The Pop Group "Y" (1979)

Y [debut]

release date: Apr. 20, 1979

format: cd (2007 remaster)

[album rate: 3,5 / 5] [3,54]

producer: Dennis Bovell, The Pop Group

label: Radar / Rhino - nationality: England, UK

Track highlights: *1. "She Is Beyond Good and Evil" - 2. "Thief of Fire" - 3. "Snowgirl" - 5. "We Are Time" - 7. "Words Disobey Me" -

*Bonus track on 2007 remaster

Studio album debut by Bristol-founded avant-gardist band The Pop Group consisting of vocalist Mark Stewart, guitarist John Waddington, bassist Simon Underwood, guitarist & saxophonist Gareth Sager, and drummer Bruce Smith. The original album issue consists of 9 tracks - cd issues of the album add the band's single debut as track #1 and its B-side as track #11, and the running order has been altered slightly. The original vinyl album has a running time of 40 minutes, and with two additional tracks, the cd just exceeds 47 mins.

Stylistically, this mostly sounds like... nothing else really - and especially considering the year 1979, it stands very much on its own. It's both funk, post-punk, and an experimental release, which makes me think of a fine blend of acid rockers Captain Beefheart and post-punk rockers The Birthday Party with the addition of funk. Only, the latter band, alledgedly, appears to have been itself heavily inspired by The Pop Group. So, how did they end up with such an original blend on two stand-out albums that has been hailed as inspirational sources to a long list of followers? The thing is, the album was anything but acclaimed when it came out, and the even sharper follow-up How Much Longer Do We Tolerate Mass Murder? from 1980 didn't make record labels cue in line to sign with this highly original band. Instead, they were met by mixed to negative reviews and the band ended up dissolving after two albums. The members, however, went on to perform in various other constellations who were all somewhere on the frontier of new musical directions - and all far from what was perceived as mainstream.

I have only recently discovered the musical qualities of this band and my first reaction had me thinking of Captain Beefheart and Shriekback. The first name comes to mind by the vocal performance of Mark Stewart and the experimental and krautrock-like and syncopated rhythm section with heavy use of percussion and brass, whereas Shriekback probably have listened much to The Pop Group before mustering it's own sound, which in itself carries a bolder source to the industrial style. In that regard, Y basically represents a huge conglomerate of styles, where the most apparent ones are funk, funk rock, surf rock, post-punk, dub, and garage rock. At the time of the release it probably would've been labeled art punk, I guess. There's definitely also bonds to the strong political approach of The Mothers as well as politically-oriented punk bands of the anarcho-punk rock fraction of the British punk rock wave - again, something which becomes more evident with the angrier follow-up.

Back in the day, I would most certainly have rejected this as being too noicy and too weird, a bit alongside other iconic albums I missed out on upon a first introduction - artists which count The Fall, Crass, The Creatures, and Psychic TV (to name a few), but when knowing of later manifestations of the alt. rock umbrella, The Pop Group has come to stand as founders of something out of the ordinary - an experimental detour into mystic musical landscapes - in a quite refreshing manner.

This is defintely something else - a first draft, you could say - intentionally, it may have been more connected and constructed with experimental krautrock and that of pure funk in mind, but with inspiration from the punk rock scene it surely turned out as a highly original take on genre definitions, and it's nevertheless an exciting take on post-punk with an original tone that would be further investigated on a wilder and more experimental follow-up.

This is recommended for anyone interested in modern music history.

[ allmusic.com, Uncut 4,5 / 5, Mojo, Record Collector 4 / 5, Sounds 3,5 / 5 stars ]

Black Grape "Orange Head" (2024)

Orange Head

release date: Jan. 19, 2024

format: cd (Deluxe Edition)

[album rate: 3,5 / 5] [3,70]

producer: Youth (aka Martin Glover)

label: Dgaff Recordings - nationality: England, UK

Track highlights: 1. "Dirt" - 2. "Pimp Wars" - 3. "Button Eyes" - 4. "Quincy" - 5. "In the Ground" - 6. "Loser" - 7. "Milk" - 8. "Panda" - 9. "Self Harm" - 10. "Sex on the Beach" - *12. "Part of Everything"

*Bonus track on Deluxe Edition

4th studio album by Black Grape following seven years after Pop Voodoo (Jul. 2017) is a return of Shaun Ryder in unison with Kermit (aka Paul Leveridge), and also Youth was producer on the predecessor. Seven years in between albums would normally be regarded as a no-go in the music business but Ryder has made it his modus operandi one that doesn't adjust to traditions or standard approaches. Besides, he's never been an artist who sticks to one horse only. In 2021 he released his second solo titled Visits From Future Technology (Aug. 2021), and then he has been busy touring and performing as either Happy Mondays or Black Grape.

