Showing posts with label garage rock. Show all posts
Showing posts with label garage rock. Show all posts

12 December 2024

The American Breed "Bend Me, Shape Me" (1967) (single)

Bend Me, Shape Me
, 7'' single
release date: 1967
format: vinyl (KSS 6)
[single rate: 4 / 5] [3,78]
producer: Bill Traut
label: Stateside - nationality: USA

Track highlights: A) "Bend Me, Shape Me" (4 / 5) (other mix) - - B) "Mindrocker"

Single by The American Breed taken from the forthcoming second album Bend Me, Shape Me (Feb. '68). Also the B-side appears on the same album. The title song may have been an international hit thanks to this version but originally, it's a song by the American songwriter duo Scott English and Larry Weiss. About one year earlier, the song was first released by another American band: The Outsiders, and their version of the song is found on the band's third album In (released Feb. '67 but recorded in '66). In between these two, another band made the first cover of the song and that was the all-girl group The Models with their only (single) release in 1966 [The Models' version] (released prior to The Outsiders' album but recorded after). It's peculiar listenening to these highly different three versions of the same song and still being all released within a year's time. In retrospect, I think the version by The Models appears as the most daring with its acid, psychedelic, and Phil Spector-like production. In that regard, The Outsiders' version is more stripped down and a more straight song but that's also the one with the purest rock appeal held in a typical garage rock style. And then The American Breed came along and made it an international hit song with a much bolder mainstream appeal. Listening to the two earlier versions, it does appear that The American Breed take up some of the arrangements from both earlier recordings albeit it's nevertheless the most polished version of these three recordings. The song has later been covered by various other acts but over the years, it's The American Breed, who has gone down in music history with the most wide-spread rendition of this fine song.
This very single, was one of my favourites from when I was 10-14 years old. I guess, my brother must have purchased it at some early point before he threw himself over British psychedelic rock of the 70s.


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

18 October 2020

The Fall "Grotesque (After the Gramme)" (1980)

Grotesque (After the Gramme)

release date: Nov. 17, 1980
format: cd (1993 reissue)
[album rate: 4 / 5] [3,92]
producer: The Fall, Grant Showbiz, Mayo Thompson, Geoff Travis
label: Castle Classics - nationality: England, UK

Track highlights: 1. "Pay Your Rates" - 2. "English Scheme" - 3. "New Face in Hell" (Peel Sessions) - 4. "C'n'C-S Mithering" - 5. "The Container Drivers" - 10. "The N.W.R.A."

3rd studio album by The Fall produced by The Fall, Grant Showbiz, Mayo Thompson and Geoff Travis (tracks 1-5), tracks 6-10 are produced by The Fall and Geoff Travis originally released by Rough Trade. The Fall always was Mark's band - here the band credits are as follows: Mark on vocals, tape operation, kazoo (#3) and guitar, Marc Riley on guitar and keyboards, Craig Scanlon [credited as Craig Scanlan] on guitar, Steve Hanley on bass, his brother Paul Hanley on drums and with Kay Carroll on additional vocals, which more or less is the same line-up as on Dragnet (Oct. '79) as well as on the next following albums of the 80s, but the debut album Live at the Witch Trials (Mar. '79), saw the band in a completely different line-up. This is, however, merely an early incarnation of the band and the only stable member of the band remains Mark E. Smith.
Style-wise, this is an example of early post-punk labelled as art punk with influences from pub rock and garage rock and its minimum attention on production layering with focus on 'recording as is'.
The album wasn't met as a landslide album - much unlike what it's regarded as in retrospect. Critics were positive without praising the album and fans were, as they would constantly prove to be with The Fall divided in two groups: either belonging to a strong cult of followers, or to fierce haters; however, the album is generally regarded as one of the band's masterpieces. Unfortunately, I didn't appreciate the album in the early '80s - I did actually purchase the original Rough Trade vinyl issue back in 1982 or '83 and kept it for a decade or so, and then I re-sold it in a small pile with other obscure albums just to afford to buy new music, and what a mistake that was! I have come across this '93 CD reissue but I'd rather have the original vinyl, which by now is a collector's item.
I perfectly know how I was unable to see music in a broader perspective in my teens but it still puzzles me, why I couldn't just regard it as a musical curiosity. Anyway, the music lives on and even from a modern perspective I think the music still stands out as both highly original but also with something to offer. The Fall blends perfectly in with standards of Velvet Underground, The Stooges, Captain Beefheart and Frank Zappa as a music collective, who simply ignores all conformities and just do what they think is the right thing to do. Mark E. Smith narrates about English society, working class life, taxes, capitalism, and he often focus on the English class system. Unlike Bob Dylan's social awareness, lyrics on contemporary human conditions, I find the lyrics by Smith to be much more entertaining but also without all the... fuzz [to say it as politely as possible].
Mark E. Smith continued to play with The Fall in various line-ups in the new millennium and also kept releasing new albums being quite keen on not repeating themselves. The last studio album by The Fall is New Facts Emerge (2017), the band's 31st studio album, released only six months before Smith's untimely death at the age of 60, Jan. 24, 2017. The international music press and the entire British press in general were overflown with appraisals dedicated to Smith's legacy as one of Britain's most influential songwriters in 2018, and he is today mentioned alongside the greatest of music.
For those unfamiliar with music by The Fall, it may not seem evident how they ever became such an acclaimed band. It may take some time to get accustomed to - some will never - but from my perspective, the true strengths of The Fall lies in Mark E. Smith's lyrics, his uncompromising attitude towards and against conformity whether concerning music or modern life in general - be it capitalism, class system or politics. The band has its unique sound and its very own conception of musical soundscape, which leaves no listener in doubt of who made it.
[ allmusic.com, Mojo, Rolling Stone 4 / 5, Spin 4,5 / 5, Sounds 5 / 5 stars ]

