Paul Weller "Find El Dorado" (2025)

Find El Dorado

udgivet: 25. jul. 2025

format: digital (15 x File, FLAC)

[vurdering: 3,5 / 5] [3,58]

producer: Steve Cradock

selskab: Parlophone - nationalitet: England, UK

Udvalgte numre: 1. "Handouts in the Rain" - 2. "Small Town Talk" - 3. "El Dorado" - 4. "White Line Fever" - 8. "Where There’s Smoke, There’s Fire" - 11. "Lawdy Rolla" - 12. "Nobody's Fool" - 15. "Clive's Song"

18. studiealbum fra Paul Weller udkommer blot et enkelt år efter 'fødselsdagsalbummet' 66 (maj 2024). Som regel er Weller en kunstner, der udgiver albums med egne sange og kompositioner, og dette er en af de sjældne lejligheder, hvor han har fortolket andre kunstnere. Det er således kun hans andet coveralbum - det første var Studio 150 (2004). Albummet her er blevet modtaget med anmelderros, hvilket efterhånden er normen for Weller på dette senere stadie af en lang glorværdig karriere, der startede med trioen The Jam og bandets new wave- og punk-prægede debut In the City (1977).

The Jam var sprængfyldt med hvid energi, og selvom bandets seks fuldlængde studiealbums afslører stor variation og en gennemgående stilistisk udvikling, betød begrænsningerne i bandets lydbillede, at Weller endte med at måtte søge i nye retninger. Han startede det i begyndelsen ganske succesfulde projekt The Style Council i '83 - et band der bød på jazz-influeret pop-soul og sophisti-pop. Projektet viste sig måske som en endnu mere snæver affære, så fra '92 påbegyndte Weller sin lange og hyldede solokarriere som en af sin generations mest elskede britiske sangskrivere.

Weller's attende album afslører en kunstner, der har været hele paletten rundt inden for moderne rock - ofte knyttet til ældre genrer som soul og r&b, og tit stemplet som britpop, hvilket er en stil han ofte nævnes som én af ophavsfigurerne til. I de senere år har han fundet sin egen musikalske bryg: en blanding inspireret af mange stilarter, men som mest af alt lyder som ingen andre. Det er også dét, han forsøger sig med her, selvom de originale sange stammer fra vidt forskellige genrer. Så vidt jeg ved, er det ikke veldokumenterede eller vidtbesungne klassikere, han fortolker her, hvilket man kunne argumentere for kunne gøre det lettere at arrangere sangene præcis, som man lyster.

Som nævnt har albummet høstet positive anmeldelser, men for mig er det ikke en umiddelbar genistreg på højde med hans seneste seks udgivelser. I mine øjne skal man faktisk helt tilbage i Weller's bagkatalog til albummet Sonik Kicks fra 2012 for at finde et album, der ikke rigtig imponerer. Find El Dorado er dog milevidt fra middelmådigheden på netop 2012-albummet - faktisk minder det mere om en markant forbedret udgave af Studio 150, som ikke var specielt beundringsværdigt. Måske fungerer Weller's covernumre bare bedre, når han spiller live?

Personligt er jeg ikke enig i, at det er en af hans bedre udgivelser. Det er rigtig fint og mere end bare 'Okay'. Men ikke fantastisk. Måske forventer jeg bare mere af en type som Paul Weller, og måske var forlæggene bare ikke stærke nok. Men at påstå, at Weller her tilfører glemt materiale så meget ekstra, stemmer ikke helt overens med min smag for denne nye samling. Det er dog uden tvivl Paul Weller's absolut bedste coveralbum, men det siger så ikke så meget, da det andet ikke var synderligt mindeværdigt.

Find El Dorado er ikke desto mindre et solidt album, og måske vil jeg med tiden holde mere af det. Lige nu føles det dog en smule overvurderet, men stadig som et album fyldt med virkelig god musik, og måske især fordi Weller er en kunstner, der leverer velstrukturerede arrangementer og forstår sig på at få hvert ord til at tælle. Han er også nået til et punkt i sin karriere og i sit liv, hvor han ser ud til at forstå betydningen af 'less is more' ved at fremhæve nuancer med inderlighed i næsten enhver sang, så den lyder skarp og vital. På den måde har albummet unægteligt sine øjeblikke, og samlet set rangerer det som mere end blot et album på det jævne.

Anbefalet.

[ allmusic.com, Record Collector, Mojo 4 / 5, 👍Classic Rock Magazine 3,5 / 5 stjerner ]

Lotte Kestner "At My Most Beautiful" (2023) (single)

At My Most Beautiful, single

release date: Aug. 4, 2023

format: digital (1 x File, FLAC)

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

producer: self-produced

label: self-released (bandcamp) - nationality: USA

Tracklist: "At My Most Beautiful (R.E.M. cover)"

Single release and second consecutive R.E.M. cover from Lotte Kestner made available through her bandcamp-profile following the release of the single "Walk Unfraid" (May 2023).

Again, Kestner covers an R.E.M. favourite [the original] from the album Up (1998) and she does that with appropriate conviction. The song remains but heavily rearranged to fit Kestner's lo-fi production and a simple and serene expression. A prediction regarding her next covers relase is likely to feature a handful of covers of the great Athens-band.

