell, but at times he sounds like a tired circus artists going through motions he has learned to repeat. The album was generally met by positive reviews, most of which points to a certain americana-feel to the new album. Something I find difficult to hear. In general, the album is positioned as the band's best performing album in the US by reaching number #7 on the Billboard 200.

To me, Infinte Arms simply sounds like a lesser release - compared to their first two it could be an album of leftovers. Bridwell is less poignant, the compositions are well-played but do not contribute with much new, and the overall impression is easily forgettable.

Not recommended.

[ allmusic.com, Uncut, Q 4 / 5, Rolling Stone 3,5 / 5, Slant 3 / 5, Pitchfork 5,3 / 10 stars ]

Robbie Robertson "Sinematic" (2019)

Sinematic
release date: Sep. 20, 2019
format: digital (13 x File, FLAC)
[album rate: 3,5 / 5] [3,58]
producer: Robbie Robertson
label: UMe (Universal Music Enterprises) - nationality: USA

Track highlights: 1. "I Hear You Paint Houses" (feat. Van Morrison) - 2. "Once Were Brothers" - 3. "Dead End Kid" - 4. "Hardwired" - 7. "Shanghai Blues"

6th studio album by Robbie Robertson released 8½ years after How to Become Clairvoyant from 2011 is a nice return from a man who has never exactly been renowned for releasing an abundance of new studio material. The actual foundation to the album here is probably with some persuassion from Robertson's 'Cinematic' friend Martin Scorsese, for whom Robertson composed the title track "I Hear You Paint Houses" and the closing track "Remembrance", both for Scorsese's TV movie "The Irishman". The Scorsese-Robertson friendship was initiated with Scorsese's 1978 film "The Last Waltz" - which many critics have on their top list of the best concert / music films of all time - the epic music by The Band. Since then, Robertson has contributed with musical scores to several films by Scorsese, which includes "Ragging Bull" (1980), "The King of Comedy" (1983), "The Color of Money" (1986), and Robertson is also credited as a musical -producer on these plus several other films by Scorsese in addition to being credited music-producer for other directors and especially from the early 80s to the present day. Most recently, Robertson is seen as music producer on "The Irishman", which in a way says a great deal about his professional commitment as an artist, who is linked to film art and who only rarely deals with the release of his own studio albums.

The title of the album is of course a play on words with the term 'Cinematic', as a word used with reference to film art, and when you know that the album here is purely sound based, then a 'sound motion' release rightly described as a 'Cinematic' experience. Simultaneously, the quality of music is pointed out as something that activates inner images while listening.

Sinematic is Robertson at his most playful and, I dare say, at his most original expression for several years. His 2011 album gave an experience of sparse originality, which in a way was also seen with his second solo album, Storyville back in 1991. On this his sixth studio album, and at the age of 76, Robbie turns up with one of his most sincere albums and with unusual amounts of freshness and vitality.

It may not be among his very best, but it's certainly more than just a decent collection of new tracks to recommend.

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

Mark Kozelek & Desertshore "Mark Kozelek & Desertshore" (2013)

Mark Kozelek & Desertshore
release date: Aug. 20, 2013
format: digital (10 x File, FLAC)
[album rate: 4 / 5] [3,88]
producer: Desertshore, Mark Kozelek
label: Caldo Verde Records - nationality: USA

Track highlights: 1. "Mariette" - 2. "Livingstone Bramble" - 4. "Katowice or Cologne" - 5. "Seal Rock Hotel" - 6. "Tavoris Cloud" - 7. "You Are Not of My Blood" - 8. "Sometimes I Can't Stop" - 9. "Don't Ask About My Husband"

Collaboration album by Mark Kozelek and instrumental duo Desertshore consisting of guitarist Phil Carney (also of Sun Kil Moon and former guitarist of Red House Painters) and pianist Chris Connolly. Here the three are assisted by drummer Mike Stevens, who also played drums on Among the Leaves (2012) by Sun Kil Moon. Kozelek previously produced Desertshore's debut album Drifting Your Majesty (2010) and the follower Drawing of Threes (2011) on which he also contributes with lyrics and vocals on six songs, but this is their first official collaboration release. The album release follows another collaboration release Perils From the Sea, (Apr. 2013) by Kozelek and Jimmy LaValle, which again follows Kozelek's solo covers album Like Rats (Feb. 2013).