07 October 2017

The Fratellis "We Need Medicine" (2013)

We Need Medicine
release date: Oct. 7, 2013
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Jon Fratelli, Stuart McCredie
label: BMG - nationality: Scotland, UK

Track highlights: 2. "This Old Ghost Town" (4 / 5) (studio performance) - 4. "Seven Nights Seven Days" (studio performance) - 6. "Whisky Saga" - 10. "Rock 'n' Roll Will Break Your Heart"

3rd studio album release by The Fratellis following more than five years after We All Stand (2008).
I really enjoyed the debut album Costello Music (2006) and for some reason haven't heard their second album before this one. However, this brand new one is very much like the debut refreshingly direct in an easy alt. rock, garage rock, indie rock style. One could argue that they do not contribute with much new, that the musical purpose with a bunch of simple uptempo and energetic compositions may be hard to fully appreciate... 'cause lots of other music is similar to that, but I also find that the music by The Fratellis kind of grows on you, if you let the tunes play more than a few times. It's perfect background noise for painting the house - actually, pretty good music for working, although, I find that it lacks a few more really fine songs, and then you just have to hand it to Jon Fratelli - his absolutely brilliant in creating new sing-a-long chorus lines with indie rock harmonies.

14 September 2016

Arctic Monkeys "Suck It and See" (2011)

Suck It and See
release date: Jun. 6, 2011
format: digital
[album rate: 2,5 / 5]

Track highlights: 4. "The Hellcat Spangled Shalalala" - 8. "Reckless Serenade" - 9. "Piledriver Waltz" - 12. "That's Where You're Wrong"

4th studio album by Arctic Monkeys.
This is a slight return to better music. I haven't played it a lot as it simply never touched me but I find that the songs are better, and more British sounding than the previous album, although it's also recorded and produced in US, but apparently, with focus on live takes in the studio, securing a more energetic and garage rock sound than the heavy rock production sound on Humbug (2009). The band has returned to a more "mainstream" sound and has left the psychedelic rock (which is just fine), as was the case with Favourite Worst Nightmare (2007). Some tracks even have a dream pop or shoegaze sound with heavy distortion and flanger guitar effects, e.g. "The Hellcat Spangled Shalalala", and "Reckless Serenade". I think, some of the quirkiness and garage rock element is missing, but that said, it contains some fine tracks. The track "Piledriver Waltz" is also included on Alex Turner's solo album (ep), the soundtrack Submarine (2011).

