Band of Horses "Cease to Begin" (2007)

Cease to Begin

release date: Oct. 9, 2007

format: cd (SPCD 745)

[album rate: 4 / 5] [4,22]

producer: Phil Ek

label: Sub Pop Records - nationality: USA

Track highlights: 1. "Is There a Ghost" (5 / 5) (live on Letterman) - 2. "Ode to LRC" - 3. "No One's Gonna Love You" (5 / 5) (live on Letterman - acoustic live) - 4. "Detlef Schrempf" (4,5 / 5) (live) - 5. "The General Specific" - 7. "Islands on the Coast" - 8. "Marry Song" - 9. "Cigarettes, Wedding Bands" (4,5 / 5) (live)

2nd studio album by Band of Horses following 1½ after the fine Everything All the Time (Mar. 2006) is like that produced by Phil Ek and released on Sub Pop. Since the recording of the debut album the band has changed its line-up more than once, and played as a quintet, a quartet and now reduced to a trio with only remaining member, founder Ben Bridwell. On this he constitutes the band with bassist & guitarist Rob Hampton and drummer Creighton Barrett - both replacing founding members Chris Early and Tim Meinig for the promotion tour of the debut in 2006. Guitarist and keyboardist Joe Arnone only stayed for the 2006 tour, after which the band recruited keyboardist Ryan Monroe as additional musician for an upcoming 2007 tour and for the recording sessions for this album. He was, however, together with guitarist Tyler Ramsey and bassist Bill Reynolds included as new official members after the album release, whci meant the band was soon back as a sextet.

Musically, the album follows close on path laid out with the debut, although, this seems more like a bolder folk rock and country rock release thanks to more focus on electric guitars. The album still leaves room for a varied collection of songs, some are laidback and country-like, others harsh electric folk rock and the first track is an indie pop-shaped grower, but the overall sensation of a strong coherent whole is further accentuated. The album consists of ten tracks - and here comes the least favourable thing about this new album: it only upholds a total running time at 34:50 minutes!

After an acclaimed and strong debut they actually do even better. It's more than an ordinary artistic achievement to make something that both bonds so nicely with the preceeding release and yet improve their sound, which again proves how Ben Bridwell as only remaning member is the band's leader and driving force.

Cease to Begin is their best and it's highly recommended.

[ 👍allmusic.com, NME, Blender, Q Magazine, 👍Spin 4 / 5, Pitchfork 7.7 / 10 stars ]

2007 Favourite releases: 1. Bloc Party A Weekend in the City - 2. Band of Horses Cease to Begin - 3. Natasja I Danmark er jeg født

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Elvis Costello & The Imposters "The Delivery Man" (2004)

Deluxe Edition

The Delivery Man
release date: Sep. 21, 2004
format: digital (21 x File, FLAC - Deluxe)
[album rate: 3,5 / 5] [3,62]
producer: Dennis Herring and Elvis Costello
label: Lost Highway Records - nationality: England, UK

Track highlights: 1. "Button My Lip" - 2. "Country Darkness" - 3. "There's a Story in Your Voice" (with Lucinda Williams) - 5. "Bedlam" - 7. "Monkey to Man" - 8. "Nothing Clings Like Ivy" - 10. "Heart Shaped Bruise" (live with Emmylou Harris) - 12. "Needle Time"

19th studio album by Elvis Costello following the quiet solo album North (2004) is his first studio album with new material to be credited Elvis Costello & The Imposters, although, the backing band also backed him on When I Was Cruel (2002) and on the compilation album Cruel Smile (2002).

The album is made on the primarily country music label Lost Highway Records and recorded in four different locations in the "deep" South with the majority recorded in Oxford, Mississippi, some in Minnesota, Nashville and live in the studio in Los Angeles, which in many ways already indicate an album consisting of songs with focus on country with a mix of country rock, alt. country and singer / songwriter material. Aside from The Imposters: Steve Nieve, Pete Thomas and Davey Faragher, the album also feature Emmylou Harris on three songs (tracks #8, #10 & #14), guitarist of the Doobie Brothers, John McFee on two songs (tracks #2 & #10) and Lucinda Williams on track #3. Apparently, both Nieve and Thomas wanted to make the album with their old backing band - which would include bassist Bruce Thomas, but Costello were specific that he would no longer make music with that Thomas, and instead Dave Farragher makes the backing trio a new constellation.

The Deluxe Edition contains 7 bonus tracks (in 2-cd format) similar to the bonus disc "Delta-Verité - The Clarksdale Sessions", seven tracks recorded live in the studio using antique microphones, tube amplifiers and old recording equipment.