Lotte Kestner "Walk Unfraid" (2023) (single)

Walk Unafraid, single

release date: May 30, 2023

format: digital (1 x File, FLAC)

[single rate: 3,5 / 5] [3,68]

producer: self-produced

label: self-released (bandcamp) - nationality: USA

Tracklist: "Walk Unfraid (R.E.M. cover)"

Single release by Lotte Kestner released via the artist's bandcamp-profile in support of #bravehood ('a community of many supporting children in emergency situations').

The original is taken from the R.E.M. album Up (1998), and the song is one of my personal all-time favourites by the great band from Athens, Georgia. Kestner is famous for making cover versions, and this one is a highly remarkable and original version by being a lo-fi stripped-down song but also a multi-layered track by the way she has made use of several tracks in the mixing of the recording - to some extent in an unusual manner in the case of Kestner covers that are often quite simple arrangements. That alone makes it a most interesting version, as she has made lots of covers using only guitar with vocal, or piano with vocal, but to hear how she maintains a minimalist expression while turning up on the arrangement-button is something new and a most welcome introduction to her soundscape.

Cat Power "Covers" (2022)

Covers

release date: Jan. 14, 2022

format: cd (BRC687, Japan)

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

producer: Chan Marshall

label: Domino / Beat - nationality:

Track highlights: 1. "Bad Religion" (live) - 3. "Pa Pa Power" - 6. "Against the Wind" - 8. "These Days" - 10. "I Had a Dream Joe" - 12. "I'll Be Seeing You" (4 / 5)

11th studio album by Cat Power following nearly 3½ years after Wanderer (Oct. 2018) is Power's first with Domino after leaving Matador. Cat Power has previously made covers and made it one of her strongest assets. And as the title suggests, this one appears as a sequel to her The Covers Record from 2000. This new selection more or less copies the idea of covering songs from a large variety of styles and periods. The diversity in the original material is extremely wide, as she covers songs of neo-soul (Frank Ocean), vocal jazz (Billie Holiday), country rock (Bob Seger), celtic rock (The Pogues), folk pop (Jackson Browne), and punk blues (Nick Cave), just to mention one half of the songs. It's an extreme span, although, yes, Cat Power ensures stylistic connection in these new arrangements. I'm just not entirely convinced about the idea to grab songs from any musical shelf to see if it will work in your own setting. Yes, it's possible, but is it always that original? This makes me think of how we're completely accustomed to listen to jazz standards interpreted in new ways, which is not only fully accepted but also a way to become an original artist. It's different when speaking of the world of pop music - but why is that 'cause obviously there are songs that could be labelled as pop standards. This is something you face when listening to artist perform live and then include covers, and some songs are more likely to turn up at concerts, right?! Anyway, Cat Power even challenges the idea of having a mutual foundation in the arrangements 'cause there's no common foundation here. "I Had a Dream Joe" comes so close to the original that it somehow sticks out, which isn't my dream of a cover, and several other songs do just that - so there goes coherency like it did on her 2000 album. In that regard it's a bit like repeating what could have been an obvious mistake from her first covers album, although, this new collection slightly betters the former. Chan Marshall is a gifted arranger, and she could possibly have done better when chosing original songs. What on the other hand work really well, is her intense emmotional contribution to well-known songs. She seems capable of covering whatever song and still make it hers. She's an absolute wonderful interpretor and performer - just love that vocal.

Recommendation: perhaps mostly for fans.

[ allmusic.com 3,5 / 5, Pitchfork 7,7 / 10, 👍The Guardian 3 / 5 stars ]

Lotte Kestner "Radiohead Covers" (2023)

Radiohead Covers (ep) (compilation)

release date: Apr. 7, 2023

format: digital (4 x File, FLAC)

[album rate: 3,5 / 5] [3,63]

producer: Anna-Lynne Williams [recorded by]

label: self-released - nationality: USA

Tracklist: 1. "All I Need" - 2. "Motion Picture Soundtrack" - 3. "How to Disappear Completely" - 4. "No Surprises"

Four previously released covers have here been compiled for digital download at Kestner's bandcamp profile. Tracks #1 and #2 are both included on Covers 2 (2020), track #3 was previously included on Covers (2015), and track #4 has previously been available on her bandcamp site. Covers are just a big part of Kestner's music, as most of her releases have included covers, and she has released several singles, eps, and full albums exclusively containing cover songs, so seing Kestner covering Radiohead isn't really a rare thing.

Her speciality, when speaking of covers, is her ability to make her very own and highly original ambient folk-versions of not-folk material, and in that regard it's always fascinating how she chose to arrange these songs.

The four Radiohead songs are all major classics by this great innovative British band and in Kestner's hands they shine anew. I do prefer the originals, but Kestner's versions are still intruiging renditions.