11 September 2016

The Fratellis "Costello Music" (2006)

Costello Music [debut]
release date: Sep. 11, 2006
format: cd
[album rate: 3,5 / 5] [3,72]
producer: Tony Hoffer
label: Fallout Records - nationality: Scotland, UK

Track highlights: 1. "Henrietta" (live on later) - 2. "Flathead" (4 / 5) - 3. "Cuntry Boys & City Girls" - 5. "Chelsea Dagger" (live on later) - 6. "For the Girl" (4 / 5) (AOL live session) (acoustic) (acoustic live) - 8. "Creepin Up the Backstairs" (AOL live session) - 10. "Everybody Knows You Cried Last Night"

Studio album debut by Scottish Glasgow trio The Fratellis consisting of vocalist & guitarist Jon Fratelli (aka John Paul Lawler), bassist & backing vocalist Barry Fratelli (aka Barry Wallace) and drummer, percussionist & backing vocalist Mince Fratelli (aka Gordon McRory). The album is released on the Island Records' sublabel Fallout, and all songs are credited the band, although, on later albums Jon Fratelli is credited for the majority of the band's compositions.
This is fine alt. rock, indie rock, or garage rock revival somewhat related to another Scottish band, Franz Ferdinand, only, I think this is ever so much more direct and less pretentious, and I really like their retro references to music of the great British invasion beat combined with garage rock. Sometimes the style is more alt. rock like Arctic Monkeys but mostly it's just The Fratellis... not so much fuss, just the fun of it, and that's actually quite nice, and this is their only and best album, so far.
[ allmusic.com, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]


Show lyrics <- click...


04 July 2016

Arctic Monkeys "Humbug" (2009)

Humbug
release date: Aug. 24, 2009
format: digital
[album rate: 2 / 5]

Track highlights: 1. "My Propeller" (3 / 5)

3rd studio album by Arctic Monkeys.
I find that the album is a rather huge disappointment. It's more like: "Say what!!? Left-handed, or just AM now without pilot?? Alex Turner decided to have someone else decide for a change."
The album hasn't even got one great song, and it's like you sense there's another agenda than sending out new songs. It's more like a statement from a highly popular band. They've already been lauded prize winners and both music critics and the audience love the band, so is this just to say: "Sod off, we do the unexpected. Have an American come in and produce, and take over our sound, so no one knows what happened!?" I dunno, I just don't like the result. The style is still indie garage rock but this time with a clear psychedelic element in a heavy and much darker production.
Not recommended.

23 June 2016

Neil Young "Chrome Dreams II" (2007)

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

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

03 May 2016

The Raveonettes "Pretty in Black" (2005)

Pretty in Black
release date: May 2, 2005
format: cd
[album rate: 3,5 / 5] [3,66]
producer: Richard Gottehrer, Sune Rose Wagner
label: Columbia - nationality: Denmark

Track highlights: 1. "The Heavens" - 3. "Love in a Trashcan" - 5 . "Uncertain Times" - 6. "My Boyfriend's Back" - 7. "Here Comes Mary" - 11. "You Say You Lie" - 12. "Ode to L.A."

2nd studio album from The Raveonettes follows two years after the debut and is like that produced by veteran sound technician Richard Gottehrer in collaboration with Sune Wagner of the band. All except track #6 - a cover of a 60s song by The Angels written by R. Gottehrer, Bob Feldman, Jerry Goldstein - are credited Wagner, who is now credited as multi-instrumentalist handling synths, guitar, bass, drums, percussion and programming. Sharin Foo is exclusively credited as vocalist and on percussion. Additionally, a few recurring musicians also participate. This include guitarist Manoj Ramdas and drummer Jakob Hoyer, who both played on the band's ep debut as well as on Chain Gang of Love. Other than that, the album feature a few prominent guest artists, which count The Ronettes' legendary vocalist Ronnie Spector on vocal [track #12], Velvet Underground legend Maureen Tucker on drums on four tracks, and Suicide instrumentalist Martin Rev credited 'The Instrument' [guitar].
The album reveals a stylistic progression towards slower love song territory, and the songs are generally a bit longer. Like the debut, it contains 13 tracks but as opposed to the former's total running length at 33 minutes this one clocks in at 44:30 minutes. The songs are more traditionally composed with broader arrangements without losing the quality of a distinct sound. There's now definitely a stronger inspiration from Motown, country, and general pop songs of the early 60s, although, some tracks still reveal the bond to garage rock and surf rock. The front cover is like the debut held in cinematic b/w style as if situated in the 50s or 60s, only this time with the added 'technicolor' [added colours] style, and the title could suggest a hint at the 80s (Howard Deutch) popular film "Pretty in Pink" with its own references to the 50s and early 60s.
I believe this was the first full-length by the band that I listened to at the time of the release, and I recall finding it good, although, I didn't purchase the album until a few years later. I think, I initially still hoped Sune Wagner would produce stronger alt. rock music, and it took some time before I just accepted his retro-infused style of American twang and reverb, and then back in 2005, the band really stood on its own when pop music was overwhelmed by retro-waves in terms of synth pop and a new wave of post-punk revival flourished on both sides of the Atlantic. And Pretty in Black is far from those tendencies. The album was, however, genereally met by positive reviews and in retrospect it stands as a more original collection of songs than you'll find on the debut.
Recommended.
[ 👎allmusic.com 2 / 5, Pitchfork 6,8 / 10, PopMatters 3,5 / 5, NME, Rolling Stone, Uncut 4 / 5 stars ]