Musically, it doesn't fall far from Kozelek's regular repertoire. It's primarily alt. folk, indie folk with hints of americana, but the music here is composed by Desertshore and Kozelek "only" contributes with lyrics, vocals, bass and additional guitar... It is however, a more uplifting musical journey by these three friends. On solo albums, Kozelek sometimes indulges himself in extremely scarce arrangements but here there's a fine ever-present accompanying melody running along and even electric guitar, which to my regret seems almost abandoned by Kozelek. In my mind this is one of Kozelek's finest albums in years and it bonds nicely with albums by Red House Painters and the first albums by Sun Kil Moon.

It's a fine and most welcome addition to the expansive Kozelek collection.

[ 👍allmusic.com 4 / 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 ]

Bill Frisell "Ghost Town" (2000)

Ghost Town

release date: Mar. 7, 2000

format: Digital (16 x File, FLAC)

[album rate: 4 / 5] [3,81]

producer: Lee Townsend

label: Elektra Nonesuch - nationality: USA

Track highlights: 1. "Tell Your Ma, Tell Your Pa" - 2. "Ghost Town / Poem for Eva)" - 3. "Wildwood Flower" - 5. "Variation on a Theme" - 9. "My Man's Gone Now" - 10. "Outlaw" - 13. "Winter Always Turns to Spring" - 14. "Justice and Honor"

Studio album by Bill Frisell following his fine interpretations The Sweetest Punch (Sep. 1999) with songs by Costello and Bacharach is almost as rule of thumb with producer Lee Townsend, but the album differs from many other Frisell releases by being a solo album with Frisell as only instrumentalist. It's not recorded live but it contains multi-layered tracks with the artist playing a diversity of string instruments and using overdubs. Alas, the album has only been issued in digital formats for cd or download.

Stylewise, it's in the quiet and introspective section of his releases, which in many ways guarantees great compositions. The 16 tracks are mainly by Frisell himself - 5 are covers - with an overall genre touching country, folk, standards, and instrumental jazz as the repertoire, and with a total tunning time beyond 70 minutes it never feels too long.

Ghost Town was met by positive reviews, which I perfectly understand. On this, Frisell excells with great emotional strength, and although he masters all sorts of styles and genres, I really enjoy it when he incorporates americana with a gentle approach. This is the closest I've so far found Frisell approaching the sound of Ry Cooder making a made up soundtrack to a fine forgotten film by Wenders.

Highly recommended.

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

Sun Kil Moon "April" (2008)

April
release date: Apr. 1, 2008
format: 2 cd
[album rate: 4 / 5] [3,88]
producer: Mark Kozelek
label: Caldo Verde Records - nationality: USA

Tracklist: 1. "Lost Verses" - 2. "The Light" (4 / 5) - 3. "Lucky Man" - 4. "Unlit Hallway" - 5. "Heron Blue" - 6. "Moorestown" - 7. "Harper Road" - 8. "Tonight the Sky" - 9. "Like the River" - 10. "Tonight in Bilbao" - 11. "Blue Orchids" (4 / 5)

3rd studio album by Sun Kil Moon following the covers album Tiny Cities (2005) is a 2-disc and 2 lp standard release issued on Caldo Verde. The CD issue contains a bonus disc containing four alternate versions (not included on the vinyl issue) of tracks #10, #2, #9 and #8 on the standard album.

Again, the style is intact and there's only small changes from Kozelek's "normal" alt. folk style. The compositions here are just a bit more orchestrated than was heard on its predecessor Tiny Cities and a few tracks are more folk rock-oriented, which suits their harmonies so fine, and they also point more directly back to the fine indie rock debut Ghosts of the Great Highway (2003). All tracks here are credited Kozelek and that's really when he shines the most. And therefore, this album also makes it to be the so far second best by this interesting artist, in my opinion.