Ane Brun "Leave Me Breathless" (2017)

digital album cover

Leave Me Breathless

release date: Oct. 6, 2017

format: digital (14 x File, FLAC)

[album rate: 4 / 5] [3,76]

producer: Ane Brun & Anton Sundell; Johan Lindström (co-pro.)

label: Balloon Ranger - nationality: Norway

Track highlights: 1. "I Want to Know What Love Is" - 2. "Always on My Mind" - 3. "Unchained Melody" (live) - 4. "Hero" - 6. "Into My Arms" - 8. "How to Disappear Completely" - 9. "By Your Side" (live) - 12. "Right in Time" - 14. "Big Yellow Taxi"

7th studio album by Ane Brun follows two years after When I'm Free (Sep. 2015) and is a different kind of outing as it's entirely made up of covers - mostly romantic love songs from various styles, genres, as well as different periods. The songs are, however, arranged in stripped-down versions with focus on Brun's delicate vocal that make all songs fit nicely together.

According to the artist's bandcamp-profile, the songs were initially made with a specific person in mind, and along the way it then materialised as this new collection of songs.

Covers have been a natural part of Brun's set-list through-out her career, which makes the idea of an album entirely made of covers a welcomed one, and it also links to her Sketches album, which featured her own demos to the album Changing of the Seasons by showcasing initial versions of songs with focus on vocal performance and scarse instrumentations.

Most of the material are songs that have been successful in their original versions and therefore they resonate even louder when transformed in Brun's original and sincere renditions - at times even making the original versions sound as inferior (especially the songs by Foreigner, Mariah Carey, Tom Petty, and Bob Dylan). Another common denominator of the selected material on this, is a parameter of personal involvement. In that way, the songs are renowned for being hard to challenge in emotional delivery but that's exactly the strength of Ane Brun, her capacity of emotional expression. She simply delivers another layer to each song that makes this feel like a most natural release and something of her very own.

Although not being a regular collection of new material by Brun, this new album shines bright and once again show us what a gifted performer Ane Brun truly is.

[ 👍The Irish Times 4 / 5, Dagbladet 5 / 6 stars ]

cd + vinyl cover

Lotte Kestner "Stolen" (2011)

Stolen

release date: Jun. 1, 2011

format: digital (12 x File, FLAC)

[album rate: 3,5 / 5] [3,42]

producer: self-produced

label: self-released - nationality: USA

Track highlights: 2. "Flume" - 5. "Hur jag fick dig att älska mig" - 6. "Fake Empire" - 8. "Let's Go to Bed" - 11. "True Faith"

3rd studio album by Lotte Kestner (aka Anna-Lynne Williams) is often mentioned as her sophomore album to China Mountain (May 2008), but she released China Mountain B-sides in 2009, although, the album is no longer filed on her bandcamp-profile; however, it's been out, and it's now a part of her discography.

Stolen is Kestner's first official covers album, and there's a few. The album is lo-fi, indie folk - and propably recorded by Williams without the use of overdubs and practical editing of tracks. In that regard it's quite coherent, although the original songs stem from very different sources and represent a rather wide stylistic span. You only have to mention some of the artists: Damien Jurado, Bon Iver, Kent, The National, Eels, The Cure, New Order, Interpol. And she even sings in Swedish when covering Kent!

The album nicely 'covers' Kestner's musical universe. It's melancholic and quiet lo-fi folk, where you sense the inspiration from the gloomy side of the post-punk influence but there's something uplifting in Kestner's airy / ethereal vocal.

Bill Frisell "Guitar in the Space Age!" (2014)

Guitar in the Space Age!

release date: Oct. 6, 2014

format: digital (14 x File, FLAC)

[album rate: 3,5 / 5] [3,52]

producer: Lee Townsend

label: Okeh Records - nationality: USA

Studio album by Bill Frisell - his 29th, 30th, 31st, or 32nd, give or take - is in the category of cover albums. It follows the strings-album (violin, viola, cello) Big Sur (Jun. 2013) and it contains fourteen instrumentals, two original Frisell compositions (tracks #6 & #13) and twelve interpretations of popular compositions stemming from the late 1950s to the mid-60s. Several of these were originally surf rock, rock & roll, folk rock, or pop / rock tunes but in Frisell's rearranged versions they have all become jazz-influenced modern standards.

The album is almost naturally critically acclaimed - that's just the way a new Frisell album is met - and it's hard not to understand why Frisell is one of the most valued instrumentalists over the most recent four decades or so. He plays his instrument with an original voice, so to speak. That said, I immediately thought of The Raybeats, who released the album Guitar Beat back in '81, an almost peculiar release at the time with its modernised surf rock instrumentals, completely out of sync with contemporary stylistic waves but at the same time: extremely timeless. And with a selection of popular tunes, Frisell almost replicates that effort. The tunes are very much intact - perhaps a bit too much to my liking, but they still uphold a freshness and universality that cannot be denied. I only wish Frisell would've improvised more on the originals - something that works nicely on his rendition of Ray Davies' "Tired of Waiting for You" - where he gives us that extra layer he often adds to other people's songs 'cause here they mostly shine in their own rights. On the one hand, it makes it perfectly uncomplicated and then it reminds us of what great tunes the originals are. I'm not always in the mood to fully appreciate this collection, but I still find that Frisell just show us, not only what an exquisite instrumentalist he is but also what a fabulous interpretor he also is. I know most of the originals and mostly just think Frisell wants to remind us about these wonders - it's his tribute to that forgotten era of his own youth.