24 April 2016

Arctic Monkeys "Fluorescent Adolescent" (2007) (single)

Fluorescent Adolescent, 7'' single
release date: Jul. 9, 2007
format: cd
[single rate: 3,5 / 5] [3,63]

Tracklist: 1. "Fluorescent Adolescent" (5 / 5) (Live on Jonathan Ross) - 2. "The Bakery" - 3. "Plastic Tramp" (3 / 5) - 4. "Too Much to Ask" (3 / 5)

Single release from Arctic Monkeys and their most recent album Favourite Worst Nightmare (2007). The music has changed a bit and become more mainstream but without losing their originality. The hit single track is mighty fine song that secured the band many hours of airplay on national radio and elsewhere around the world. The remaining songs are actually quite decent single tracks, and what's so typical about this band is how they just put one track from the album here, and the rest are brand new songs and no poor fillers.

03 March 2016

Nick Cave & The Bad Seeds "Dig, Lazarus, Dig!!!" (2008

Dig, Lazarus, Dig!!!
release date: Mar. 3, 2008
format: cd
[album rate: 3 / 5] [3,16]
producer: Nick Launay, Nick Cave & The Bad Seeds
label: Mute Records - nationality: Australia

Track highlights: 3. "Moonland" - 5. "Albert Goes West" - 6. "We Call Upon the Author" - 11. "More News From Nowhere"

14th studio album by Nick Cave & The Bad Seeds released 3½ years following Abattoir Blues / The Lyre of Orpheus from 2004 is a more garage rock-styled album, and as such closer to the style of the side-project band, Grinderman, which feature members of The Bad Seeds.
To me, this sounds much like music inspired to some extent by Iggy & The Stooges - more than previous albums by Nick Cave & The Bad Seeds, although, The Stooges always has been a big source of inspiration for Nick Cave.
I don't find it all bad, it's just not as good as what I have come to associate with The Bad Seeds.
[ allmusic.com 4,5 / 5, The Independent, Q Magazine, Spin, Rolling Stone 4 / 5 stars ]

22 February 2016

Arctic Monkeys "Favourite Worst Nightmare" (2007)

Favourite Worst Nightmare
release date: Apr. 23, 2007
format: cd
[album rate: 3,5 / 5]

Track highlights: 1. "Brianstorm" (4 / 5) - 2. "Teddy Picker" - 4. "Balaclava" - 5. "Fluorescent Adolescent" (5 / 5) - 6. "Only Ones Who Know" - 9. "If You Were There, Beware"

2nd studio album by Arctic Monkeys is a difficult one after a great debut. It's a somewhat uneven album pointing in many directions, but also with many interesting details. They still play great garage rock and also manages the softer ballads, and the great pop song "Fluorescent Adolescent" stands very much alone, and all in all it only contains 4-5 tracks well-above average, and in that sense it's tiny disappointing. Having said that, I also like their ability to seek out new territory and still holding on to their identity and keeping an uncompromising sound.

