Gorillaz "Humanz" (2017)

EU cover
[2-D]

Humanz
release date: Apr. 28, 2017
format: cd
[album rate: 3,5 / 5] [3,64]
producer: Gorillaz, The Twilite Tone of D/\P & Remi Kabaka
label: Parlophone - nationality: England, UK

Track highlights: 2. "Ascension" (feat. Vince Staples) - 3. "Strobelite" (feat. Peven Everett) - 7. "Submission" (feat. Danny Brown & Kelela) - 8. "Charger" (feat. Grace Jones) - 10. "Andromeda" (feat. D.R.A.M.) - 14. "Let Me Out" (feat. Mavis Staples & Pusha T)

5th studio album by Gorillaz is a 20 track album ending a seven year hiatus from the Damon Albarn-led project is the follow-up to The Fall (Dec. 2010). The many tracks are the result of having six short breaks in form of various intermezzos, however, its total running time is approx. 49 min. Stylistically, it's a bit subdued compared to the first three releases. You'll find bits of glitch pop but more apparent is the presence of electropop and art pop in combination with hip hop. There's the almost natural ever-present signature element of dub on top or underneath all tracks. What I find less attractive is the constant use of various rappers instead of Albarn's characteristic vocal, which places it alongside Plastic Beach (Mar. 2010). He's there, but more as complementary vocal, which is a bit of a shame. When Albarn's most present, there's an immediate connection to his fine Everyday Robots from 2014.
At a first glance it may not be as direct and good as Demon Days (2005), but I easily found it bettering Plastic Beach and The Fall, and after ten spins or more, I simply consider it the band's best [!]. Yes, I know some reviewers haven't been that positive about it. I on the other hand find it much more pleasant, accessible and enjoyable. It may not add "that something new" to the Gorillaz project, and in that way could be considered a bit on a plain, but the positive dance pop tunes and the laid-back unworried tone mix so well. I've rated this lower almost for a whole year, but at the end of the day, it has come down as one of the most enjoyable albums of 2017.
The front cover comes in various versions, all of which naturally made by Gorillaz' "art department" member Jamie Hewlett.
[ allmusic.com, The Guardian, NME, Q Magazine 4 / 5, Rolling Stone 3,5 / 5 stars ]

UK cover
[Noodle]

vinyl cover
[Murdoc]

deluxe double
vinyl cover
[Russel]

streaming cover
[Gorillaz]

The Prodigy "The Day Is My Enemy" (2015)

The Day Is My Enemy
release date: Mar. 30, 2015
format: cd
[album rate: 3 / 5] [3,18]
producer: Liam Howlett, Neil McLellan
label: Take Me to the Hospital - nationality: England, UK

Track highlights: 1. "The Day Is My Enemy" - 2. "Nasty" - 4. "Ibiza" (feat. Sleaford Mods)

6th studio album by The Prodigy was about 6 years in the making. Apparently, the album was a band effort, as contrary to the last two albums with Howlett in control of everything. According to Howlett the word 'violent' kept coming up when describing the album, and truth is, it's rather fitting. It's almost like an edited version of The Fat of the Land, from 97, only angrier.
I must confess that I haven't been a great fan of the band since the mid-90s, and have often been disappointed about their musical change into a more hip hop universe with heavy sampling and tribal, however, this is in a sense a return to form, although, I rejected it the first many times. It has a certain quality - it's quite good, but I don't really find it near great.
[ allmusic.com, Rolling Stone 3 / 5, The Guardian 4 / 5, Drowned in Sound 2 / 5 stars ]

Trentemøller "The Last Resort" (2006)

The Last Resort [debut]

release date: Oct. 6, 2006

format: 2 cd (LTD. - PFRCD18)

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

producer: Anders Trentemøller

label: Poker Flat Recordings - nationality: Denmark

Track highlights: 1. "Take Me Into Your Skin" - 2. "Vamp" - 3. "Evil Dub" - 4. "Always Something Better" - 5. "While the Cold Winter Waiting" - 6 - "Nightwalker" - 8. "The Very Last Resort" - 12. "Moan" - 13. "Miss You"

Bonus disc "The Singles": 1. "Always Something Better (Vocal Version)" (feat. Richard Davis) - 2. "Moan (Vocal Version)" (feat. Ane Trolle) - 3. "Physical Fraction" - 5. "Chameleon" - 7. "Always Something Better (Trentemøller Remix)" - 9. "Killer Kat" - 10. "Rykketid"

Studio album debut by Danish electronic musician Anders Trentemøller originally released on A:larm Music - here issued in a 2 disc limited edition - is instrumental ambient techno, microhouse and so-called IDM ["intelligent dance music"... whoever came up with that term!].