[ allmusic.com, The Guardian 4 / 5, 👍PopMatters 3 / 5 stars ]

Lingua Ignota "Wicked Game" (2018) (single)

Wicked Game, single

release date: Aug. 7, 2020

format: digital (1 x File, FLAC)

[single rate: 3,5 / 5] [3,68]

producer: Kristin Hayter

label: Sargent House - nationality: USA

Tracklist: 1. "Wicked Game"

Single release by Lingua Ignota issued via her new label Sargent House is one of several covers Kristin Hayter has recorded in the wake of the album's success with Caligula (2019). An all-covers album has been rumoured in the process but so far she has released singles in 2020 of "Jolene" (Dolly Parton), "Kim" (Eminem), and then this one by Chris Isaak as digital download singles only. Most recently in the series of covers, a 4-track ep, Agnus Dei, consisting of two covers of extreme black metal / grindcore and two compositions by Händel and J.S. Bach, respectively, was released in Feb. 2021.

"Wicked Game" has already been immortalised in its original version and through several fine covers, but Lingua Ignota's version is undoubtedly another that should be remembered. It's made with great respect of the original expression and tone, and still Hayter has nonetheless shaped it according to her own musical expression. She has managed to add another layer of desolation to the song without her regular use of black metal, throat singing, and metal noise. There is no doubt, however, who stands beind this version, and one can only guess that a great future could await Hayter if she would dare to throw off the brutal black-heavy noise in order to establish herself further as an artist. At least she shows a fine example of that right here.

[ bandcamp ]

Cat Power "The Covers Record" (2000)

The Covers Record

release date: Mar. 21, 2000

format: digital (12 x File, MP3)

[album rate: 3 / 5] [3,18]

producer: non-produced

label: Matador - nationality: USA

Track highlights: 1. "(I Can't Get No) Satisfaction" - 7. "I Found a Reason" - 12. "Sea of Love"

5th studio album by Cat Power (aka Chan Marshall [pronounced 'shawn], aka Charlyn Marie Marshall) following 1½ years after the album Moon Pix (1998), which is cited by many as her first significant studio album.

The Covers Records is, to no surprise, a collection of covers by many diverse artists. You'll find tracks by famous artists such as the Rolling Stones, Bob Dylan, and the Velvet Underground, tracks made famous by Nina Simone and Mae West, and there are tracks by (to most) more unknown names such as Phil Phillips, Papa Charlie Jackson, and Michael Hurley. There's also room for a reinterpretation of Cat Power's own track "In This Hole", previously released on What Would the Community Think, Power's third album and Marshall's first on Matador released in '96 while Power was still associated with the name of Chan Marshall's band, although in practice she had already gone solo here.

The album is entirely acoustic and stripped down to a minimal of instrumentation and most probably also recorded on a single recording track with only Chan Marshall singing and playing guitar. On some tracks, it's her piano that is only accompaniment, and only on "Salty Dog" the participation of guitarist Matt Sweeney is heard. Typically, for Cat Power, no producer is indicated on the album, and in this case it's probably only sound engineers who have set up microphones and then started and finished the recording.

It's restrained to lo-fi regardless the original arrangements and therefore most tracks fall quite far from their original expression. It's Chan Marshall solo, and it's heartfelt, but maybe also a bit one-sided - at least for my liking. The album garnered some good reviews, but it's not among my favourites. Admittedly, Marshall has an insistent melodic vocal and sings with great emotion, making all the songs her own. For me, the problem is that the tracks slide (too much) into each other and end up sounding one-stringed, and she's just not an instrumentalist virtouso or (for that matter) a singer with a big register. If you're not familiar with Cat Power, I will recommend listening to her predecessor, Moon Pix or the successor You Are Free (2003), which may be regarded as her commercial breakthrough.

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

Sinéad O'Connor "Throw Down Your Arms" (2005)

Throw Down Your Arms

release date: Oct. 4. 2005

format: cd

[album rate: 3,5 / 5] [3,36]

producer: Sly and Robbie

label: Chocolate and Vanilla - nationality: Ireland

Track highlights: 2. "Marcus Garvey" - 4. "He Prayed" - 6. "Curly Locks" - 8. "Prophet Has Arise" - 9. "Downpressor Man" - 10. "Throw Down Your Arms" - 12. "War"

7th studio album by Sinéad O'Connor follows three years after the fine but mostly neglected Sean-Nós Nua (Oct. 2002), and much like was the case with the former, this album consists of newly arranged cover songs. Before this she released the 2-disc compilation She Who Dwells in the Secret Place of the Most High Shall Abide Under the Shadow of the Almighty (Sep. 2003) consisting of 'rare' recordings (soundtrack songs, collaborations, B-sides) and one cd consisting of a live concert from 2002. O'Connor had been outspoken about this being her final album. It does make sense in the way it was launched and the scope of it, but obviously she changed her mind about this. Also, earlier this year the compilation Collaborations (Jun. 2005) was released by EMI / Capitol - basically a collection of songs O'Connor had made with other artists while signed on Ensign / Chrysalis.

Throw Down Your Arms is O'Connor paying tribute to the genre of reggae. She had early on in her career been influenced by reggae, and later on she also found comfort in the culture of rastafari. The album is one of a few without John Reynolds, and instead the album has been recorded in Kingston, Jamaica and produced by the legendary duo of Sly Dunbar and Robbie Shakespeare, who also plays drums and bass on the album.