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

Sun Kil Moon "Tiny Cities" (2005)

Tiny Cities
release date: Nov. 4, 2005
format: cd (CV001)
[album rate: 4 / 5] [3,84]
producer: Mark Kozelek
label: Caldo Verde Records - nationality: USA

Track highlights: 1. "Exit Does Not Exist" - 2. "Tiny Cities Made of Ashes" - 3. "Neverending Math Equation" - 4. "Space Travel Is Boring" - 6. "Jesus Christ Was an Only Child" - 8. "Grey Ice Water" - 9. "Convenient Parking" - 10. "Trucker's Atlas" - 11. "Ocean Breathes Salty"

2nd studio album by Sun Kil Moon is the band's first to be released on the newly-founded record label, Caldo Verde founded by Mark Kozelek - and the release is issued with the identification number CV001. The music is closely related to the debut Ghost of the Great Highway (2003) BUT this is like most of lead vocalist Mark Kozelek's other albums - either as pure solo artist or with Red House Painters - mostly alt. folk and singer / songwriter material without the characteristics of folk rock with electrified guitars, thus being more acoustic-founded and by some referred to as an example of 'slow core'. Also, on this Kozelek has taken up his "tradition" of re-arranging other artists' compositions into his own alt-folk and singer / songwriter-styled songs. All songs here are originally composed and performed by American indie rock band, Modest Mouse. The title is a derivation from track #2 taken from the album The Moon & Antarctica (2000).

Now, this is far from bad, and it really contains some fine ballads and arrangements and it's a bit of a task to pin out the best tracks here 'cause it all sounds like one whole. It's amazing how Kozelek is capable of making these songs sound so much like his own. It does bear much in common with other releases by "Kozelek and Co", however, all other and successive albums under the name of Sun Kil Moon are reserved to material written by Kozelek, and in that sense this is an exception.

Recommended.

[ allmusic.com 3,5 / 5, 👎Rolling Stone 2,5 / 5 stars ]

Bill Frisell "Good Dog, Happy Man" (1999)

Good Dog, Happy Man

release date: May 18, 1999

format: cd

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

producer: Lee Townsend

label: Nonesuch - nationality: USA

Track highlights: 1. "Rain, Rain" - 2. "Roscoe" - 4. "My Buffalo Girl" - 5. "Shenandoah (For Johnny Smith)" - 7. "The Pioneers" - 8. "Cold, Cold Ground" - 11. "Good Dog, Happy Man" - 12. "Poem for Eva"

14th studio album by Bill Frisell following Gone, Just Like a Train (Jan. '98) is Frisell's second of eight consecutive albums with long-time producer Lee Townsend.

Stylewise, Frisell has been on a long and twining progression in shaping that highly personal sound of his, and for me, this is when he first comes out the cleanest. He combines and bonds with other genres and styles and you'll notice elements from jazz, blues, americana, country and folk, and what appeals the most to me, is the absence of jazz fusion or the bold traits of rock fusion of the 1970s and 80s. Many will probably associate Frisell with artists like Pat Metheny, Dave Brubeck, Chick Corea and others belonging to, and keeping alive, the heritage of the innovative Miles Davis and the ingenuity of Thelonius Monk. Exactly that may also be a starting point to his own orginal blend, but what I really enjoy, lies more in his ability to combine roots music - be it blues, jazz, or country folk with bits of americana and a tad more gentle approach that flows into something highly original - and that's basically all found on this one.

Highly recommended.

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

Robbie Robertson "How to Become Clairvoyant" (2011)

How to Become Clairvoyant
release date: Apr. 5, 2011
format: 2 cd (Deluxe Edition)
[album rate: 2,5 / 5] [2,68]
producer: Marius de Vries and Robbie Robertson
label: Macrobiotic Records - nationality: USA

Track highlights: 1. "Straight Down the Line" - 2. "When the Night Was Young" - 3. "He Don't Live Here No More" - 5. "This Is Where I Get Off" - 6. "Fear of Falling"

5th studio album by Robbie Robertson released more than thirteen years [!] after his most recent studio album Contact From the Underworld of Redboy (1998).