Basically, it's progressive ambient and electronic music, which draws on music by Aphex Twin, Orbital, LCD Soundsystem, The Future Sound of London - and to some extent builds on the legacy of Jean Michel Jarre, I think, although, you may ask what electronic artist who wasn't inspired by Jarre.

The Limited two disc edition contains the standard album as disc 1 and the bonus disc "The Singles" containing many of his former single and ep releases including the Physical Fraction ep (Jan. 2005), the Nam Nam ep (May 2006), the singles Polar Shift (Apr. 2005), Sunstroke (Aug. 2005) and Always Something Better (Sep. 2006).

His name had popped up on several occasions as "the new big thing" from Denmark, primarily, from single releases, working as a DJ and remixing (artists like Röyksopp and The Knife), and I sought Trentemøller and the album out. It appears to be more ambient and progressive as opposed to his more techno and dub techno single releases, which brought him fame. Despite general positive reviews from international magazines (allmusic.com and electronic online magazine Resident Advisor were more than happy about it), I haven't exactly been bedazzled over this. Frankly, at first I found it somewhat uninspiring at times. However, if you let it sink in, digest it as something organic that needs light and air, you may find it's truly great for background noise, for work or just as a wall of sound. Perhaps my reluctance has to do with my general dislike for ambient music in the first place. To me - without the most comprehensive knowledge on electronic music development and sources - I find similarities with earlier works by Aphex Twin, Autechre, The Orb and The Future Sound of London; however, and without knowing who to refer to, I also find spots and glimpses of sheer originality. Generally, it's and album one should pay attention - it doesn't just open up and spread its wings. It's something for a keen listener.

I'm glad to have found the 2-disc Limited Edition of the album 'cause I actually find the bonus disc the most interesting of the two, simply because it displays more varied and original music and generally also contains more uptempo club compositions. Tracks from the original album like "Always Something Better" and "Moan" are hardly recognisable but better in their vocal versions, I think, although, the minimal house of the original album has its distinct qualities, when you allow the tracks to flow. Should I rate the standard release alone, I would hand it around 3,4. But it's really nice to have this as a document of Trentemøller's talent for production and sound showing us where he started as a solo artist.

[ allmusic.com 4 / 5, Pitchfork 7,2 / 100, Gaffa.dk 5 / 6, Resident Advisor, Sputnikmusic 5 / 5 stars ]

The Prodigy "The Added Fat EP" (2012) (ep)

The Added Fat EP, ep
release date: Dec. 3, 2012
format: digital
[album rate: 2,5 / 5] [2,46]
producer: Liam Howlett
label: XL Recordings - nationality: England, UK

A 6-track studio ep that was issued on a bonus disc edition of The Fat of the Land (2012). All tracks are just new mixes of hit singles from that album, and they are rather dreadful. It contains two different mixes of "Smack My Bitch Up", two versions of "Breathe", a mix of "Firestarter", and a mix of "Mindfields", none of which are worth... much.
It seems the tracks are only techno and / or industrial versions of some really fine songs, and the only argument here is: money. Look, something new from your favourite hardcore breakbeat heroes, and all you get is the emperor's new clothes.
This is another low release from The Prodigy.