As a Sinéad O'Connor release the album does fall far from her initial records, and also when comparing with Universal Mother (1994) and Faith and Courage (2000), but as a tribute to a whole genre it works quite fine. It doesn't add much to the great selection of songs but of course O'Connor's vocal provides a certain novelty that turns it into something more.

For me, the album has a touch of obscurity to it that both makes it interesting / fascinating and worth checking out, and then it only really makes me wanna listen to the originals, which in a way isn't a bad thing. That could be said about her Am I Not Your Girl? album, but this is actually paying tribute to the originals instead of being something entirely diverse. It's not bad and then it's neither great.

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

Ane Brun "Rarities" (2013)

Rarities

release date: Oct. 2013

format: digital (20 x File, FLAC)

[album rate: 4 / 5] [3,86]

producer: Ane Brun et al

label: Balloon Ranger Recordings - nationality: Norway

Track highlights: 1. "All My Tears" - 2. "Halo" - 4. "From Me to You" - 5. "Tragedy" - 6. "Ain't No Cure for Love" - 7. "Orphan Girl" - 10. "It's Alright (Baby's Coming Back)" - 11. "Oh Love (piano version)" - 12. "The Opening" - 13. "Jóga (live at the Polar Music Prize 2010) - 15. "Virvelvind" - 16. "Fly on the Windscreen" - 17. "Humming One of Your Songs 2013" - 20. "She Belongs to Me"

2nd compilation album in 2013 - like with Songs 2003-2013 (Jun. 2013) in celebration of her first decade as an active musician, and this time with 20 'rare' recordings, i.e. songs that are not found on any of her previous studio releases, or have been scattered out on various singles and / or other compilations. On Brun's bandcamp site the album is described with the following: "According to BRUN, “RARITIES is a compilation of songs and recordings that have either not been released, or have been released on other compilations or as singles. This is a way to empty our cupboards of recordings that have been lying around, and another way to mark my ten year anniversary as an artist.” The collection includes covers of Björk and The Beatles, Elvis and Eurythmics, as well as new versions of fan favourites and, of course, previously unreleased songs, contributing further to an already impressive back catalogue. Many of the recordings are here described more fully with Brun's own words.

In a year with two major compilations from Ane Brun, it's more than hard to choose between the two, and then you don't have to, because with Songs 2003-2013 she has made a great collection of familiar key songs from that period and with this, she shows us more of the full palette - and 'palette', I think, nicely describes this artist's way with her music: she sort of utilises a painters approach with music, words, tones, arrangements, and choise of instrumentation are colours on the canvas, and Brun sure understands how to make use of the whole palette. Also, she has made a vast number of original compositions but she's also a remarkable interpretor, which makes her covers so powerful. She doesn't have to copy the original to make it swing. This is a wonderful collection of highly varied originals.

Highly recommended.

Sinéad O'Connor "Sean-Nós Nua" (2002)

Sean-Nós Nua

release date: Oct. 3, 2002

format: cd

[album rate: 3,5 / 5] [3,57]

producer: Sinéad O'Connor, Dónal Lunny, Alan Branch, Adrian Sherwood

label: Hummingbird Records - nationality: Ireland

Track highlights: 1. "Peggy Gordon" - 2. "Her Mantle so Green" - 3. "Lord Franklin" - 5. "Óró Sé Do Bheatha 'Bhaile" - 6. "Molly Malone" - 9. "The Parting Glass" - 12. "Lord Baker" - 13. "I'll Tell Me Mam"

6th studio album by Sinéad O'Connor following nearly 2½ years after Faith and Courage (Jun. 2000). The 2000-album really came out as a strong reminder to everyone not to forget the artist Sinéad O'Connor, however, that album was her only album on Atlantic and her final on a major label, and it appears that private affairs often sat an impact on her music career. Up until the release of her fine 2000 album, O'Connor had only just ended a relationship, and she had been ordained priestess and 'Archdeacon'. In the Summer of 2001 she married British journalist Nick Sommerlad - a marriage which didn't last long as it came to an end some 11 months later - during which time this album was recorded. In the liner notes to the album, O'Connor writes: "This record is my heart. It is dedicated to my husband" - the album came out in Oct., 3-4 months after their marriage had ended. But somehow, the album still reflects a sort of stable period in her life, you could argue. At least, she looks quite happy. The album has been made with several folk instrumentalists, including acclaimed Irish folk artist Dónal Lunny, who is credited as co-producer and for playing acoustic guitar, bouzouki, keyboards, bodhran, and he contributes on backing vocals. The two never married but apparently they had an on / off relationship at a time when Dónal was in a marriage, and in 2004 O'Connor gave birth to Shane whose father is Dónal Lunny.

The album is far from the newfound form she delivered with her 2000 album. Instead, this is entirely what it says in Irish: 'Sean-Nós Nua' which translates to 'New Old Style', or: 'Old Style New' and it refers to the content with old Irish traditionals in new arrangements. And it's by no means made in an attempt to turn these national songs into modern pop / rock songs as they're keenly held in an Irish folk-tradition where bouzouki, bodhran, banjo, acoustic guitar, whistle, violin, and percussion are accompanying instruments to O'Connor's vocal. It's actually quite refreshing, and her vocal does fit the lamenting old lyrics quite nicely. It's a rather lengthy album running for more than 65 mins - track #12 exceeds all other tracks here in a near 12 minutes version.