At a first listen, it may be an odd experience, but as always with Costello you need to adjust to his intentions, and his ideas about the music. He very seldom reproduces the sound and the style on a follow-up album, so you really have to keep an open mind to what he's on to next, and with this I felt taken on the wrong foot, and then upon listening again immediately accepted it 'cause you never know where he's going on his releases, and mostly, it's never bad or mediocre 'cause he's so full of ideas and musicality - and then he simply loves so many styles, which may make it appear as a mish-mash - but it never is just that. Here he incorporates the traditional American country music that he also explored on Almost Blue (1981). Back in the days, I sort of enjoyed his '81 album, which was more in the style with original country (as executed by Hank Williams and the like), and that of course could've been experienced in arrangements close to the original sources, but that's not the case on this one. This is not entirely a country record, although that style takes up the majority of tracks, but it's often in a combo with folk and or jazz elements, which altogether makes it a more diverse experience. Costello makes use of his talent for song structure and lyrical content, and he uses his strong vocal register - not to be confused with range, 'cause it's narrow and highly characteristic but always delivered with a strong passion that resonates through and through. And speaking of his ability to throw himself over new styles, he had been working on the music for Aterballetto Dance Company of Reggio Emilia [Italy] back in 2000 simultaneously while writing and composing music for classical artist Anne Sophie Otter (which was released as For the Stars in 2001], and written several songs for his new [20 year-old younger] partner Diana Krall for her 2004 album The Girl in the Other Room (re. Apr. 2004). With the album Il Sogno (togeher with London Symphony Orchestra and conductor Michael Tilson Thomas), he also re-arranged the ballet music songs for a music album, released on the same day as The Delivery Man.

The songs here reflect a happy and content Costello, who privately has moved in with American jazz and soft rock vocalist and pianist Diana Krall. The two married in 2003, and it's evident that Costello finds himself in a better position than perhaps ever before. He sings with warmth and passion and without the usual wry use of sarcasm and irony that has been key elements on many former albums. Instead, he narrates about real emotions and he delivers with energy and artistry as a matured storyteller. Yes, several songs are heavily inspired by others - Tom Waits seems like an obvious source to more than one song, but Costello is that musical chameleon who absorbs and reconstructs in new ways, and that's how he has made a long-lasting career.

I like it - it's definitely a grower.

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

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Creedence Clearwater Revival "Have You Ever Seen the Rain" (single)

Have You Ever Seen the Rain / Hey Tonight, 7'' single

release date: Dec. 29, 1970

format: vinyl (LBF 15440)

[single rate: 4,5 / 5] [4,58]

producer: John Fogerty

label: Liberty - nationality: USA

Tracklist: A) "Have You Ever Seen the Rain" - - B) "Hey Tonight"

Single release by Creedence Clearwater Revival with two songs taken from the album Pendulum (Dec.1970). Like all tracks on the album, these two songs were written, arranged and produced by John Fogerty. Some issues have flipped A and B-sides (British, French, Italian, Spanish, and some German issues).

I got the single from the older brother who had purchased it in the early 70s.

~ ~ ~

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

Neil Young "The Monsanto Years" (2015)

The Monsanto Years
release date: Jun. 29, 2015
format: cd
[album rate: 3,5 / 5] [3,38]
producer: Neil Young & John Hanlon
label: Reprise Records - nationality: Canada

Track highlights: 1. "A New Day for Love" - 3. "People Want to Hear About Love" (live) - 6. "Workin' Man" (live) - 8. "Monsanto Years" (live)