Not surprisingly, Orange Head sounds much like we've come to know of Shaun Ryder from whatever disguise he has chosen. sometimes it's positive party dance-oriented, at other times there's more darkness and even some The Prodigy-inspired techno-rave-stuff thrown in here and there. That said, Ryder certainly represents a most lively style that I somehow feel addicted to. His notorious, slight nasal, speak-singing is one of the most original voices in modern pop music. He even jokes about this on "Button Eyes" when going "I find it funny that I can't sing!". All lyrics are basically always taking a starting point in actual lived life situations mixed with skewed perspectives on politics and culture in general where you both find easily understandable references and what appears as cryptic narratives. Just like the music, it's one huge pot of styles. But it works so well and it's always delivered with a sneer, a wink, and / or both. The great thing is, that since Ryder bounced back - both after serious financial troubles and from years with heavy substance abuse, he sparkles and shines like never before. He's in his 60s, life has given him obvious ups and downs and part of that is family: four ex-wives, six children, and a new perspective on life, but he's now better than ever and it's just a treat to listen to Ryder, Kermit and Youth delivering their own blend of modern pop music with loans from this and that.

It's addictive and recommended.

[ musicOMH, Louder Than War, Buzzmag 4 / 5, Uncut 3,5 / 5 stars - 👉Guardian interview ]

Black Grape "Pop Voodoo" (2017)

Pop Voodoo

release date: Jul. 7, 2017

format: digital (12 x File, MP3)

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

producer: Youth (aka Martin Glover)

label: UMC Records - nationality: England, UK

Track highlights: 1. "Everything You Know Is Wrong - Intro" - 2. "Nine Lives" (live) - 4. "Whiskey, Wine and Ham" - 5. "Money Burns" - 7. "Pop Voodoo" - 8. "I Wanna Be Like You"

3rd studio album by Black Grape released twenty years after Stupid Stupid Stupid (Nov 1997). The band has in essence become a moniker for Shaun Ryder and a band effort is a difficult term in regard to this album. Black Grape is here made up by the two vocalists Ryder and Paul 'Kermit' Leveridge, and all lyrics and music is here credited the two in collaboration with producer Martin 'Youth' Glover - long-time recurring bassist of Killing Joke as well as an established remix-producer for a long list of acts. As instrumentalists, Ryder and Kermit are solely credited for their vocal performances, while Youth is also credited on guitar, bass and for programming. Other musicians contribute as session musicians but the album is without the participation of former Black Grape members Danny Saber and Bez.

Musically, it's very much the continued cycle when it comes to music with Shaun Ryder. It's alt. dance music building on old school funk and soul mixed with neo-psychedelia and bits of electronica. Both in 2012 and again in 2015 Ryder spoke of a new Happy Mondays album in the making, but that never materialised, or: it turned out that it was easier for him to release it under the Black Grape moniker.

The album was met by better reviews than Uncle Dysfunktional (2007) by The Mondays, and it went as high as to number #15 on the UK chart list. Two songs were chosen for single releases: "Nine Lives" and "I Wanna Be Like You".

Pop Voodoo might as well be credited Happy Mondays - it's hard to tell the difference, and what remains are the fingerprints of Shaun Ryder's presence: the characteristic vocal and the half-mad, witty and semi-offensive lyrics. And then there's Kermit, or: where is he? He's there, at times popping up, adding rap, but it's mostly Ryder you notice. My guess is, Youth made most of the music, and he does a fine job composing, playing, programming, producing and mixing a style that fits Ryder's voice. It's neat, warm, funky and danceable club-music, but it does sound a bit outdated, and it just lacks outstanding hooks and rifs, although, it's quite coherent and also clearly bettering Ryder's many recent attempts.

Not great, not bad - somewhat easily forgettable BUT with a nice groove, entertaining moments, and ultimately slightly bettering the '97 album as a more coherent release, although, it's without a great hit like "Get Higher".