Chumbawamba "Slap!" (1990)

Slap!
release date: Jul. 1990
format: cd (2003 reissue)
[album rate: 3,5 / 5] [3,58]
producer: Chumbawamba
label: Mutt Records - nationality: England, UK

Track highlights: 2. "Tiananmen Square" - 3. "Cartrouble" - 7. "Slap!" - 8. "That's How Grateful We Are"
[ full album ]

4th studio album by Chumbawamba originally released on the band's own label Agit-Prop (in '98 also reissued by One Little Indian). The Mutt Records label is also founded (in 2000) by Chumbawamba. Stylistically, this album marks a major change of sound and style, as the band has moved from its primary anarcho-punk style with influences from punk rock and folk to now embrace alt. dance, indie pop and dub.
The leap into a completely new style may seem enormous - fans have surely found it a radical change; but Chumbawamba doesn't just abide to commercialism or the accepted rules of capitalism. The songs reveal the band's political viewpoints as always, and they concentrate on contemporary political movements and episodes around the globe such as ultra-leftist Ulrikke Meinhof from (German) Red Army Faction [Rote Armee Fraktion], the Tiananmen Square massacre of 1989 in China, the situation in Northern Ireland, and the continued story-telling of reactions to former ultra-left Soviet under Stalin and life in Nazi German concentration camps during WW2.
Although, utilising the mechanisms of popular music, Chumbawamba stays loyal to its social and political viewpoints, and that mission is fully accomplished on Slap!, which proves to be the band's so far most harmonically sounding album to date. You may choose to just listen to the music, and that's a fine construction of various tunes with hooks and choruses, and you may let yourself linger on the lyrics and listen to stories about real people and crucial historical fragments.
[ allmusic.com 4 / 5 stars ]

The Prodigy "Lost Beats EP" (2009) (ep)

Lost Beats EP, ep
release date: Feb. 18, 2009
format: digital
[album rate: 3,5 / 5] [3,32]
producer: Liam Howlett
label: Take Me to the Hospital - nationality: England, UK

Tracklist: 1. "The Big Gundown" - 2. "Black Smoke" - 3. "Wild West" - 4. "Fighter Beat" (2 / 5)

A 4-track studio ep, which came with a Deluxe Edition of Invaders Must Die. The music is very much the same style as the album, although, I think this is clearly better. The first track is a sampling of music by Ennio Morricone, and it's actually pretty nice. Also, track #2 is fine with its hardcore breakbeat instead of all the hip hop influence. All tracks are instrumental versions only. Track #3 has an intro with a sampling of a Dead Kennedys' track.
It's not really great but points in a better direction than some of their more recent releases.

The Prodigy "Invaders Must Die" (2009)

Invaders Must Die
release date: Feb. 18, 2009
format: digital
[album rate: 3 / 5] [3,14]
producer: Liam Howlett
label: Take Me to the Hospital - nationality: england, UK

Track highlights: 1. "Invaders Must Die" - 2. "Omen" - 4. "Colours" - 6. "Warriors Dance" - 7. "Run With the Wolves"

5th studio album by The Prodigy is released on the band's own label, Take Me to the Hospital (distributed by Cooking Vinyl). All tracks are produced by Liam Howlett with James Rushent credited for additional production on tracks #1-2. Howlett is normally credited as composer on nearly all tracks, but here is 'only' credited as co-composer of the music, and most tracks are Howlett's take with samples originally performed by Nirvana, Foo Fighters, The Breeders, and Manfred Mann.
The album peaked at number #1 in the UK and generally sold better than the 2004 album, and the two singles - tracks #2 and #6 both became top-10 singles in the UK.

Musically it follows close to the 2004 album, Always Outnumbered Never Outgunned and despite being clearly a better album it's never really great release when comparing to the band's first three albums. It's released five years following the last real studio album so expectations were not low. It feels like a better album, and the single tracks seem like more originally written but still has too much focus on original American techno, which I think, simply sounds outdated - we've been there, done that, but obviously, Liam Howlett hasn't been part of that movement, and unfortunately, he seems determined to go through his own techno evolution combining sampling and hardcore, industrial hip hop, breakbeat and hard rock with traditional techno. Strangely, "Stand Up" sounds like an attempt to make a Chemical Brothers track... and again, several tracks are samplings of old The Prodigy stuff, which is just sad when you hear bits of great old tracks cut up to new lesser songs. Best thing about it, is the comeback to both Keith Flint and Maxim on vocals.