36th studio album by Neil Young released as 'Neil Young + The Promise of the Real' is something as antique as a protest album. The band 'Lukas & Promise of the Real' is made up of frontman Lukas Autry Nelson (son of Willie Nelson) on guitar & backing vocals, Corey McCormick on bass, Tato Melgar on percussion & backing vocals and with Anthony Logerfo on drums. Furthermore the band feature Lukas' brother Micah Nelson on electric guitar, electric charango and on backing vocals.
Stylistically, it's nothing new as they play country rock and folk rock. Some of the songs are more hard rock-shaped and mostly just sound like Young with Crazy Horse. Apparently, Young's long-time friendship with the Nelson family bound them stronger together after the 2014 Farm Aid project and paved way for a collaboration album.
The protest thing here is against the American agricultural corporation Monsanto, which has found itself involved in many controversies - on the American continent, in Asia and in Europe most of which apparently deals with the company's role in the handling of chemical waste and pesticides and its production of GMO-related (Gene-Modified) crops and seeds as well as PCB-material. All of which sounds pretty nasty.
Anyway, the album turns out a bit like Neil Young has landed his freight ship on a subject that has caught his attention. He is a farmer - or: he is running a farm and has been preoccupied with ecological farming and ideas of 'green' products throughout the years. He has also been working on making car engines run on various types of energy, and in my mind, he sort of does whatever he wants. Lately, he has been highly productive musically - putting lots of energy into releasing new material, as if he ponders on when to leave the planet, and whenever something crosses his path, he puts "the plane down" and deals with it before taking off to another project that make him turn his head. This is a bit like that. Having been involved in Farm Aid, he may have felt like he needed to pay tribute to that idea by releasing a studio album in that arena. And this is it!
The album mostly gained positive reviews, although, I don't find it one of his more original ones, as it sort of dwells on rock-anthems as executed with Crazy Horse on several former occassions. The great songs are mostly absent and at best some compositions sound like Neil fiddling with Crazy Horse but others just sound as old-school protest songs with little new to offer than some lines about what Monsanto did wrong, which makes me think more of Neil's old collaborative project-band CSNY - as they didn't always find a common ground. Having said that, Neil is the master Neil Young and he can do whatever he wants to in this world 'cause he already proved his worth, and this is a project that he engages in and that can't be a bad thing.
[ allmusic.com 3,5 / 5, The Guardian 5 / 5, Rolling Stone 3 / 5 stars ]

Neil Young "Psychedelic Pill" (2012)

Psychedelic Pill
release date: Oct. 30, 2012
format: 2 cd
[album rate: 3,5 / 5] [3,58]
producer: Neil Young, John Hanlon and Mark Humphreys
label: Reprise Records - nationality: Canada

Track highlights: Disc 1: 1. "Driftin' Back" - 2. "Psychedelic Pill" - 3. "Ramada Inn" - 4. "Born in Ontario" - Disc 2: 2. "She's Always Dancing" - 3. "For the Love of Man" - 4. "Walk Like a Giant"

33rd studio album by Neil Young recorded with Crazy Horse is released only 4½ months after his collaboration studio album with Crazy Horse Americana, once again proving Young's vitality. Every now and then Young slows down - two years pass on and then he puts out two albums in the same year - back on track! Where Americana was a bunch of old songs and covers in new arrangements, this is brand new material from the man himself, and I can't help thinking that this was the album he really put all efforts in that year. Not only is it an album of new compositions - it's also Young's first 2-disc album, and with a playing time at more than 1 hour and 27 mins, it's his longest studio album to date; although it 'only' contains 9 tracks. Two of the compositions have a playing time above 16 mins. and the very first track has a playing time at 27:36 mins [!].
With its distorted 'psychedelic rock' sound, the album makes me think of Broken Arrow and an older album like Rust Never Sleeps both also with Crazy Horse. It has the same distorted feedback sound, as one will find on Broken Arrow and yet it dwells likewise throughout the single tracks as opposed to the more 'rock'-fussed albums Ragged Glory and Weld with Crazy Horse. And although, he also made Americana this year together with Crazy Horse the style here is really not linked in any way with the former release from this year, which compared to this sounds more like less worked-through material - something that could have stayed in the studio. However, their get-together work for Americana was probably what was needed to create this one, 'cause here they sound like the tight unit they used to be.
The album may not contain great single hits - it's more like one organic type of thing that grows, evolves and changes its direction running through a field, sometimes rapidly, sometimes in slow-motion while reviving some of the same elements one will find on some the quartet's familiar pieces.
I really enjoy this one and think of it as Neil Young's best studio album in more than a decade.
[ allmusic.com 3,5 / 5, Rolling Stone, NME 4 / 5 stars ]

Neil Young "Americana" (2012)

Americana
release date: Jun. 5, 2012
format: digital
[album rate: 3 / 5] [3,18]
producer: Neil Young, John Hanlon, Mark Humphreys
label: Reprise Records - nationality: Canada

Track highlights: 1. "Oh Susannah"

32nd studio album by Neil Young released as Neil Young & Crazy Horse. The album features Crazy Horse again but unlike almost all Young's other albums this doesn't have music written by Neil Young. Instead it contains mostly traditionals some of which have music arranged by Neil Young or others. The title seemingly refers more to the sources of the music - composers and / or being American traditionals than a reference to the music style. The music is more folk, country and folk rock. It's like Okay, but nothing great here, I think.
[ allmusic.com 2 / 5, The Guardian 3 / 5, Rolling Stone 3,5 / 5 stars ]

Tom Waits "Mule Variations" (1999)

Mule Variations
release date: Apr. 27, 1999
format: cd / 2lp vinyl (2024 Ltd. Edition) (25th Anniversary) (silver)
[album rate: 4 / 5] [4,04]
producer: Tom Waits & Kathleen Brennan
label: ANTI- / 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.