06 February 2016

Arctic Monkeys "Brianstorm" (2007) (single)

Brianstorm, 7'' single
release date: Apr. 16, 2007
format: digital
[single rate: 3,5 / 5]

Tracklist: 1. "If You Found This It's Probably Too Late" - 2. "Brianstorm" - 3. "Temptation Greets You Like Your Naughty Friend" (3 / 5) - 4. "What If You Were Right the First Time?" (3 / 5)

Single release from Arctic Monkeys taken from the forthcoming album Favourite Worst Nightmare (2007). It starts off with a track that didn't find its way to the album, and what a great strong burst of energy despite the short playing time of only 1:32 min. "Brianstorm" [not misspelled!] is the albums starter, and is yet another fine track. The two remaining songs are not bad but not on the same level, but it's really a great single with just one song from the album.

01 February 2016

The Raveonettes "Chain Gang of Love" (2003)

Chain Gang of Love
[debut]
release date: Aug. 25, 2003
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Richard Gottehrer, Sune Rose Wagner
label: Columbia - nationality: Denmark

Track highlights: 1. "Remember" - 2. "That Great Love Sound" - 3. "Noisy Summer" - 5. "Let's Rave on" - 7. "Love Can Destroy Everything" - 8. "Heartbreak Stroll" - 11. "Chain Gang of Love" - 13. "New York Was Great"

Full-length studio debut by Danish band The Raveonettes following the ep debut Whip It On (May 2002) sees the band in a more traditional setup with a more professionally produced album - here co-produced with esteemed producer Richard Gottehrer, who had initiated his career working on 1960s albums as producer for The Angels, The Strangeloves, Dean Parrish, and The McCoys, during the 70s on albums by new wave artists like Blondie, Richard Hell & the Voivoids, and more traditional rock acts like Robert Gordon and Link Wray, and well into the 80s he produced albums for Joan Armatrading, The Go-Go's, The Fleshtones, Dr. Feelgood, before slowing down throughout the 90s where he worked on releases by Aerosmith and Miss B. Haven - after which Sune Wagner 'dug him out' to have someone with the skills to create a sound that would stand the test of time as a proper 60s production. Just as Gottehrer had written songs for and with former classic acts he has co-composed the song "That Great Love Sound" for this album together with Wagner, who is credited all other songs.
The Raveonettes had been singled out as part of a wave of upcoming artists, when Sony / Columbia signed the band, which again paved way for Wagner and Foo to work with a famous producer and to fund recording sessions in both Copenhagen and in New York. As with the ep-debut, the front cover suggests 1950s / early 60s with the duo on classic motorbikes as if still images taken from the 1953 film "The Wild One" featuring Marlon Brando, and it also comes with the same line as found on the ep: "Recorded in Glorious Bb-Minor". The album consists of 13 tracks with a total running time of 33 minutes making the compositions quite short. Compared to the one-year old ep, there's a slight turn towards a bolder garage rock and 60s pop music with strong bonds to surf rock and what became known as Phil Spector's wall-of-sound productions, which means a move away from the harder tones of rockabilly / psychobilly. "That Great Love Sound" and "Heartbreak Stroll" were selected for single releases but they didn't peak higher than number #34 and #49 respectively in the UK ("Heartbreak Stroll made a top-3 entry in Denmark), and the album made it to number #43 on the UK albums chart list, #53 in Sweden, and peaking as number #5 on the national list. Basically proving some international interest, though probably not as much as the label had wished for.
Chain Gang of Love is more than a decent debut. But one of the reasons it didn't succeed as well as the label had sat out for, could be an obvious link to noise rock act The Jesus and Mary Chain with bonds to the post-punk scene, indie rock of the 80s, which had all peaked at some point and what ultimately could appear as a too heavy mix of styles and influences pointing in too many directions - at least from distributors' and critics' point of view. However, the band still attracted an audience, although, at this point, they were still regarded as someone to keep an ear on. A potential was there but would they be able to fulfill the expectations?
Back in the day, I would probably have rated this 3 / 5 as the music didn't catch me. It's in retrospect that I have come to enjoy this more, and to see it as an important starting point to band's later releases but without this, they would never have been able to make such great albums later on, and then you have to give it to them and to Gottehrer: they have really made a distinct and classic sound on this one.
Recommended.