[ 👍allmusic.com, PopMatters, musicOMH 3,5 / 5 stars ]

Gorillaz "The Now Now" (2018)

The Now Now
release date: Jun. 29, 2018
format: cd
[album rate: 4 / 5] [3,82]
producer: Gorillaz, James Ford, Remi Kabaka
label: Parlophone - nationality: England, UK

Track highlights: 1. "Humility" (feat. George Benson) - 2. "Tranz" - 3. "Hollywood" (feat. Snoop Dogg & Jamie Principle) - 4. "Kansas" - 5. "Sorcererz" - 7. "Lake Zurich" - 8. "Magic City" - 11. "Souk Eye"

6th studio album by Gorillaz released 14 months after Humanz (2017). The album is credited Gorillaz consisting of live band musicians James Ford, Remi Kabaka together with Damon Albarn featuring a (smaller) bunch (than ordinary) of additional musicians; however, in reality, the only permanent band members are Albarn and visual artist (and lyricist) Jamie Hewlett - the latter only responsible for the artwork on this release. Gorillaz is and has always been Albarn's musical outlet where he experiments with a variety of guest artists, and for this album, he has "invited" Gorillaz' live musicians James Ford, who is credited for handling drums, bass, guitar and synthesiser, and Remi Kabaka, only credited for playing percussion on track #7, to join "the band" to record an album, which means: Albarn has directed, composed and let others participate in the process - just like old-timer guitarist George Benson, rapper Snoop Dogg and house musician Jamie Principle all do on selected tracks, but also a few other featuring artists playing bass, percussion, or additional vocalists on specific songs are all credited as co-composers. This also includes Albarn's former Blur-associate guitarist Graham Coxon featuring on track 8.
The Now Now is rather different from its predecessor by being more laid back. The 2017 album was loaded with guest appearances - and loaded to a degree where the sensation of a whole album was put in a drawer on the expense of the single compositions. This is much more in the spirit of an album like The Fall from 2010, where it's not so much about showcasing hit singles but rather the embodiment of a tone or a specific mood. In that way, it also reminds me of Albarn's so far only solo album Everyday Robots from 2014. Instead of having 'euro-pop' dance floor hits, there's simply much more focus on neo-psychedelia and synth funk to make it "hit" material. But altogether, it's undoubtedly Gorillaz as we have come to know "them", and also more of a grower.
The album was met by lukewarm to positive reviews, and the main reason seems to be a founding natural ingredient in all productions by this project: a need to experiment and incorporate various styles, inviting other artists in the process-making - and yes, sometimes it went that way, sometimes another way, and this time... this way. It all depends on how things turn out while Albarn is at the steering wheel. But he is also that "one component" that binds everything together - and pretty much as always: that ain't bad.
I really enjoyed Humanz, which wasn't liked by a lot of music critics, but I find that this is a much more coherent album, but also a much more delightful listen, and to me, The Now Now is not only the band's best album in years, it's simply one of Albarn's best efforts, ever.
[ allmusic.com, Uncut 3,5 / 5, 👍Rolling Stone, Q Magazine, SputnikMusic, NME 4 / 5 stars ]

Black Grape "Stupid Stupid Stupid" (1997)

Stupid Stupid Stupid

release date: Nov. 10, 1997

format: cd

[album rate: 3,5 / 5] [3,28]

producer: Danny Saber

label: Radioactive Records - nationality: England, UK

Track highlights: 1. "Get Higher" (4 / 5) (official video) - 2. "Squeaky" - 3. "Marbles" - 4. "Dadi Waz a Badi" - 6. "Spotlight" - 8. "Money Back Guaranteed" - 9. "Lonely"

2nd studio album by Black Grape following a little more than two years after the fine debut It's Great When You're Straight...Yeah (Aug. 1995) is like that released on Radioactive. Since the debut, the line-up has changed with founding member Bez leaving due to dissatisfaction with his paid royalties, and then the band has been expanded to a septet. The band's rapper Paul 'Kermit' Leveridge was hospitalised with blood poisoning during a tour and was replaced by Carl 'Psycho' McCarthy, who ended up being a stable member after the tour and after Kermit was back. Also live guitarist and keyboardist Martin Slattery [he should later join Joe Strummer & The Mescaleros] became a stable member before begining the recordings for the album. And Danny Saber, who had played a major part in making the debut is also new band member. In '96 Black Grape and Joe Strummer stood behind the football support song "England's Irie" and Saber was producer on the joint project. The majority of the songs here are credited Ryder, Saber and 'Manmade' - a joint moniker for Kermit and Psycho. The album contains a cover of the '72 Frederick Knight soul tune"I've Been Lonely for so Long" (by Posie Knight and Jerry Weaver), here just titled "Lonely".