EDIT 2026:

The 2lp vinyl issue is a limited gatefold issue in coloured 'slightly' silver vinyl.

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

Robert Forster "Calling From a Country Phone" (1993)

Calling From a Country Phone

release date: Oct. 24, 1993

format: cd

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

producer: Robert Forster

label: Beggars Banquet - nationality: Australia

Track highlights: 2. "121" - 3. "The Circle" - 6. "Cats Life" - 8. "Drop"

2nd studio album by Robert Forster following nearly three full years after his acclaimed debut Danger in the Past (Nov. 1990). In this period, he began a new life in Germany with German musician Karin Bäumler, and he produced the second album for Bäumler's band Baby You Know. This is the first album with Forster as sole producer after having co-produced albums with his former band, The Go-Betweens. All compositions are credited Forster, who is joined by a handful of new backing band musicians, most of which play in the Brisbane country-rock band COW [abbr. for "Country or Western"] including drummer Glenn Thompson, who should later play with Forster as solo artist and on releases with the reformed The Go-Betweens. The country-style comes through on many of the songs here, despite the fact that Forster had already written the songs before joining with his new crew. It may still be indie pop and singer / songwriter but there's the typical slide and picking of guitar-sound on most tracks, which adds a country / western-feel to the album, and hence the title.

Calling From a Country Phone gained positive reviews but I don't really concede to that. I enjoy his solo debut, which seems quite original, and here you still notice his songwriting skills, whereas the music score doesn't distinguish Forster from many of his idols of the 1960s and early '70s because of the bold use of country-styled arrangements, but I guess that's only a matter of preferences, and then I'm not a country-kind-of-a-person.

Neil Young International Harvesters "A Treasure" (2011)

A Treasure [Archival] (live)
release date: Jun. 10, 2011
format: digital
[album rate: 2,5 / 5] [2,72]
producer: Neil Young & Ben Keith
label: Reprise Records - nationality: Canada

Track highlights: 11. "Nothing Is Perfect" - 12. "Grey Riders"

A live album by Neil Young released as Neil Young International Harvesters features live recordings from his 1984-1985 U.S. tour with the International Harvesters, and it's volume nine in Young's "Archives Performance Series" and the sixth to be released. The material is a blend of old familiar songs, newer ones and previously unreleased material all played in the style of country rock.
One could suspect Young from having landed in a track where he's 'obligated' to release a new album every year now time is ticking away. Sure, it's not going faster, but Neil may have come across the thought that he he doesn't have his life in front of him anymore. So when he doesn't feel like releasing brand new material, he can always turn to his "Archives".
I think, it's great that he wants to share all that filed material of his, but it does make it strange to sit down and be forced to think some 30 years back and think: "how good was it then?" vs. "how good is it today?" And regardless the answer be able to acknowledge these recordings from a contemporary point of view considering time, quality and legitimacy.
In the early and mid 1980s Young seemed lost. He bounced from one style to another trying to be modern or contemporary enough to keep up and still be popular or worthwhile. And he failed time after time releasing the albums Hawks & Doves, Re-ac-tor, Trans, Everybody's Rockin', Old Ways and Landing on Water - all unsuccessfully. Is this his way of returning to his dark(est) ages by pointing out that he stood firm and still played great songs? We can't really tell. But listening to the songs here I find it difficult to greet these country rock songs as "A Treasure" to pay tribute to. We've really heard this dozen times or more (or more), and no matter when, I don't really like Young's country rock. Period. Yes, when he played After the Gold Rush and Harvest it made sense, but not in the mid 80s or today. It doesn't contain memorable stuff and it's not good.
Not recommended.
[ allmusic.com, Rolling Stone 4 / 5 stars ]

Dire Straits "On Every Street" (1991)

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

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

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

Zucchero "Miserere" (Int.) (1992)

Miserere (International version)
release date: Oct. 1, 1992
format: digital (12 x File, MP3)
[album rate: 3,5 / 5] [3,26]
producer: Corrado Rustici
label: London Records - nationality: Italy