17 December 2015

Neil Young & Crazy Horse "Year of the Horse" (1997) (live)

Year of the Horse (live)
release date: Jun. 17, 1997
format: 2 cd
[album rate: 3,5 / 5] [3,52]
producer: "Horse" [Neil Young & Crazy Horse]
label: Warner Bros. - nationality: Canada

Another live album by Neil Young released as Neil Young & Crazy Horse recorded while on tour in 1996 and originally released by Reprise. Year of the Horse is actually foremost a documentary film directed by Jim Jarmusch following the band on their 1996 tour but also a 2 disc live album. The tracks are not taken from a specific album but are primarily from an early period up until the live album Rust Never Sleeps.
Now, without having seen the film, I think that it could work as documenting this great artist with his legendary backing band on tour, but the album itself seems somewhat redundant. It hasn't much new to offer that one won't find (better) in his back catalogue, and the selection of songs and the sound doesn't really add things up. Having said that, the tracks here are fine and it contains some truly great and essential songs - the only 'problem' about it is that for fans there's not much new. It's a bit like realising: "Yeah, we forgot to invite Jarmusch along while doing Weld 'cause we all know that was a hell of a peak. So let's make part two of that one. This one's for Jim!".
The not so successful tracks are basically the entire disc 2 with the only exception of "Sedan Delivery", which means not essential inclusions of tracks like "Slip Away", "Scattered", "Danger Bird" and "Prisoners of Rock 'n' Roll" all dragging the overall experience in the wrong direction after a strong start on disc 1.
The good stuff is a great version of "Barstool Blues", a fine live version of "Mr. Soul" and Neil & Crazy Horse live... well, it can't be bad even if they try. With tracks like "When You Dance I Can Really Love", "When Your Lonely Heart Breaks", and then "Pocahontas" played live  - hell, even as I think of this as a bit of a disappointment, it's really much better than decent or just good. It may not be essential but it's worth more than a listen or two. However, the three best live albums by Neil Young does not include this one.
[ allmusic.com 2,5 / 5 stars ]

30 November 2015

The Raveonettes "Whip It On" (2002) (ep)

Whip It On
(ep) (debut)
release date: May 27, 2002
format: cd
[album rate: 3,5 / 5] [3,56]
producer: [rec. by Sune Rose Wagner]
label: Crunchy Frog - nationality: Denmark

Tracklist: 1. "Attack of the Ghost Riders" - 2. "Veronica Fever" - 3. "Do You Believe Her" - 4. "Chains" - 5. "Cops on Our Tail" - 6. "My Tornado" - 7. "Bowels of the Beast" - 8. "Beat City"

Studio ep debut by Danish duo The Raveonettes consisting of Sune Rose Wagner and Sharin Foo. Wagner put an end to his brain-child Psyched Up Janis in 1999, and after a short stint with the instrumental psycho-billy band Tremolo Beer Gut, Wagner formed The Raveonettes with bassist Sharin Foo in late 2001. Initially, the band was full-members band centered around Wagner and Foo, and along the way it rooted as a duo, who would invite various musicians and vocalist to perform on specific releases.
Whip It On is an 8-track ep (originallly issued in Digipak and 10'' vinyl formats) with a running length just above 21 minutes resulting in quite short compositions all credited Wagner. A note on the cover cover stating: "Recorded in Glorious Bb-Minor" explicitly add detailed information about the music. For these recordings the duo made use of additional guitarist Manoj Ramdas and drummer Jakob Hoyer.
Stylewise, this debut represents a narrow combo of styles mostly originating from the late 1950s and early 1960s. It's basically a blend of garage rock, surf rock, and rockabilly - sometimes with a twist of 'modern' psychobilly, and with full attention on twang and reverb. Wagner already showed his interest for American old school rock music while playing in Psyched Up Janis - accentuated on the band's final studio album Enter the Super Peppermint Lounge (1998), and then with Tremolo Beer Gut, he commited fully on surf rock, rockabilly and psychobilly styles. In that regard, The Raveonettes comes out as a more harmony- and vocal-founded project, which focus both on compositional strength as well as presenting us with actual songs. This is actually, something you could say about their entire following production on the many albums that would follow this, and also despite taking on various stylistic detours on their way, but The Raveonettes always seem to carry a strong affection for quality of sound by implementing their output via... songs. The front cover is characteristically held in b/w with few coloured letters - again setting time and place to a period of the late 1950s and early 1960s - basically pre-Beatles era, which at the early stage of the band was mandatory. The album credits doesn't mention any producer, only that Sune Wagner recorded and wrote all tracks.
The album was met by some national attention and the band was right from scratch on both a critics' darling and a much treasured live cult act, i.e. not as such a mainstream hit but a band with evident potential.