Again, I didn't catch up on this when it came out, and it is a quite original release, although, you could argue that there's plenty of Irish folk out there, but fronted by O'Connor, I think this still has its own qualities to it, and in her discography it surely betters her vocal jazz and standards album from '92. In the discography of Sinéad O'Connor, counting ten studio albums, I list this as her fifth best, which still makes it a recommended listen.

[ allmusic.com, Record Collector 4 / 5, 👉Mojo 3,5 / 5, Rolling Stone, The Guardian 3 / 5 stars ]

Mark Kozelek "Like Rats" (2013)

Like Rats
release date: Feb. 19, 2013
format: cd
[album rate: 3 / 5] [3,02]
producer: Mark Kozelek
label: Caldo Verde Records - nationality: USA

Track highlights: 4. "Young Girls" - 7. "Silly Girl" - 9. "Carpet Crawlers"

A cover songs studio album by Mark Kozelek featuring Kozelek's very personal versions released on Caldo Verde. The original songs represent a huge mix of styles and genres as well as covering multiple decades. In Kozelek's acoustic singer / songwriter versions they all become alt. folk-styled with Kozelek on acoustic guitar and vocal. "Young Girls" is a song performed by Bruno Mars, "Silly Girl" is a song performed by The Descendents, and "Carpet Crawlers" is by Genesis.

Kozelek is an artist who doesn't forget to praise the music and artists he admires. On Songs for a Blue Guitar (Jul. 1996) by Red House Painters, he included three covers, on his ep-debut Rock 'n' Roll Singer

(Jun. 2000) he included four covers, and his full-length debut album What's Next to the Moon (Feb. 2001) is entirely made up of covers originally by the Australian hard rock band AC/DC, and the second album released under the name of Sun Kil Moon Tiny Cities (Nov. 2005) is entirely made up of songs by indie rock band Modest Mouse. Likewise, his live-concerts never seem to miss covers, and he simply enjoy doing covers from all styles and genres, and by doing so, heavily alters the original arrangements.

I have tried, and mostly I really enjoy albums by Mark Kozelek, but I just don't get this very complex album.

Gregory Porter "Nat 'King' Cole & Me" (2017)

Nat 'King' Cole & Me
release date: Oct. 27, 2017
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Vince Mendoza
label: Blue Note Records - nationality: USA

5th studio album by Gregory Porter is as the title suggests a tribute to and an album exclusively featuring songs recorded by Nat "King" Cole arranged and produced by Vince Mendoza.

The songs are not that far from Porter's usual style and it really gives you the opportunity to hear from where he got much of his influence. The songs are nicely arranged with the abundance of strings and brass that were associated with Nat Cole, and needless say, it also fits Porter's smooth vocal like hand in glove.

The album comes in various formats - in a standard single cd edition containing twelve tracks, a Deluxe edition containing fifteen tracks like the double vinyl album.

The album hasn't been met by the 'usual' overwhelming positive reviews, and I do understand some of the critics indicating that it's like Porter's voice doesn't compare to the strengths of Cole. In these vocal jazz standards Porter contributes with his honey-dripping warm vocal but doesn't add new dimensions to already classic songs and in that regard has made a bit of the redundant tribute.

Morrissey "California Son" (2019)

California Son
release date: May 24, 2019
format: digital (12 x File, FLAC)
[album rate: 3 / 5] [2,82]
producer: Joe Chiccarelli
label: Étienne / BMG - nationality: England, UK

Track highlights: 1. "Morning Starship" - 5. "Days of Decision" - 6. "It's Over" - 7. "Wedding Bell Blues" (live) - 9. "Lady Willpower"