Track highlights: 2. "L'urlo (Medley with 'La solitudine')" - 3. "It's Alright (The Promise)" - 7. "Un'orgia di anime perse" - 9. "Come Back the Sun" - 12. "Miserere (feat. Luciano Pavarotti)"

6th studio album by Zucchero in the international English issue with four songs that apparently have been exchanged from the "ordinary" Italian edition but which are all simply translated versions. This version is released on London Records, whereas the Italian issue is released by Polydor. On the Italian issue the artist is credited with his full moniker as 'Zucchero Sugar Fornaciari' while he is simply credited as 'Zucchero' on the International / English version - as seen on the front cover. The album is Zucchero's first to be released simultaneously in an Italian version for the domestic market and an English-versioned issue.
Overall, this is a bit of a step down from his most recent album(s). Although, I feel that the Italian version is the better choice with what I sense reveals a stronger coherency with songs mostly in the same mother tongue, it's still an album with an almost all-American sound to it. It's made with americana slide-guitars and dobro, country-rock banjos and harmonica and with dominating Wurlitzer or Hammond organs and acoustic guitars - all put together making it sound like Eric Clapton jamming with Ry Cooder while they try to sound like The Band.
Zucchero is an artist with his own distinct qualities and he has made several strong releases with inspiration from American music styles but on this it's as if he tries too hard to make an American album instead of continuing making Italian music with various influences.
With two previous number #1 albums in Italy and growing international esteem he has sought out an embracement of both markets, so that, yes, there's still an Italian foundation but the tone has become unmistakably English-American regardless what version of the album you purchase.
If your thing is John Mellencamp, The Doobie Brothers, J.J. Cale and Eric Clapton, then this might just be your kinda thing. It's not for me, though, and in the discography of Zucchero Fornaciari this sits pretty much at the low end.
Not recommended.

Zucchero Sugar Fornaciari "Miserere" (1992)

Miserere (Italian version)

release date: Oct. 1, 1992

format: cd (2004 remaster)

[album rate: 3,5 / 5] [3,36]

producer: Corrado Rustici

label: Polydor - nationality: Italy

Track highlights: 2. "L'urlo (Medley with 'La solitudine')" - 3. "It's All Right (La promessa)" - 7. "Un'orgia di anime perse" - 10. "Ridammi il sole" - 11. "I frati (Ovvero l'osteria della felicità)" - 12. "Miserere (feat. Luciano Pavarotti)"

6th studio album by Zucchero following Oro incenso e birra (1989) is his third consecutive and fourth album overall to be produced by Corrado Rustici and it introduces a new "release formula" by Zucchero - or his manager, which is to produce two different issues simultaneously: one for the national market and a slightly different issue for the international markets. Both releases contain 12 compositions, and with this the Italian issue the album comes with four (tracks #3, #4, #10 & #11) that have been exchanged on the International version with English translated or altered titles and with English lyrics - also the track listing has been altered slightly (so that the aforementioned tracks correspond with tracks #3, #4, #9 & #11 on the international issue). Although, this is the Italian market version, the English language is not absent. Two songs are co-composed with Paul Buchanan (of The Blue Nile): The song "It's All Right (La promessa)" is partially in English (it has been translated to "The Promise" for the international issue) and "Ridammi il sole" (mostly in Italian except for a repetitious chorus-line but for the international issue it's entirely in English with the title "Give Me Back the Sun"). Both versions of the album comes with the song "Miss Mary" written by Elvis Costello and composed by Zucchero. This means that the music on both albums remains the same - only titles and lyrics have been changed.

In essense, the style has become less pop soul and more americana and blues-oriented, which in my opinion, is a wrong turn. It's as if he's trying to copy Joe Cocker with a hint of Bruce Springsteen and Ry Cooder, and I don't really like that direction. With two previous number #1 albums in Italy and a growing success internationally he has tried to embrace both markets, so that yes, there's still an Italian foundation but the tone has become unmistakably English-American regardless what issue you purchase.

If your thing is John Mellencamp, The Doobie Brothers, J.J. Cale and Eric Clapton, then this might just be your kinda thing and you should probably aim for the international version of the album. But it's not to my liking, and in the discography of Zucchero Fornaciari this sits pretty much at the bottom.

Not recommended.