The album doesn't fall far from his previous albums in the sense that this is also a combo of preferred styles, a natural love for rhythm & blues, americana and traditional singer / songwriter folk rock blended with contemporary styles and influences from alt. rock and small dozes of electronic. The album features several guest musicians, e.g. Eric Clapton, Steve Winwood, Trent Reznor, Tom Morello, Robert Randolph, Rocco Deluca, Angela McCluskey, and Taylor Goldsmith. Apparently, the album was initiated from Robertson and Clapton's jam sessions, which grew to the idea of a new album - Clapton features on three of the songs and is co-composer of two and is sole writer of the instrumental "Madame X" (track #8).

Although using bits of electronic elements, How to Become Clairvoyant is not the continued experience with electronica as was initiated most boldly on his fine '98 album - neither is it the return to his other solo releases. In fact, it shares much more with albums produced while playing in The Band. And then the songs with Clapton, well, they simply sound like Clapton featuring Robertson, which means r&b pop / rock in that unmistakably (ordinary) traditional British style of his.

The album is not one of his most spectacular solo efforts - in fact, I find it his least favourable. The songs are solid compositions but all sound like others and older compositions, and Robertson sound as if in doubt of who to lean towards: Clapton or Dylan? And sometimes he even sound like imitating John Mayer.

The album fared more than just well as it actually became Robertson's best charting album on the US Billboard 200 Albums list peaking at #13 (his solo debut is still his best-selling and only Platinum-selling album peaking at #38).

The Deluxe Edition comes with a bonus disc titled 'Deluxe Disc' containing five "songwriter versions", i.e.. demo takes and one outtake from the recording sessions.

Not really recommended.

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

De efterladte "Alvorsord og etagevask" (2013)

digipack cover

Alvorsord og etagevask
release date: Sep. 30, 2013
format: cd (melo 011)
[album rate: 4 / 5] [4,12]
producer: De Efterladte and Boi Holm
label: Melodika - nationality: Denmark

Track highlights: 1. "Alting om igen" (live session) - 2. "Kursiv" - 3. "Fugleskræmsel" - 4. "Levende hegn" - 5. "Der hænger en uro" - 6. "U.t." - 9. "Håbet kommer til byen" - 10. "Du fandt ikke dig selv"

2nd studio album by the Danish singer / songwriter duo De efterladte released on Melodika and produced by 'the band' with Boi Holm. The debut album Traditionen utro (2011) introduced a simpler musical soundscape than lyricist & vocalist Peter H. Olesen and guitarist Michael Lund played when performing for the brothers Olesen-Olesen, and on the duo's second album this is simplified to a greater extent. Here, the additional backing band is scarcely noticeable - as what you mostly hear is Olesen's vocal on top of Lund's twangy or acoustically sounding guitars.
The debut was met by positive reviews and is a fine and interesting album that most of their countrymen simply ignored. Unfortunately, they do not appeal to a broader public, which also may have been the reason as to why Peter H. Olesen and his brother Henrik decided to call it a day with their fine project Olesen-Olesen after 7 studio albums released over a ten year period. Now one can only hope this duo will ignore low sales and just embrace the fine reviews that their albums receive.
Alvorsord og etagevask was met by critical acclaim and songwriter Peter Olesen was nominated the critics' prize Steppeulven for Årets tekstforfatter [songwriter of the year].
Peter is making brilliant music with guitarist Michael Lund and their style is largely influenced and associated with singer / songwriter and alt. folk, and a more dominant sound of americana on this particular release. Olesen narrates in his usual melancholic way about simple things in life and Lund adds a beautiful surf guitar creating an ambient and spherical touch almost completely without bass and drums or other instrumentation except for quiet percussion, synthesizer noice and glockenspiel. Peter Olesen has always written quite unique lyrics, and has a strong poetic profile. It's almost as if this has become even more accentuated with the new duo, and he often reminds me of the late Danish poet Dan Turrell.
This album is an even stronger release than their fine debut, and it's no less than one of my absolute favourite releases of 2013.
[ Gaffa.dk 6 / 6, Berlingske, Undertoner 5 / 6 stars ]