12th studio album by Morrissey is his second on his own label and his third consecutive album to be produced by Joe Chiccarelli. Perhaps Morrissey's interest and acclaim for covering other artists - a lovable trait he often exercises at live concerts - made him decide to record an album entirely made up of covers. Fact is, this new album is just that, and perhaps not exactly in the way fans have come to really enjoy his choice of covers, because playing live, he has often showed his affection for energetic punk rock and new wave familiar songs from his youth, which is to say from late 1970s to early 1980s, covering artists like Ramones, The Pretenders, and Magazine - and a bit contrary to that, he has selected more obscure songs from artists primarily of the 1960s. In chronological order the songs have originally been released by Jobriath, Joni Mitchell, Bob Dylan, Buffy Sainte-Marie, Phil Ochs, Roy Orbison, Laura Nyro, Dionne Warwick, Gary Puckett & The Union Gap, Carly Simon, Tim Hardin, and Melanie, all of which very likely could be sources of inspiration to the music by Morrissey's former band, The Smiths.
The promotional single "It's Over" (Roy Orbison) was released in February and "Wedding Bell Blues" (Laura Nyro) was released in April, and the album has fared quite well peaking at number #4 in the UK; however, critics have been less positive about the album, and I really do understand that. I simply find California Son his least enjoyable album ever released - even "under-passing" his most recent low point, Low in High School from 2017. It has been labelled a collection of protest / anti-war songs, but that's really a rather forced opinion. It's basically a bunch of highly different songs varying from political protest songs, songs about identity and pure love songs, and the arrangements reflect the same sort of diversity as some have been recorded as if made in the Phil Spector heydays with multi-layers of violins and horns, whereas others are cut to fit a contemporary production state of the art with no obvious bonds to the 60s.
Perhaps his ever more bizarre statements in recent years have a say in my conclusion about his music in recent years. In 2010 he allegedly called Chinese people a 'sub-species', and in the last few years he has been the explicit supporter of right-wing politicians, e.g. Nigel Farrage (of the Brexit Party) and a certain Anne Marie Waters (of For Britain) who speaks against Islam and who is for British / English sovereignty (generally speaking). Morrissey is in this regard cited for stating that "all people like their own race the most"... - and other [extremely] stupid right-wing stuff that alienates him from his audience. Of course it makes you take a stand as to whether it's not possible to distinguish the artist from the person - as in the case of Michael Jackson, who undoubtedly made truly great music. On the other hand we do not really mind what political preferences Da Vinci, Wagner or Lord Byron shared, and instead we look at what they wrote and composed of artistic value, but it does seem to be a difficult, if not impossible process when speaking of contemporary active artists.
As Helen Brown of The Independent concludes: "I could have forgiven this album its missteps if I could dissociate the music from the man. It’s really not bad. But I can’t. Alright, mum. I’m turning it off now." Morrissey's low point is not a recommended listen, although, you cannot take away from him that he is still a mighty fine modern crooner.
Not recommended.
[ allmusic.com, Rolling Stone 3,5 / 5, 👍Mojo 3 / 5, NME, The Independent 2 / 5 stars ]

Elvis Costello "Kojak Variety" (1995)

Kojak Variety
release date: May 9, 1995
format: cd
[album rate: 3 / 5] [3,22]
producer: Elvis Costello and Kevin Killen
label: Warner Bros. Records - nationality: England, UK

Track highlights: 2. "Hidden Charms" ["Screamin' Jay" Hawkins] - 5. "Leave My Kitten Alone" [Little Willie John] - 6. "Everybody's Crying Mercy" [Mose Allison] - 9. "Must You Throw Dirt in My Face?" [Bill Anderson] - 11. "The Very Thought of You" [Ray Noble] - 15. "Days" [Ray Davies]

15th studio album by Elvis Costello following one year after Brutal Youth is an album consisting exclusively of cover versions of songs from traditional rhythm & blues, soul, beat and rock & roll - all songs from his youth. The album contains 15 tracks recorded in the period 1989-94 and they include songs (1-15) made famous by 'Screamin' Jay' Hawkins, Willie Dixon, The Supremes, Bob Dylan, Little Willie John, Mose Allison, Randy Newman, Little Richard, Louvin Brothers, James Carr, Nat 'King' Cole, Jesse Winchester, The Drifters, Aretha Franklin, and The Kinks. Costello's cover of "Days" by Ray Davies was recorded for the film "Until the end of the World" (1991) by Wim Wenders.

[ allmusic.com, Q Magazine 2 / 5, Rolling Stone 2,5 / 5, Blender, Mojo, Uncut 3 / 5 stars ]

David McAlmont "Set One - You Go to My Head" (2005)

Set One - You Go to My Head
release date: Oct. 24, 2005
format: cd
[album rate: 4 / 5] [3,92]
producer: David McAlmont, Guy Davies, tommy.d [Tom Asher Danvers]
label: Blueport Recordings - nationality: England, UK

Track highlights: 1. "You Go to My Head" (live) - 2. "Night and Day" - 5. "Never Never Never" (live) - 6. "Under My Skin" - 7. "A Certain Smile / The Shadow of Your Smile" - 9."How Long Has This Been Going On"

3rd solo studio album by David McAlmont is co-produced by Guy Davies (who also plays keyboards, piano and guitar) with whom McAlmont would later form the duo Fingersnap. It was originally released by Ether Records but as the label closed later in 2005, it was then reissued on Blue Port Recordings. The album follows his second solo work A Little Communication (1998) and more recently, the sophomore collaboration album by McAlmont & Butler, Bring It Back from 2002.
Set One... is a truly marvellous album. It's far from the pop soul and dance pop of his debut and follows closer to the sound of his '98 solo album, but as an even more quiet and sincere soul and r&b album - closely linked to the spirit of Otis Redding with a huge amount of vocal jazz. McAlmont's voice really shines through on this covers album entirely consisting of classic oldies composed by Cole Porter, the Gershwin brothers, Johnny Mercer, Alberto Testa, Paul Webster, and Rodgers & Hart. These predominantly standards songs are produced in a combination of soul and vocal jazz, and the album is unfortunately one of the most overlooked in the year 2005.
This is highly recommended.
[ The Guardian 3 / 5 stars ]

Neil Young "A Letter Home" (2014)

A Letter Home
release date: Apr. 19, 2014
format: cd
[album rate: 3,5 / 5] [3,55]
producer: Jack White and Neil Young
label: Third Man / Reprise Records - nationality: Canada

Track highlights: 1. "A Letter Home Intro" - 2. "Changes" (live) - 3. "Girl From the North Country" - 4. "Needle of Death" - 5. "Early Morning Rain" (live) - 7. "Reason to Believe" - 9. "If You Could Read My Mind" - 12. "I Wonder If I Care as Much"