Stylewise, it's a rougher and more rock-oriented album than the predominantly electronic and alt. dance, which shaped the debut, but there's still room for funk and soul as well as the usual sampling bits and parts. The album was preceded by the single release of track #1 peaking at number #24 followed by the European only release of "Dadi Waz a Badi" and lastly "Marbles" was selected as the third single.

Stupid Stupid Stupid was met by mixed reviews. Stephen Erlewine of allmusic.com says: "...it plays like 'It's Great', part two, only without its predecessor's infectious beats, mammoth hooks, and surreal humor". I don't fully agree on the "without" 'cause the album is not without good beats, hooks and humour but there's unquestionably just less of it. And yes, it is like a part two, which in many ways tries too hard to follow-up on the success.

The succeeding tour didn't last long and ended up being cancelled as Shaun Ryder in Dec. '97, allegedly after a fight of band members simply dismissed the whole band resulting in massive cancellations of already scheduled shows, and Ryder also sacked the band manager, which in the end meant that Ryder via rule of court ended up in receivership for the next 12 years. The end of Black Grape was stressed in the Summer of '98 when Ryder stated he should no longer be recording under that name [only he would much later, though].

This is not great and not entirely bad either. "Get Higher" is a marvelous track, and the album is worth a spin or more but it's not up there alongside the debut.

[ allmusic.com, NME, Spin 3 / 5, Pitchfork 3,5 / 5 stars ]

Happy Mondays "...Yes Please!" (1992)

...Yes Please!

release date: Oct. 1992

format: cd

[album rate: 2,5 / 5] [2,64]

producer: Chris Frantz & Tina Weymouth

label: Factory Records - nationality: England, UK

Track highlights: 1. "Stinkin Thinkin' " - 3. "Sunshine and Love" - 6. "Cut 'Em Loose Bruce"

4th and originally final album by Happy Mondays and also the final album on Factory Records. The album follows two years after the acclaimed Pills 'n' Thrills & Bellyaches (Apr. 1990) and is produced by Chris Frantz and Tina Weymouth of Tom Tom Club and Talking Heads. Initially, the album was planned to have Oakenfold and Osborne as producers but as they were unable to find the time, new producers had to be considered. The album is notorious for several reasons. Before the recordings, both Shaun Ryder and Bez were deep into drug addiction, Whelan and Paul Ryder took to alcohol abuse and Paul Davis was both on drugs and alcohol. The manager and managers at Factory brought up the idea to have the band re-located to Barbados in an attempt to prevent substance abuse and secure ideal circumstances. However, in Barbados drugs and substance abuse was out of control, which of course afflicted the recording sessions. Furthermore, Factory were in financial difficulties and with new skyrocketing costs of the album Republic (1993) by New Order together with near-endless growing costs for this very album, the legendary record label declared bankruptcy Nov. 1992.

When reading about the recording sessions, it's probably not without sheer luck that they managed to come up with a new album. But two dynamic producers couldn't prevent the material from suffering. Drugs and alcohol in combination with strained internal relations hasn't exactly helped produce a bunch of great songs. The style has changed and perhaps even inadvertently to something more stringent. It's no longer the huge melting pot of styles but a style heavily built on funk and indie rock, and mostly without the strong traits from acid house and rave beats. Yes, it still maintains some alt. dance but in a subdued manner where guitars and drums dominate. Apparently, Shaun Ryder had been unable to produce the lyrics at the original sessions, which had to be added later back in England and that also reflects the end result. It's music without nerve, without strong hooks and ideas. Only positive thing here is the strong vocal performance by backing vocalist Rowetta, which says a great deal about the album. You can still tell it's Happy Mondays, but Shaun Ryder, who's lost all vitality only represents the rest of a band sounding as if they don't even bother trying. According to Shaun [see below link], the choice of producers was crucial to the failure of the album. He acknowledges Frantz and Weymouth as great artists but believes they directed the music into something more rock-oriented, which didn't fit with the new-found sound of the band, and that also prevented him from coming up with proper lyrics 'cause he needed to be inspired by their new music, which simply wasn't there. An argument, I completely buy because the alt. dance and pop-sound of the '90-album is seriously lacking on this.