The Gun Club "Lucky Jim" (1993)

Lucky Jim
release date: 1993
format: cd
[album rate: 3 / 5] [3,18]
producer: Jeffrey Lee Pierce, Peer Rave
label: Solid Records - nationality: USA

Track highlights: 1. "Lucky Jim" - 2. "A House Is Not a Home" - 3. "Cry to Me" - 6. "Idiot Waltz" - 7. "Up Above the World" - 8. "Day Turn the Night"

7th and final studio album by The Gun Club follows one year after Pastoral Hide & Seek. Since then, the band has been reduced to a trio as Kid Congo Powers has left to pursue his own project-band, Congo Norvell. The trio then consists of Jeffrey Lee Pierce on vocals and guitar, Romi Mori on bass, and with Nick Sanderson on drums [who once again had been out, but returned]. The style hasn't evolved much since The Las Vegas Story from 1984 but as no-one else sounds quite like The Gun Club nor like Jeffrey Lee Pierce that's not really a bad thing. The garage rock and punk blues rawness has subsided and is  here replaced by a stronger blues rock tone. Simplicity remains, and there's still an edgy tone and Pierce's fragile/desperate voice on top of all compositions. It's by no means poor or mediocre, I just miss that unspecified greatness, which is something else than melancholic despair.
Three years following this, Jeffrey Lee Pierce was found dead as a result of a life-style as a long-time heroin addict and with various deceases as side-effects.
[ allmusic.com 4 / 5 stars ]

18 November 2015

Cornershop "Hold on It Hurts" (1993)

Hold on It Hurts [debut]
release date: Dec.? 1993
format: cd (1995 reissue)
[album rate: 3 / 5] [3,18]
producer: John Wills; Tjinder Singh
label: Merge Records - nationality: England, UK

Track highlights: 3. "Readers Wives" - 5. "Inside Rani (Long Version)" - 4. "Change" - 6. "Born Disco, Died Heavy Metal" - 8. "Where D'u Get Your Information" - *11. "England's Dreaming"
*Bonus track on '95 US-issue

Studio album debut by Cornershop originally released on Wiiija Records. Cornershop consists of songwriter Tjinder Singh on vocals and bass, his brother Avtar and Ben Ayres (aka Benedict Ayres), both on guitar and vocals, Saffs (aka Anthony Saffery) on sitar, Wallis Healey on guitar, and with David Chambers on drums. All music is credited the band, although, Tjinder and Ben are at the centre of the band with Tjinder as primary songwriter as the natural leader. The album was released exclusively in the UK in '93.
The style is rather hard to narrow in - alt. rock, indie rock, and raga rock are definitely embracing it but those terms may not suffice. Several tracks are definitely punk rock, noise rock, or grunge rock-styled, whereas others share traits from post-punk, gothic rock, dream pop and alt. dance as a new kind of fusion rock embracing elements from funk, soul and South Asian folk. This huge melting pot of styles is not entirely mediocre as it contains much originality, although, it may be a difficult first listen.
The '95 US-edition released on Merge also contains an additional 5-tracks taken from the ep Lock Stock & Double-Barrel included as bonus tracks at the end.
[ allmusic.com 4 / 5 stars ]

16 November 2015

The Gun Club "Pastoral Hide & Seek" (1990)

Pastoral Hide & Seek
release date: Oct. 1990
format: vinyl (ROSE 220 CD) / cd
[album rate: 4 / 5] [3,88]
producer: Jeffrey Lee Pierce
label: New Rose Records - nationality: USA

Track highlights: 1. "Humanesque" - 2. "The Straights of Love and Hate" - 3. "Emily's Changed" - 4. "I Hear Your Heart Singing" (4,5 / 5) - 5. "St. John's Divine" - 7. "Another Country's Young" - 8. "Flowing"
[ full album ]