34th studio album by Neil Young released on Jack White's label Third Man Records and recorded using a 1947 recording booth-device named Voice-O-Graph, which in the day (would be found all over the country up until the 1970s) was introduced to the ordinary man as a possibility to record his / her own record of a message or song directly onto vinyl. This particular device has been re-established at White's Nashville headquarter of Third Man Records, and the whole album has been recorded using the technique of the Voice-O-Graph.
I think, one has to dig into the idea behind this album to fully be able to appreciate it. Against his normal writing process, Young has covered familiar and classic songs by various artists of various styles and decades including artists like The Everly Brothers, Willie Nelson, Bob Dylan, Bert Jansch and Bruce Springsteen. Most of the tracks are played solely by Young playing guitar, harmonica and piano. Jack White contribute on guitar, piano and with backing vocals on two tracks. Because of the recording process, all tracks have been recorded in one take and without any post-processing, i.e. without dubbing, mixing, mastering, and any normal post-production methods, which has its obvious limitations but also a unique form and strength. The songs are country, traditional folk and singer / songwriter material and the most apparent common denominator is naturally the sound of the recordings, and Young's fragile vocal. The scratchy and narrow tone could be experienced as annoying but the result is more an album with a strong historical message and something genuine. Young's force with just a guitar and harmonica at hand is something that will forever live on and follow his legacy, and that is here only once again underlined. The best songs here are perhaps the strongest "natural" sources of inspiration found on this for Neil Young - as he explains in his phone-call intro to "Reason to Believe", he explains his mother that he and Jack [Jack White] have discovered some of the original songs, he used to sing.
A Letter Home is a homage to ancient days, lost values, and a reminder of what it takes to make music: great songs, and it's not a necessity to have 56 tracks available in a million-dollar studio with all the right producers and mixers to make an album worthwhile. Even nowadays. It's an album that would serve well as introduction to all contemporary pop and rap artists. Listen and learn - and: skip most of your recording tracks and cut down to the essence!
The idea and the songs together make this a nice and warm album and then the narrowness in the production sound also showcase natural limitations - its perhaps like treasuring a vintage wine from a specific fine year - it's there to look at and to talk about but as for drinking with pleasure... Of course this is for listening but for hours and day after day, I guess you have to be more than just a bit nostalgic. The whole album is not Young at his most vivid and utmost inspiring but nonetheless it has great moments and it's one of his better studio releases since Silver & Gold (2000) and consequently it's an album worth more than just a quick glance. In Young's late career this serves as a recommended listen.
[ allmusic.com 3,5 / 5 stars ]

Bryan Ferry "As Time Goes By" (1999)

As Time Goes By
release date: Oct. 25, 1999
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Bryan Ferry, Rhett Davies
label: Virgin Records - nationality: England, UK

Track highlights: 1. "As Time Goes By" - 2. "The Way You Look Tonight" (4,5 / 5) (live version from Paris) - 4. "I'm in the Mood for Love" - 8. "Miss Otis Regrets (She's Unable to Lunch Today)" (4 / 5) - 10. "Lover, Come Back to Me" - 11. "Falling in Love Again" - 13. "You Do Something to Me" (live) - 15. "September Song"

10th solo studio album by Bryan Ferry is a collection of re-arranged oldies completely without the sophisti-pop traits one has come to associate the name of Bryan Ferry with. These 15 tracks are popular standards, traditional swing and vocal jazz songs that have been carefully updated without compromising their integrity as they have all been arranged with strings and brass and (seemingly) no electrical instrumentation.
I used to really enjoy Roxy Music and Ferry's solo releases, although the late 1980s and early 90s didn't justify his talent. Roxy Music officially disbanded in the early 80s at the height of its career, actually - Avalon (1982), a beloved classic pop album, was the last real Roxy Music release as the members apparently were more interested in solo and collaboration projects, or just got tired of each others company. Ferry relaunched a fine solo career and he was on everyone's lips when he released the polished sophisti-pop album Boys & Girls (1985), an album that took off pretty much from where Avalon finished. The following releases didn't really make it as good, and for every new album he just seemed to be on a descent until As Time Goes By. Throughout his career he has taken the part as a distinguished British upper-class gentleman, and maybe therefore it suits him so well to cover old classics of the 1930s and 40s, interpreting Cole Porter, Rogers & Hart, Oscar Hammerstein, Kurt Weill, among others, and the result is a fine atmospheric and almost anachronistic tribute to other heydays. I simply adore his versions of these classics because he lifts the songs without too much superfluity. The arrangements with horns and strings are in the spirit of the old songs. Maybe this is also at the core of his potential - his ability to interpret other people's songs, and very often with a better result than the original version. He has always been a great interpreter (he has hardly ever released an album written entirely by himself) whether it's Bob Dylan (whom he manages to make more tolerable), Neil Young, Rod Stewart, Screamin' Jay Hawkins, Lou Reed, and the great songwriters of the 1930s, 40s, and 50s as well as rearrangements of old traditionals. I only wish he would do more of this old stuff - it's really like hand in glove, and it suits him like... a fine Italian jacket.