Neil Young "Fork in the Road " (2009)

Fork in the Road 
release date: Apr. 7, 2009
format: cd
[album rate: 2,5 / 5] [2,63]
producer: "The Volume Dealers" [Neil Young and Niko Bolas]
label: Reprise Records - nationality: Canada

Track highlights: 1. "When the Worlds Collide" - 3. "Just Singing a Song" - 4. "Johnny Magic" - 5. "Cough Up the Bucks" - 10. "Fork in the Road"

30th studio album by Neil Young is a sort of return to basics, electrified, as a kind of Ragged Glory, part 2, which it really isn't as it's also without Crazy Horse. But basically, there are simply too few great tunes for that, but the energy is here as well as the scarce instrumentation with the Fender sound on top - and that's where my point about Ragged Glory comes from.
Critics seem divided on this. The album was met by fine and favourable reviews but also timid to quite poor reviews.
The album is not really a recommended release unless you are a rather big fan, but it's not as bad as argued by The Times who gave it 1 / 5 stars.
[ allmusic.com 3,5, Blender, Uncut 4 / 5, Rolling Stone 3 / 5, The Guardian 2 / 5 stars ]

Neil Young "Chrome Dreams II" (2007)

Chrome Dreams II
release date: Oct. 23, 2007
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Neil Young & Niko Bolas [as "The Volume Dealers"]
label: Reprise Records - nationality: Canada

29th studio album by Neil Young. The album is one of his more mixed albums. Some tracks are quiet blending country rock, traditional folk and singer / songwriter, whereas others are hard rock and garage rock-styled, which makes it a bit of a strange collection. It sounds like a compilation of tracks coming from various albums and periods. The title refers to the fact that an album Chrome Dreams had been shelved back around 1977 - an album that also contained songs of mixed styles and influences. Perhaps, Young also felt the ambiguity and basically found it hard to find a direction at the time, since what was released was the mixed album American Stars 'n Bars (1977).
I'm not really impressed by this, and it seems that Young - once again - has found himself lost in the current time. It's been a while since he has released a truly great album, and this is not one of those.
[ allmusic.com, Uncut, 4 / 5, Rolling Stone, The Guardian 3 / 5 stars ]

The The "Hanky Panky" (1995)

Hanky Panky

release date: Feb. 14, 1995

format: cd

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

producer: Matt Johnson & Bruce Lampcov

label: Epic Records - nationality: England, UK

Track highlights: 1. "Honky Tonkin' " - 3. "My Heart Would Know" - 5. "I'm a Long Gone Daddy" - 7. "I Saw the Light" - 9. "I Can't Get You Off of My Mind" - 11. "I Can't Escape From You"

5th studio album by The The follows two years year after Dusk and is anything but the natural follow-up but nonetheless a genuine Matt Johnson release, although, none of the songs were written or composed by Johnson. The album pays tribute to Hank Williams - only the arrangements are credited Johnson and (David) 'D. C.' Collard. After releasing two albums as an actual band, Johnson is here back as solo artist behind the project. The only recurring personnel is D.C. Collard credited treated melodica and arrangements, and co-producer Bruce Lampcov. The new backing band mostly only covers a stellar cast of American session musicians including guitarist Eric Schermerhorn (from Iggy Pop's backing band) and bassist Gail Ann Dorsey (from David Bowie's backing band), harmonica player Jim Fitting, and drummer Brian MacLeod (Chris Isaak, Wire Train, Sheryl Crow, etc.), which once again sees Johnson play with handpicked musicians instead of a steady band.

Hanky Panky is really something else, and then there's still Johnson's DNA all over despite also being original country songs. The album may contain eleven tracks but it runs for less than 34 minutes. A first glimpse of the front cover, and knowing of Johnson's sometimes biting satire in combination with the album title, which could sound like a pun hinting at the first track and / or the world of country as a genre, and you might mistake it as a bad joke of some sort. And I guess Johnson knew about people doubting his project - explaining why he has included a written statement in the inlay telling about his admiration for the genre as such and for Hank Williams in particular. So, don't be fooled, it's by no means a joke but deadly serious! Some would argue that Johnson probably recognised the loner in Williams' existence and his songwriting, and then Johnson himself faced a new beginning after relocating to the US and ending his relationship with Fiona Skinner.

The arrangements are at times with much remaining from the original songs, but mostly they are with due respect to the source but heavily re-arranged with a great deal of modern rock in mind.

My initial verdict had me (completely) reject Johnson's choice - it was simply too strange, and I guess a lot of fans felt the same, but you really have to hand it to Matt Johnson: he did what he felt like doing at the time, regardless other people's opinion - be it record label, critics, or fans.

In retrospect, the album naturally lands miles from his previous releases but it's by no means a mediocre album 'cause everything is done with respect and so much talent that it simply puts a new light on songs from a completely different genre. It's both art rock, blues rock and country rock all mixed with the essence of country, and frankly, overall, it's really a mighty fine release.