The album was met by luke-warm to mostly negative reviews but still charted as high as number #14 on the UK charts. Tracks #1 and #3 were the only songs selected for single releases and didn't reach top-10 in the UK but went number #1 and #5 on the Hot Dance Club Songs list in the US. After the release, Happy Mondays toured with the album in the UK and Europe, and then finished off in Japan early '93. After the collapse of Factory Records the band and manager were in contact with various labels but after internal conflicts about the failure of the new album and the-who-did-what-thing, the band finally disbanded in early '93. Later that year, Shaun Ryder and Bez continued in the quintet Black Grape.

This album is not more than plain mediocre, and at times sounds (disastrously) more like Frantz and Weymouth have taken over (more than) the arrangements - it's clearly the least favourable album by Happy Mondays and not recommended.

[ allmusic.com 1,5 / 5, Select 2 / 5, Q Magazine 4 / 5 stars ]

[ Shaun's version of ...Yes Please! ]

Happy Mondays "Squirrel and G-Man Twenty Four Hour Party People..." (1987)

Squirrel and G-Man Twenty Four Hour Party People... [debut]

release date: Apr. 1987

format: digital (1990 reissue)

[album rate: 3 / 5] [3,22]

producer: John Cale

label: Factory Records - nationality: England, UK

Track highlights: 1. "Kuff Dam" - 2. "Tart Tart" - 4. "Russell" - 5. "Olive Oil" - 8. "Oasis" - 9. "24 Hr Party People"

Studio album debut by Happy Mondays with the full title: Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out) is recorded by John Cale for Factory Records. The band is the same stable sextet who released the 1985 Forty Five EP. The track "Oasis" also appears on the ep but here it's in a re-arranged version with much more focus on bass, and apart from that it's an album with nine new compositions.

Where the band started out as a jangle pop-oriented and alt dance-band, they now mix more styles and the jangle pop element has been subdued. Instead, they now blend funk, surf rock ("Russell"), indie pop and neo-psychedelia, which ultimately makes it a rather complex mix of styles. It's not really an example of a coherent collection of songs, and it's somewhat difficult to find a common denominator but it's also clear that the songs appear quite originally crafted despite obvious loans from other artists. Several songs, however, contain elements from various styles that are sort of mashed together, which in many ways forecast what was to come. "Russell" may be surf rock-inspired but it also contains funk, skilfully crafted by Paul Ryder's repetitious bass-line, and then on top Shaun Ryder now contribute with his speak-singing style, and we have a true Happy Mondays tune. Ryder no longer sounds like a clone of Ian Curtis and Feargal Sharkey but quite clearly has found his own foundation. Both album title and the song titles already here reflect how Ryder comes up with his lyrics. The album title appears to be Ryder's invention from three different associations that he just put after another - 'Squirrel and G-man' being the nicknames for the parents to one of the members, 'Twenty Hour Party People' is someone's reference to Ryder and his mates, and 'Plastic Face Carnt Smile (White Out)' should be another one's exclamation upon finding Ryder, Bez et al completely tripping on acid. And then the songs: "Kuff Dam" is Ryder's rephrasing of a porn title misspelled backwards, "Tart Tart" refers to a particult girl, although, as in nearly all cases, the song itself isn't about anyone or anything in particular. This also goes for "Olive Oil", which was the nickname for someone's girlfriend, who had asked Ryder if he would write a song about her - to which he alledgedly answered that he didn't write like that but he could name a song after her.

I have absolutely no idea whatsoever about what Cale thought of it - the band and song potential - but luckily he didn't spoil too much, although, it probably could have been a much better end result with a producer in touch with the current dance scene - say New Order's Bernard Sumner, who was mentioned but weren't available - instead of someone with a reputation. You can only ask yourself if it would have been another "Blue Monday"-moment had Sumner been hired...

The album was met by positive reviews but generally lacked to attract music buyers as it sold quite poorly.

In a music historical perspective, it's quite fascinating as a new step towards their more defining sound but as a stand-alone experience, this album is simply just not strong enough.

[ Shaun Ryder interview about the origines of the band, The Haçienda, the production of the album etc.]

Outkast "Speakerboxxx / The Love Below" (2003)

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

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

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

Julian Cope & Donald Ross Skinner "Rite" (1993)

Rite

release date: Feb. 1993

format: digital

[album rate: 3 / 5] [3,08]

producer: Donald Ross Skinner

label: Ma-Gog Records - nationality: England, UK

1st album by Julian Cope in an official collaboration with musical friend Donald Ross Skinner, who has featured on Cope's solo releases since Fried (1984). The album is the first on Cope's own label Ma-Gog, which later became Head Heritage.