The Prodigy "Always Outnumbered Never Outgunned" (2004)

Always Outnumbered Never Outgunned
release date: Aug. 23, 2004
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Liam Howlett
label: XL Recordings - nationality: England, UK

Track highlights: 1. "Spitfire" (feat. Juliette Lewis) - 4. "Get Up Get Off" (feat. Twista) - 5. "Hotride" (feat. Juliette Lewis)

4th studio album by The Prodigy released nearly seven years after the huge success with Fat of the Land (1997). The tracks are primarily written by Howlett and several tracks are co-written with Neil McLellan who also mixes, does programming, and adds vocals to several tracks, although, he has not been adopted as an official member. Musically, this is a 'back to the basics' of techno (which has much of its origins in the US), but it's also a continued journey into sampling and with much hip hop-inspiration.
To me this was a rather disappointing release. It's put together and produced by Howlett as usual, and both Flint and Maxim's vocals are missing. However, the mix with more original techno simply ruins the 'clean' British breakbeat and big beat somewhat. Some of the tracks are mere samplings of former The Prodigy hits, i.e. track #6 "Wake Up Call" is simply too close to "Firestarter". The album had no real single hits but sold rather well. Both Q Magazine and Rolling Stone only gave it a two-stars review, and allmusic.com handed it 2,5 to this their so far lowest point, which I agree on is a mediocre output. The best tracks feature Juliette Lewis (from Juliette and the Licks) on vocal.

The Prodigy "Baby's Got a Temper" (2002) (single)

Baby's Got a Temper, single
release date: Jul. 1, 2002
format: digital
[single rate: 3 / 5] [3,22]
producer: Liam Howlett
label: XL Recordings - nationality: England. UK

Tracklist: 1. "Babys Got a Temper (Main Mix)" - 2. "Babys Got a Temper (Dub Mix)"

A single release by The Prodigy, which wasn't released on any of their studio albums. The track is written by vocalist Keith Flint for his side-project, Flint featuring on the album Device #1 (2003) as last uncredited (hidden) track "No Name No Number (NNNN)", but as usual it has been produced and mixed by Liam Howlett.
The reception of the single was mostly a negative one, as many saw this as a step backwards and / or in a more superficial direction. Also, the music video led to a lawsuit against the band due to its depiction of drug abuse and sale of cows milk with drug effect.

The Prodigy "The Fat of the Land" (1997)

The Fat of the Land
release date: Jun. 30, 1997
format: cd
[album rate: 4,5 / 5] [4,26]
producer: Liam Howlett
label: XL Recordings - nationality: England, UK

Tracklist: 1. "Smack My Bitch Up" - 2. "Breathe" (4 / 5) - 3. "Diesel Power" (feat. K. Thornton) - 4. "Funky Shit" - 5. "Serial Thrilla" - 6. "Mindfields" (3,5 / 5) - 7. "Narayan" (3,5 / 5) - 8. "Firestarter" (5 / 5) - 9. "Climbatize" - 10. "Fuel My Fire"

3rd studio album by The Prodigy. If Music for the Jilted Generation was their musical high and their real international breakthrough, this one was their biggest commercial success, putting the album as number 1 not only nationally but world-wide. Actually, it entered the Guinness World Records in '99 for being the fastest selling UK album to date. The music has changed in respect to the previous release. It's still hardcore breakbeat and big beat but the presence of samples of others artists' works have become more dominant, and a "new" style has been adopted: industrial hip hop. Both "Breathe" and "Firestarter" were monster selling single tracks, and "Smack My Bitch Up" became more of an issue of sex debate as The National Organization for Women (NOW), among others, criticised the song for being offensive, to advocate for violence against women, and for depicting (the video) heroin sale in a positive way. The Swedish music director, Jonas Åkerlund, made the highly controversial music video that was banned in many countries including the UK (UTube link). The track "Serial Thrilla" features a sample of a riff from "Selling Jesus" by English alt. rock band Skunk Anansie. The album has been included on many official list of essential albums including "1001 Albums You Must Hear Before You Die", Q Magazine's "100 Greatest British Albums Ever", Rolling Stone's "Essential Recordings of the 90s", I don't really agree, though. It's great but not on par with the predecessor, imho.
[ allmusic.com 4,5 / 5, Rolling Stone 3,5 / 5, Q Magazine, Sputnikmusic 5 / 5 stars ]