2013 Favourite releases: 1. Arctic Monkeys AM - 2. Tindersticks Across Six Leap Years - 3. De efterladte Alvorsord og etagevask

Tom Waits "Mule Variations" (1999)

Mule Variations
release date: Apr. 27, 1999
format: cd
[album rate: 4 / 5] [4,04]
producer: Tom Waits & Kathleen Brennan
label: ABTI- / Epitaph - nationality: USA

Track highlights: 1. "Big in Japan" - 2. "Lowside of the Road" - 3. "Hold On" (official video) (4 / 5) - 4. "Get Behind the Mule" - 5. "House Where Nobody Lives" - 6. "Cold Water" - 8. "What's He Building?" (official video) - 10. "Eyeball Kid" - 11. "Picture in a Frame" - 12. "Chocolate Jesus" (live) - 13. "Georgia Lee" - 14. "Filipino Box Spring Hog" - 15. "Take It With Me" - 16. "Come on Up to the House"

13th studio album by Tom Waits following a long 5½ years after The Black Rider (1993) is his first album of new material after leaving Island Records, on which label he had been on a contract since '83. Instead of trying to renew his contract with the established record company, he chose to sign a contract with the newly established and independent label, ANTI-. All sixteen tracks are credited Waits, twelve of which are co-written with his wife, Kathleen Brennan. The album is a rather long affair with a total running time of more than 70 minutes.

The album is simply a clear improvement over his '93 release, but as it has often been the case with Tom Waits, this one marks a musical shift. The '90s have been, if anything, his experimental decade, and sometimes it proved very successful, while at other times he hit a little off the mark, but he has always been an exponent of making music in surprising new ways, as with this one, where he chooses to record his voice via megaphone. Mule Variations is an album with elements from blues rock in a singer / songwriter context and compositions that may be called experimental in an art rock category, and some tracks are influenced by cabaret / circus music, but at the same time it's more laid back - like a collection of songs inspired by country rock and / or Americana, and this is probably where the really new elements come into the picture when talking about Waits.

The album would prove to be Tom Waits' most significant chart-topper ever on the Billboard 200 in his home country, peaking at number #30, and not only was it a success here as it went to number #22 in France, No. #13 in Australia, No. #9 in the UK, No. #4 in Germany, and then it simply topped the album chart in Norway. More honors followed when Mojo nominated it as "Album of the Year" and Waits himself was nominated in "Best Male Rock Vocal Performance" for the song "Hold On" at the '99 Grammy Awards, and Mule Variations won the award "Best Contemporary Folk Album" - his second award at the Grammy Awards.

The strength of the album lies very much in the supplementary lyrics, and these are not seldom the fascinating narratives created by Waits' wife, Kathleen Brennan. The album is quite complete and functions as a whole from an artist who knows how to renew himself and his music.

Highly recommended.

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

Chris Isaak "Heart Shaped World" (1989)

Heart Shaped World
release date: Jun. 13, 1989
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Erik Jacobsen
label: Reprise Records - nationality: USA

Track highlights: 1. "Heart Shaped World" - 5. "Wicked Game" (4,5 / 5) - 6. "Blue Spanish Sky" (4 / 5) - 8. "Forever Young" - 9. "Nothing's Changed"

3rd studio album by Chris Isaak is a strong album with his own blend of rock & roll, rockabilly, americana and with clear country elements. The album was the first I discovered by Isaak, and I still consider it one of his absolute best.
[ allmusic.com 4,5 / 5, Sputnik Music 4 / 5 stars ]