5th studio album by The Gun Club follows three years after Mother Juno (Oct. 1987) and it was originally released on Fire Records. The album is the second in the new formation of the band after Jeffrey Lee Pierce had put an end to the band and initiated a solo career. As usual, Pierce is sole composer of the majority of the tracks, and this time he has put himself in the producer seat as well. The sound may not be impressive but the style is almost certified The Gun Club - a style connected so much to Jeffrey Lee Pierce, his poignant singing voice, his characteristic guitar-sound that no matter who he invites to play with him sounds crystallised as The Gun Club, and that is more than just sufficient. I've all ways linked The Gun Club with the music of Nick Cave and The Bad Seeds and all days found The Gun Club the more interesting band - or: showcasing a greater potential. In a contemporary perspective I didn't put this band among my favourites - I liked it, though, but may have neglected its qualities because of the lo-fi production, and the ever-present component of country. I think I might have put he band alongside artists like Adrian Borland, Bob Mould, R.E.M. etc [without comparison whatsoever!] had I acknowledged it as much as I do now. Fact is, I just listened to much else back then, and The Gun Club was somewhere in the background: interesting and fine, but not really 'it'. Today, I find that Jeffrey Lee Pierce definitely had 'it', and that he proved it over and over again. I have come to understand why he became a favourite of other artists and also a music critics' icon. This album doesn't contain obvious fillers, and in my mind and in a close race with The Las Vegas Story (1984), I find this to be the band's best.
[ allmusic.com 4 / 5 stars ]

[ collectors' item ]

09 November 2015

The Gun Club "Mother Juno" (1987)

Mother Juno
release date: Oct. 19, 1987
format: cd (2006 remaster)
[album rate: 3,5 / 5] [3,56]
producer: Robin Guthrie
label: Flow Records (Remaster) - nationality: USA

Track highlights: 1. "Bill Bailey" - 3. "Lupita Screams" - 4. "Yellow Eyes" - 5. "The Breaking Hands" (4,5/ 5) - 6. "Araby" - 7. "Hearts" - 8. "My Cousin Kim"

4th studio album by The Gun Club originally released on Red Rhino is the band's first release after its reformation and it follows more than three years after The Las Vegas Story (1984). Between these two, Jeffrey Lee Pierce released his solo album debut, but for this he has reformed the band together with guitarist Kid Congo Powers, bassist Romi Mori (lead guitar on #4), and with drummer Nick Sanderson. Pierce has written and composed all tracks and they really sound like no one else - also here. Blixa Bargeld of The Bad Seeds play guitar on "Yellow Eyes". It's quite amazing how the band seems to just continue where the 1984 album ended, considering that one half of the band wasn't taking part in the making of that album. I never got hold of any of their original albums at the time of their release, but Mother Juno was an album that I found at the local library but didn't quite appreciate back then. The only album that I really liked was The Las Vegas Story from 1984. The version, I have of Mother Juno is a remastered edition including the bonus disc titled "The Berlin Tapes", which is a very nice find. "The Breaking Hands" is a marvelous track - fans of the band would probably call it over-produced, and it IS a strange cocktail to have Robin Guthrie as album producer. Stylewise, The Gun Club and Cocteau Twins are nowhere near each other, or with regards to genre for that matter, but I really like this album as it has a fine delicate feel of garage rock, the ever-present hesitating energy of Pierce, and a productional side that tries to catch up and embrace it all, but still leaves room for all the quirkiness.
[ allmusic.com 4,5 / 5 stars ]

01 November 2015

Kings of Leon "Aha Shake Heartbreak" (2004)

EU cover
Aha Shake Heartbreak

release date: Nov. 1, 2004
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Ethan Johns and Angelo Petraglia
label: Handmedown Records - nationality: USA

Track highlights: 1. "Slow Night, So Long" - 3. "Taper Jean Girl" - 6. "The Bucket" - 7. "Soft"

2nd studio album by Kings of Leon, once again produced by Ethan Johns and Angelo Petraglia (only credited as Angelo) shows a different approach. The band has moved away from what I recognised as 1960s (primarily British) blues rock insofar that the style has become more contemporary indie rock-oriented, which I find is an improvement making the album a better release. There's a tighter aggressiveness and controlled withheld energy - a complementary sound of hard and soft, which balances the compositions nicely. The album only lacks truly noteworthy songs, but it's obvious that they are great instrumentalists and as a whole I find this clearly bettering the debut.
[ allmusic.com, Rolling Stone 3,5 / 5, NME, Q Magazine, Blender 4 / 5 stars ]


US cover