<  2012 cover >

2012 expanded reissue

UB40 "UB44" (1982)

UB44
release date: Sep. 13, 1982
format: vinyl (LP DEP 3) / digital
[album rate: 3,5 / 5] [3,52]
producer: UB40 and Ray "Pablo" Falconer
label: DEP International - nationality: England, UK

Track highlights: A) 1. "So Here I Am" - 2. "I Won't Close My Eyes" - 4. "Love Is All Is Alright" - 5. "The Piper Calls the Tune" - - B) 3. "Folitician"

3rd studio album by UB40 and the bands second studio album on DEP sees the band move into a more mainstream-sounding style. Credited band members on the album are: James Brown on drums, syncussion [synthesised percussion / electronic drum pads] and vocals, Ali Campbell on vocals & guitar, Robin Campbell on guitar & vocals, Earl Falconer on bass, Norman Hassan on percussion & trombone, Brian Travers on saxophones, Michael Virtue on keyboards and Astro on toasting, trumpet and vocals.
UB44 still bonds to roots reggae and dub but some tracks are composed with an ear for harmony vocals and more traditional pop compositions. That said, it's really much of a transitional album. The successor, Labour of Love (1984) and the predecessor, Present Arms (1981) may not have much in common, but UB44 is the album that sort of glues them nicely together.
The first UK pressings of the album were issued with a hologram-cover.

Gorillaz "D-Sides" (2 CD) (2007)

D-Sides (compilation)
release date: Nov. 19, 2007
format: 2 cd (2017 reissue)
[album rate: 3,5 / 5] [3,45]
producer: Gorillaz, Jason Cox, James Dring, Danger Mouse
label: Parlophone - nationality: England, UK

Track highlights: CD ONE: 3. "Hongkongaton" - 4. "We Are Happy Landfill" - 5. "Hong Kong" - 8. "Bill Murray" (feat. The Bees) - 11. "Spitting Out the Demons"
CD TWO: 1. "DARE (DFA Remix)" (feat. Shaun Ryder) - 2. "Feel Good Inc. (Stanton Warriors Remix)" (feat. De La Soul) - 4. "DARE (Soulwax Remix)" (feat. Shaun Ryder) - 5. "Kids with Guns (Hot Chip Remix)" - 7. "DARE (Junior Sanchez Remix)" (feat. Shaun Ryder)

Compilation album by Gorillaz much like the G-Sides album a compilation containing B-sides, remixes and bonus tracks from their most recent album Demon Days (2005), thus both referring to that album [as "Demon Days-sides"] and also, I guess, as a suitable title extending the notion of something other and more than just "B-sides".
The idea of putting out a 2-disc compilation album of compositions, which are not best of material but "just" more of your favourite (project) band may seem over-the-top, but with Gorillaz it just falls out quite all right, 'cause fact is, the band builds its compositions on 'dub' and mixes, so new and quite different versions are easily constructed. CD ONE is reserved for actual single versions and more traditional (extended) mixes, whereas CD TWO contains new remixes of tracks from Demon Days and e.g. no less than three different versions of "DARE" and "Kids with Guns".
With some tracks you may ask yourself as to why they are here, but the longer you get into Gorillaz' world of sounds, it does make sense. Almost as usual with their albums - initially, I tend to have more luke-warm feelings to a new album, and then rather quickly I change my verdict to a more positive one. It's strange, very original and yet quite simple music, but I like it, although, I'm not listening to it that often, but when I do, I often end up thinking "It's actually pretty neat" 'cause fact is it basically sounds more like a new studio album than remixes of familiar tunes. It's really more than just Okay and definitely worth more than a listen or two and ultimately also has more to offer than the first compilation, G-Sides.
[ allmusic.com, NME 4 / 5, Uncut 3 / 5 stars ]

Gorillaz "Gorillaz" (2001)

Gorillaz [debut]
release date: Jun. 19, 2001
format: digital
[album rate: 3,5 / 5] [3,54]
producer: Tom Girling, Jason Cox, Dan the Automator, Gorillaz
label: Parlophone - nationality: England, UK