Chris Isaak "Silvertone" (1985)

Silvertone [debut]
release date: Jan. 10, 1985
format: cd (1987 reissue)
[album rate: 3,5 / 5] [3,56]
producer: Erik Jacobsen
label: Warner Bros. - nationality: USA

Track highlights: 1. "Dancin' " - 3. "Livin' for Your Lover" - 5. "Voodoo" - 6. "Funeral in the Rain"

Studio debut album by Chris Isaak named after his 3-piece backing band consisting of James Calvin Wilsey on guitar and lap steel, Prairie Prince on drums and with Chris Solberg on bass. The credit list on the back cover only enlists James Calvin Wilsey in the same character font as Isaak himself with production staff mentioned afterwards, which points to Wilsey's significance. It is after all his lap steel guitar and its 'surf rock' sound that has become a kind of a trademark of Isaak's.
I didn't come across this album until recently, and I must confess that it overshadows his more successful later releases. At this point he was overlooked in the chart lists and it wouldn't be until his "Wicked Game" single from '89 that he became an international star. Three of the album tracks (#1, #5 and #6) are issued on the Wicked Game compilation album from 1991.
[ allmusic.com 4,5 / 5 stars ]

Bruce Springsteen "Devils & Dust" (2005)

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

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

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

Neil Young "Dead Man" (OST) (1996)

Dead Man (soundtrack)
release date: Feb. 27, 1996
format: cd
[album rate: 2,5 / 5]
producer: Neil Young, John Hanlon
label: Vapor Records - nationality: Canada

3rd soundtrack album by Neil Young is the official soundtrack to a movie by Jim Jarmusch. The music is instrumental with dialog excerpts from the film. Apparently, Young improvised while watching the movie. I find it difficult, although, it's not entirely bad. It makes me think of Ry Cooder, which may have to do with a certain touch of 'americana'. I think, one really has to be in certain state, and I haven't been close to that yet.
[ allmusic.com 3,5 / 5 stars - Robert Christgau labels it "bad" ]

Bruce Springsteen "The Ghost of Tom Joad" (1995)

The Ghost of Tom Joad
release date: Nov. 21, 1995
format: cd (2005 reissue)
[album rate: 3,5 / 5] [3,32]
producer: Bruce Springsteen, Chuck Plotkin
label: Sony Music Direct, Japan - nationality: USA

11th studio album by Bruce Springsteen originally released by Columbia Records. The album follows another live album by Springsteen, this time the obligatory live album for an MTV crowd, although, Bruce had it his way changing the channel's unplugged sessions to an "MTV Plugged" album.
This is a critically acclaimed move into his acoustic singer / songwriter tradition initiated on Nebraska (1982), and this is often mentioned as his natural follow-up to that album.
I didn't listen to it at all in the 90s and only came across the album in the new millennium, but it is a mighty fine collection of songs proving what a great songwriter Springsteen truly is, and it's easily an improvement to his two 92 studio releases.
[ allmusic.com, Rolling Stone 3 / 5 stars ]

Jeffrey Lee Pierce "Wildweed" (1985)

2005 remaster

Wildweed
release date: 1985
format: cd (2005 remaster)
[album rate: 3 / 5] [2,92]
producer: Craig Leon
label: Sympathy For The Record Industry - nationality: USA

Solo studio album debut by The Gun Club frontman and primary composer, Jeffrey Lee Pierce originally released on Statik Records. Here, Pierce on lead guitar, vocals and piano has teamed up with Andy Anderson on drums and John Mackenzie on bass. The style is less noisy, less energetic, and instead a more 'americana' 'blues rock' sound. It's not bad at all, I just find that it lacks direction.