Musically, there is not much that ties this to previous albums from Julian Cope. The only common feature is Cope's experimentation with styles, and he has previously found inspiration from krautrock and elements from electronic styles, but the album here consists only of long instrumental ambient compositions with the shortest track running 9 minutes whereas the longest clocks in just below 25 minutes. With a release on their own label, Cope and Skinner have ultimate freedom to do whatever they feel like, regardless of fans and others. And well, here they have thrown themselves into something completely different, like a playground of theirs.

The result may not quite live up to expectations for an album by Julian Cope, who has guaranteed quality music of original content since the early 80s. Most of all, Rite sounds like a soundtrack to a non-existent film, or like a mix of music from funk of the 70s and electronic forays of the early nineties, but apparently, also without great renewal. Still, don't expect to find tracks here that resemble anything Cope has released before. Some of the music may be found on the BBC documentary "The Modern Antiquarian (A Megalithic Road Trip)" from 2000 [better version here] based on Julian Cope's book of the same name. The documentary demonstrates Cope's interest in Neolithic finds and is an extensive field trip with Cope as tour guide to various interesting prehistoric finds in Southern England, Scotland, and Orkney. With images of the magnificent nature and ancient stones, the music comes into its own right - which again shows us that this music is suitable as an accompaniment to a visual side that the album itself lacks.

If nothing else, Rite shows some of Cope's sources of inspiration with ties to a more experimental side, which at the same time points in the direction of the perhaps more exciting collaboration with Thighpaulsandra (aka Tim Lewis, who later should become an essential part of the space rock band Spiritualized), and together they form the duo Queen Elizabeth, who released the homonymous debut album in '94.

Not recommended.

Esperanza Spalding "Emily's D+Evolution" (2016)

Emily's D+Evolution
release date: Mar. 4, 2016
format: cd
[album rate: 3 / 5] [2,92]
producer: Esperanza Spalding and Tony Visconti
label: Concord Records - nationality: USA

Track highlights: 1. "Good Lava" - 2. "Unconditional Love" (3,5 / 5) - 4. "Earth to Heaven"

5th studio album by Spalding now with legendary (Bowie-)producer Tony Visconti. Emily is Spalding's middle name, and the album is according to herself about going in the right direction. Well, she really experiments with influences on this one, which is hard to categorize in terms of specific style. It's 'fusion' no doubt about that, but it's not really jazz, although, several tracks have plenty of jazz-feel. It's also art pop and jazz rock build on r&b and funk. The first track "Good Lava" and "Earth to Heaven" both sounds inspired by St. Vincent (aka Annie Clark) without too much jazz being more straight-forward, pointing to art rock, but that's not the impression throughout an album, I find staggering forward without a navigator. "One" is more like Kate Bush / Tori Amos with its low and high-pitched vocal performance. The album has it moments, surely, Spalding has a fine and warm vocal, but the music does not really unfold.
[ allmusic.com, Rolling Stone 4 / 5 stars ]

Kendrick Lamar "To Pimp a Butterfly" (2015)

To Pimp a Butterfly
release date: Mar. 15, 2015
format: digital
[album rate: 2,5 / 5] [2,28]
producer: various
label: Top Dawg Entertainment (TDE) - nationality: USA

Track highlights: 6. "u" (3 / 5) - 7. "Alright" (3,5 / 5) - 13. "The Blacker The Berry" (3 / 5) - 16. "Mortal Man"

3rd studio album by American rapper Kendrick Lamar produced by a long list of prominent (rap-)producers. The genre and styles are rap, hip hop [or at the moment referred to as conscious hip hop, which is to say: lyrics with a social / political engagement - and I mean... whenever wasn't hip hop that?], west coast hip hop with elements of neo-soul, funk and jazz.
The album has been praised by critics, it has been nominated and attributed a bunch of prizes, and... I don't see the hype, the fuzz, the buzz, nor the brilliance of this. I just don't. Maybe I'm blind and deaf 'cause all I find is rather boring, mostly. Sometimes annoying, and to sum up: not really of any interest.
The album could work Okay as background noise (only), but it's not really recommended.