Hanky Panky wasn't exactly met like a new great album from The The by most critics, but who cares what they think, although, some have changed their initial opinion about the album over the years, which basically tell us that you only have to listen for yourself.

The album is not one of Johnson's best but it's still a recommended listen, also both as a tribute to a great songwriter as well as brilliant reinterpretations of classic country.

[ 👎allmusic.com 3 / 5, USA Today 3 / 4 stars ]

Kings of Leon "Youth & Young Manhood" (2003)

Youth & Young Manhood [debut]
release date: Jul. 22, 2003
format: cd (HMD27)
[album rate: 3 / 5] [3,06]
producer: Ethan Johns
label: Handmedown Records / RCA Records - nationality: USA

Track highlights: 1. "Red Morning Light" - 2. "Happy Alone" - 3. "Wasted Time"

Studio album debut by Kings of Leon released on Handmedown and RCA. The genre is indie rock and garage rock revival in a special southern rock style pointing towards early Rolling Stones mixed with AC/DC, which also takes it to the harder end of the style.

I think, I first heard of the band when the songs "Ragoo" and "On Call" from their third album Because of the Times (2007) got some airplay on the national radio station DR P3 back in 2007, but I wasn't really hooked on their music until a year later with the album Only by the Night (2008) and especially tracks like "Sex on Fire" and "Revelry", which were played extensively on nationwide radio. After acquiring these two albums, I then got their latest Come Around Sundown (2010), which really made me change my mind about this band, as imho was the band's best. This subsequently made me check out their first two albums, as I was also curious about how they had initiated their career.

I have nothing against the various styles they manage to incorporate into their music on their later albums, but this first one is really far from that - and also far from my taste. It shows the band's early garage rock revival mix (which is style I enjoy) with southern rock, country rock, and hard rock ['ouch'] , and I can only say that the mixture leaves me rather unimpressed. Yes, they prove themselves as skilled instrumentalists, but that's also the only thing that shines through here.

Not recommended.

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

Neil Young "Unplugged" (1993) (live)

Unplugged (live)
release date: Jun. 15, 1993
format: cd
[album rate: 3,5 / 5]

Tracklist: 1. "The Old Laughing Lady" (3,5 / 5) - 2. "Mr. Soul" - 3. "World on a String" (3,5 / 5) - 4. "Pocahontas" (3,5 / 5) - 5. "Stringman" - 6. "Like a Hurricane" (4 / 5) - 7. "The Needle and the Damage Done" (3,5 / 5) - 8. "Helpless" - 9. "Harvest Moon" (4 / 5) - 10. "Transformer Man" (2 / 5) - 11. "Unknown Legend" (4 / 5) - 12. "Look Out for My Love" - 13. "Long May You Run" (3,5 / 5) - 14. "From Hank to Hendrix" (3,5 / 5)

Neil live on MTV. Of course he did an 'unplugged' album in the '90s like all major artists in those days. The album is again like a documentation of his live abilities. This time it's almost unassisted, just Neil and his instruments, whether he accompanies himself on guitar, harmonica, banjo, organ, or on piano. It's a fine collection of songs but some of the tracks are found in better versions on other live releases, i.e. his gigantic song "Like a Hurricane" is not the best version recorded but it's fine to hear him in a totally different and very condensed version.

Neil Young "Harvest Moon" (1992)

Harvest Moon
release date: Oct. 27, 1992
format: cd
[album rate: 3,5 / 5] [3,55]

Tracklist: 1. "Unknown Legend" (4 / 5) - 2. "From Hank to Hendrix" (3,5 / 5) - 3. "You and Me" (3,5 / 5) - 4. "Harvest Moon" (4,5 / 5) - 5. "War of Man" (3 / 5) - 6. "One of These Days" (3,5 / 5) - 7. "Such a Woman" (3,5 / 5) - 8. "Old King" (3 / 5) - 9. "Dreamin' Man" (4 / 5) - 10. "Natural Beauty" (3 / 5)

20th studio album release by Neil Young (excluding live albums, soundtracks, and compilations, and therefore maybe actually his 30th album release), and it's a long look back and a return to the past. It's like a sequel to Harvest both as the title suggests and in style, but also in personnel, as most of the musicians on his 1972 album (exclusive Crosby, Stills & Nash) appear on this. The title track is a born Neil Young classic and the album gained much recognition for it's natural continuation of the fine acoustic albums Harvest, and Comes a Time.
[ allmusic.com 3,5 / 5, Rolling Stone 4 / 5 stars ]