The National "Sad Songs for Dirty Lovers" (2003)

Sad Songs for Dirty Lovers
release date: Sep. 2, 2003
format: cd (HWY-003)
[album rate: 3 / 5] [3,22]
producer: Nick Lloyd; Paul Heck and Peter Katis (as co-producers)
label: Brassland - nationality: USA

Track highlights: 2. "Slipping Husband" - 4. "It Never Happened" - 5. "Murder Me Rachael" - 6. "Thirsty" - 7. "Available" - 9. "Trophy Wife"

2nd studio album by The National, again released on independent label Brassland. Prior to this, the band has been expanded by bassist Aaron Dessner's brother Bryce on guitar, who also contributed as additional musician on the debut. This means that, aside from now being a quintet, the band is constituted by two brother-pairs, the Devendorff brothers, Scott and Bryan, and the brothers Dessner, Aaron and Bryce together with vocalist Matt Berninger - a line-up that would prove to be a lasting one.
Without being great, this still betters the somewhat grey debut, which had a folk thing going on that didn't come out as something extremely original, whereas this is more of a rock thing trying to combine the inner-felt melancholy of Leonard Cohen with the strict tensions à la Joy Division. Still, I find that the end result sound much closer to American Music Club / Mark Eitzel, and the band still has a hard time sounding like a truly original band.
[ allmusic.com, Q Magazine, Rolling Stone 3 / 5, Uncut 4 / 5 stars ]

The National "The National" (2001)

The National [debut]
release date: Jul. 3, 2001
format: digital (12 x File, MP3)
[album rate: 3 / 5] [3,12]
producer: The National & Nick Lloyd
label: Brassland Records - nationality: USA

Track highlights: 2. "Cold Girl Fever" - 3. "The Perfect Song" - 4. "American Mary" - 9. "Watching You Well"

Studio album debut by Ohio-founded band The National consisting of lead vocalist Matt Berninger, lead guitarist Scott Devendorf, also backing vocals, bassist & rhythm guitarist Aaron Dessner, and drummer Bryan Devendorf [who fronts the album cover]. The album is released on newly-founded label Brassland, which amongst others include the band's bassist Aaron and his brother, Bryce Dessner as co-founders.
Musically, the album is labelled as alt. rock, americana, and indie rock. I have only come across this after listening to the band's fine third album Alligator (2005), and compared to that, this is more quieter and alt. folk-shaped making me think of American Music Club cloned with music from British jangle pop of the early to mid-1980s and perhaps early R.E.M. and a more recent American band like Grant Lee Buffalo. This isn't all bad, although, I don't find it as great as their later works and initially rejected it as a poor debut - which it's not. It's just not all that originally sounding.
[ allmusic.com 4 / 5 stars ]

BEST OF 1985:Ry Cooder "Paris, Texas" (OST) (1985)

org. album cover

Paris, Texas (soundtrack)
release date: 1985
format: cd (1988 reissue)
[album rate: 4,5 / 5]
producer: Ry Cooder
label: Warner Bros. - nationality: USA

Tracklist: 1. "Paris, Texas" (4 / 5) - 2. "Brothers" - 3. "Nothing Out There" - 4. "Canción Mixteca" (5 / 5) (live version with Harry Dean Stanton) - 5. "No Safety Zone" - 6. "Houston in Two Seconds" (4 / 5) - 7. "She's Leaving the Bank" - 8. "On the Couch" - 9. "I Knew These People (feat. Harry Dean Stanton, Nastassja Kinski)" - 10. "Dark Was the Night"

Soundtrack by Ry Cooder to the movie "Paris, Texas" from 1984, directed by Wim Wenders.
It's the music by dusty angels, and it suits this fantabulous movie like... cheese and red wine... a Ferrari and my garage... a pink sweater on Nastassja Kinski... like... hand in glove. I love the music just the way I love the movie by Wenders, which I may have seen 4 or 5 times and haven't found boring or too long yet. The music on this album is just perfect for an evening listening to old vinyl records, and I don't really need any other company - this is more than just fine. In my mind, this is by far Cooder's best album.
[ movie trailer ]

1985 Favourite releases: 1. Ry Cooder Paris, Texas - 2. The Smiths Meat Is Murder - 3. The Pogues Rum, Sodomy and the Lash

'my' alternate CD version and the 2001 remaster