Track highlights: 1. "Re-Hash" - 3. "Tomorrow Comes Today" - 5. "Clint Eastwood" - 10. "Rock the House" - 11. "19-2000" (4 / 5)

Studio album debut by the English "virtual" or: project-band Gorillaz crafted by Blur front-man Damon Albarn and artist Jamie Hewlett featuring various band members. The virtual band, an imagined but fixed four-piece consisting of 2-D on vocals and keyboard, Noodle on guitars and keyboards, Murdoc on bass and drum machine, and with Russel Hobbs on drums and percussion. In reality, Albarn is the main musical composer, who's credited as writer of nearly all tracks.
For this, two others contributed in the making: rapper Del the Funky Homosapien - for the album renamed Del the Ghost Rapper and American producer Dan the Automator (aka Daniel Nakamura).
The album showcases a huge mix of styles and genres but all done in a sophisticated manner, which makes it a fine whole. Several tracks stick out as near great, others contribute to the whole and a few sound like experimental fillers on a very interesting album debut.
The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4,5 / 5, The Guardian, Q Magazine, Slant 4 / 5, Rolling Stone 3 / 5 stars ]

UB40 "The Singles Album" (1980)

The Singles Album (compilation)
release date: 1980
format: vinyl (GRADSLP 3)
[album rate: 4 / 5]
producer: Bob Lamb, UB40, Ray "Pablo" Falconer
label: Graduate Records - nationality: England, UK

Tracklist: A) 1. "Food for Thought" - 2. "King" - 3. "My Way of Thinking" - 4. "I Think Its Going to Rain Today" - 5. "Dream a Lie" - - B) 1. "Tyler" - 2. "Adella" - 3. "Little by Little" - 4. "The Earth Dies Screaming" (12" Version)

1st compilation album by UB40 released in the same year as the band's debut album, which may seem a bit strange, but fact is, the band released four singles in 1980 - the first single with "Tyler" as A-side had two tracks on the B-side ("Adella" and "Food for Thought") and the other three singles consisted of two tracks each, which makes a total of nine tracks, and that's exactly the number of tracks on this album. Also, the band released these singles on Graduate Records, while signing for DEP International in late 1980, which perhaps better explains the purpose of this issue.
Six of the tracks are actually found on the strong debut album, which was a double vinyl release containing 13 tracks.
The album is a fine collection displaying the band's initial take on roots reggae in combination of dub reggae completely without the band's later taste for melodic pop.

The Clash "Sandinista!" (1980)

Sandinista!
release date: Dec. 12, 1980
format: vinyl 3 lp (CBS 66363) / cd
[album rate: 3,5 / 5] [3,74]
producer: Mickey Dread, The Clash
label: CBS Records - nationality: England, UK

Track highlights: A) 1. "The Magnificent Seven" (4 / 5) - 3. "Junco Partner" - 4. "Ivan Meets G.I. Joe" - 5. "The Leader" (4 / 5) - - B) 1. "Rebel Waltz" - 3. "The Crooked Beat" - 4. "Somebody Got Murdered" (4 / 5) - 5. "One More Time" (4,5 / 5) - 6. "One More Dub" - - C) 1. "Lighting Strikes (Not Once But Twice)" - 2. "Up in Heaven (Not Only Here)" (4 / 5) - 3. "Corner Soul" (4 / 5) - 4. "Let's Go Crazy" (4,5 / 5) - - D) 1. "Police on My Back" (4,5 / 5) - 3. "The Equaliser" - 4. "The Call Up" (4,5 / 5) - 5. "Washington Bullets" - - E) 1. "Lose This Skin" - 2. "Charlie Don't Surf" (4 / 5) - 4. "Junkie Slip" - 5. "Kingston Advice" - - F) 1. "Version City" - 3. "Silicone on Sapphire" - 4. "Version Pardner"
[ full album playlist ]