Jello Biafra & Mojo Nixon "Prairie Home Invasion" (1994)

Prairie Home Invasion [debut]
release date: Mar. 24, 1994
format: digital
[album rate: 3,5 / 5] [3,48]
producer: Marshall Lawless, Tri-State Kill Spree Johnson
label: Alternative Tentacles - nationality: USA

Track highlight: 1. "Buy My Snake Oil" - 3. "Convoy in the Sky" - 4. "Atomic Power" - 6. "Love Me, I'm a Liberal" - 7. "Burgers of Wrath" - 12. "Will the Fetus Be Aborted" - 13. "Plastic Jesus"

A collaboration work by Jello Biafra and Mojo Nixon. The album came out after the demise of Biafra's old band Dead Kennedys at a time when he was highly productive, very politically engaged, releasing either collaboration albums, making solo albums, which was mostly spoken words releases, but he was also lead vocalist in the band Lard. 1994 was when grunge rock ruled the alternative rock scene but this album is so original that it could have come out any year after the punk rock era 'cause it really sounds like nothing else. Biafra sneers his lyrics out like still playing in Dead Kennedys. The style is quite far from his '91 collaboration work with NoMeansNo and simply is a better album. It's not hardcore punk but it definitely has punk rock elements but also folk rock, blues rock, country rock , and a whole lot of satire to it, which puts the album aside releases by Frank Zappa and Captain Beefheart. The album could be labelled 'cowpunk' if I ever thought that was a style or genre, but I do think it's a conglomerate of styles and genres that in many ways makes it more of a roots rock album. A few of the songs are pure cover-versions, others are musically built on known and famous songs with completely new lyrics, some just sound as familiar tracks, and a few are just brand new compositions. If one find it hard to listen to Biafra's American tone you may try listening to the lyrics, but really, I find that it kicks butt and it's pretty nice for more than just a one-time listen. Mojo Nixon plays so tight no matter the style, and Biafra nails American society and life-style in that way only an American is allowed to.
Recommended.
[ 👎allmusic.com 3 / 5 stars ]

Best of 1970:Creedence Clearwater Revival "Cosmo's Factory" (1970)

Cosmo's Factory
release date: Jul. 25, 1970
format: cd
[album rate: 5 / 5] [4,88]

Tracklist: A) 1. "Ramble Tamble" (5 / 5) - 2. "Before You Accuse Me" - 3. "Travelin' Band" (5 / 5) - 4. "Ooby Dooby" - 5. "Lookin' Out My Back Door" (5 / 5) - 6. "Run Through the Jungle" - - B) 1. "Up Around the Bend" (5 / 5) - 2. "My Baby Left Me" - 3. "Who'll Stop the Rain" - 4. "I Heard It Through the Grapevine" - 5. "Long as I Can See the Light"

5th studio album by Creedence Clearwater Revival released on Fantasy Records and produced by John Fogerty who also wrote 7 of the album's 11 tracks. To me this is the very best of the band who never again would release an album at this level. The two predecessors Willy and the Poor Boys (Nov. 1969) and Green River (Aug. 1969) are both major album as well, but this one is in a league of its own. The album consists of only great tracks, and almost the entire album are made up of songs that today are pure classics. Unfortunately, the band rushed back into the studio after the release, and a sixth studio album Pendulum was already on the shelves Dec. 1970, which basically signaled the end of the band. I think, it's a bit of an achievement if you look at how the band was able to keep to their own trademarks of swamp rock country rock at a time when almost everyone made progressive rock, psychedelic rock or experimental rock. They started out two years and four albums earlier by playing country rock and blues rock like so many other bands did in '68 but these guys are perhaps the only ones who became that famous for sticking to their original style in the long run. John Fogerty was not just the primary songwriter but he was such a gifted musician that he almost tore the band apart as he wrote their songs, sang lead vocals, played lead guitar, and handled saxophone and piano - AND on top of that he also arranged and produced the album. So, it's understandable that they would argue about their musical direction. Maybe it would have been easier for the other members (not to mention his brother Tom) if they had agreed on the name 'John Fogerty & Creedence'. Nevertheless, they play as a unit with Tom Fogerty on rhythm guitar, Stu Cook on bass, and Doug Clifford on drums.
Even today it seems quite natural that the album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Rolling Stone 5 / 5 stars ]

1970 Favourite releases: 1. Creedence Clearwater Revival Cosmo's Factory - 2. Van Morrison Moondance - 3. Neil Young After the Gold Rush