Boney M "Oceans of Fantasy" (1979)

Oceans of Fantasy
release date: Sep. 21, 1979
format: vinyl
[album rate: 2,5 / 5] [2,66]
producer: Frank Farian
label: Atlantic Records - nationality: (West) Germany

4th studio album by Boney M originally released on Hansa.

The Style Council "Money-Go-Round (Parts 1+2)" (1983) (single)

own scan

Money-Go-Round (Parts 1+2), 7'' single
release date: May 1983
format: vinyl (TSC2)
[single rate: 2,5 / 5] [2,66]
producer: Peter Wilson and Paul Weller
label: Polydor Records - nationality: England, UK

Tracklist: A) "Money-Go-Round (Part 1)" - - B) "Money-Go-Round (Part 2)"

2nd single release by The Style Council. The single is included in a slightly altered "Club Mix" version on the band's first ep Introducing the Style Council. Following the single "Speak Like a Child" this is a different kinda style, and definitely not something one would associate with The Jam. It's jazz pop and funk (!) without the soul element, and really not my cup of tea.

Boney M "Nightflight to Venus" (1978)

Nightflight to Venus
release date: Jul. 28, 1978
format: vinyl (UK) / digital
[album rate: 3 / 5] [2,82]
producer: Frank Farian
label: Atlantic - nationality: (West) Germany

3rd studio album by Boney M originally released on Hansa International.

I believe, as a 13 year-old, I purchased this back in '78 and subsequently got hold of the Love for Sale album.

~ ~ ~

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.

Boney M "Love for Sale" (1977)

Love for Sale
release date: May 2, 1977
format: vinyl
[album rate: 3 / 5] [2,78]
producer: Frank Farian
label: Hansa International - nationality: (West) Germany

2nd studio album by German disco band Boney M consisting of the four members Liz Mitchell and Marcia Barrett from Jamaica, Maizie Williams from Montserrat (in the Caribbean) and Bobby Farrell from Aruba (also in the Caribbean). German producer and singer / songwriter Frank Farian (aka Franz Reuther) used the moniker Boney M for a single release in '74, which only featured himself, but he then decided to a have a dance group to front the 'band' for TV transmissions - he hired an initial group of dancers, which went through various incarnations for the following years until Feb. '76 when the four steady (dance and performance) members basically became Boney M.
I do believe that I puchassed the sucessor Nightflight to Venus (Jul. 1978) in '78 and subsequently got hold of this one, which came with a large poster - a wider version of the front photo, which I had on my wall for the following 3-5 years.

Not recommended.

Gloria Gaynor "Glorious" (1977)

Glorious
release date: 1977
format: vinyl
[album rate: 3,5 / 5] [3,38]
producer: Gregg Diamond, Joe Beck
label: Polydor - nationality: USA

4th studio album by Gloria Gaynor.

"Radio-Active - 20 Electric Hits" (1980)

Radio-Active - 20 Electric Hits (compilation)
release date: 1980
format: vinyl (RTL 2049)
[album rate: 3 / 5]
producer: various
label: Ronco - nationality: England, UK

Compilation album of various artists released on British low-budget label, Ronco.
The album is a bit of a strange collection - some great tracks but mixed with songs of too different artists, e.g. Gillan, Genesis, Black Sabbath together with Robert Palmer, Ottowan, Kelly Marie, UB40 and XTC, OMD and Gary Numan... The common denominator being the UK and with some bonds to the establisment of an electronic / synth style, I guess.

Curtis Mayfield "Superfly" (OST) (1972)

Superfly (soundtrack)
release date: Jul. 1972
format: digital (2009 remaster)
[album rate: 3,5 / 5]
producer: Curtis Mayfield
label: Victor Entertainment - nationality: USA

Soundtrack album by Curtis Mayfield originally released on Curtom Records for the homonymous film directed by Gordon Parks, Jr. This is a remastered Japanese reissue containing 11 bonus tracks. The album is often referred to as a cornerstone of modern pop music with it's combination of traditional soul and what was to be termed as funk. The album is enlisted in "1001 Albums You Must Hear Before You Die". It may very likely be ahead of its time, only, I do not like funk in any incarnation almost just as such, which is why I cannot rate this higher. However, almost all music magazines and music critics praise this as a hugely inspirational album due to its style, which would influence soundtrack music for almost a decade, but also via Mayfield's lyrical contribution by writing about ghetto life.
[ allmusic.com, Q Magazine, Rolling Stone 5 / 5 stars ]