4th studio album by The Clash is a triple vinyl album introducing the band's perhaps most radical work of art. If London Calling is acclaimed for its daring huge blend of styles, then this should simply be the best album of all times, if ever that was enough to make great music. With this, The Clash has composed music in punk rock, rockabilly, jazz rock, reggae, dub, post-punk, rock & roll, experimental rock and several tracks with no familiar style to label it with. It was tremendously daring to release an album of this sort - at this point of time. My initial feelings towards the album undoubtedly were shaped by disappointment and delusion. "Where were the great punk songs? What was wrong with punk rock?", I thought. I had only just discovered punk rock - loved it, and then this! From one of my absolute favourite bands! For the first 5 years, I felt they could have released a great regular album using 10-15 tracks from this abundance of... 36 [!]. But it's an album, I have only come to like and enjoy more and more over the years. Today, I'm close to handing it 4 / 5 stars, and then, back in '81, I would probably have handed it 2 / 5 - maybe 2,5 'cause it is The Clash after all. Yes, they could have scraped everything away, all the experiments with styles and genres and released a hell of an album, but this is so... much fun. I think, in the future this could be on par with the works of Mozart, Stravinsky or other major classical composers' work 'cause it's really unlike anything else, and not just that. There are so many layers here that once you find into the substance / the essence, it will keep you entertained for years and perhaps decades. Critics have also been divided on this - and they still are. I think, the album fits perfectly on any best of lists comprising the most valuable, most important albums of all time. Because 'best' is such a defining label. How about the importance of an album instead of just 'best'? This would be nominated for exactly such a prize.
[ allmusic.com 2,5 / 5, Q Magazine 4 / 5, Rolling Stone 5 / 5 stars ]

The Clash "Black Market Clash" (1980)

Black Market Clash (compilation)
release date: Nov. 1980
format: vinyl (12EXP-304) / cd
[album rate: 4 / 5] [4,07]
producer: Mickey Foote; The Clash; Mickey Dread
label: Epic Records - nationality: England, UK

Tracklist: A) 1. "Capital Radio One" (4 / 5) - 2. "The Prisoner" (4 / 5) - 3. "Pressure Drop" (5 / 5) (alt. version) - 4. "Cheat" (4 / 5) - 5. "City of the Dead" (5 / 5) - 6. "Time Is Tight" (3 / 5) - - B) 1. "Bankrobber / Robber Dub" (4 / 5) - 2. "Armagideon Time" (4,5 / 5) - 3. "Justice Tonight / Kick It Over" (4 / 5)

Compilation album by The Clash only for the North American market issued by Epic Records (sub-label of CBS Records). Most of the tracks had been issued as B-sides to single releases for the UK and European market only. The decision to release it only one month before the band's third studio album, the triple lp Sandinista!, may seem a bit strange, but that release was postponed until Jan. 1981 on the American continent, and Black Market Clash wasn't released in Europe until 1991. I found the 12'' vinyl at my local record store (the first US issues were 10'' vinyl), as an import item back in 1983 or '84. At first, I thought of it as a non-official release, as no-one really new of it. Back then, The Clash was huge, although Sandinista! was a bit of a peculiar experience / development in sound. I remember that I was quite fond of this one, and primarily saw it as an album that linked the epic London Calling (1979) and Sandinista! rather nicely.
Over the years, I have come to appreciate it even more. In the early '80s, I had some difficulty in getting along with reggae and many punk rock and ska revival artists' honouring and trying out the genre. A lot of punk and new wave artists had to do some reggae track sooner or later, and often with little success. But The Clash didn't just try it, they combined, mixed, and altered the original Jamaican style into a new blend. Actually, many of the new ska revival bands played a British version that was close to rocksteady and Jamaican ska, but The Clash was more reggae-minded in a more experimental way using dub in nearly all their reggae inspired tracks. "Pressure Drop" is originally by Toots & The Maytals but The Clash completely changed the track into a more energetic punk rock AND reggae song, which is amazing. The original song IS really great, and it's only a mystery how Frederick 'Toots' Hibbert never was hailed as much as Bob Marley. Joe Strummer's vocal is characteristically crisp as ever, and the harmonic Strummer / Jones backing vocals are just top-notch together with tight but also reggae styled guitar, bass and drums. Half of the tracks are in the reggae dub category, and the other half is punk rock as in 'Best The Clash way possible'. The album was reissued as "Super Black Market Clash" (1993) with 21 tracks but that issue seems way to uneven, and some of the best tracks from the original release are strangely omitted.
[ allmusic.com 4 / 5 stars ]

[ collectors' item ]