Chris Isaak "Heart Shaped World" (1989)

Heart Shaped World
release date: Jun. 13, 1989
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Erik Jacobsen
label: Reprise Records - nationality: USA

Track highlights: 1. "Heart Shaped World" - 5. "Wicked Game" (4,5 / 5) - 6. "Blue Spanish Sky" (4 / 5) - 8. "Forever Young" - 9. "Nothing's Changed"

3rd studio album by Chris Isaak is a strong album with his own blend of rock & roll, rockabilly, americana and with clear country elements. The album was the first I discovered by Isaak, and I still consider it one of his absolute best.
[ allmusic.com 4,5 / 5, Sputnik Music 4 / 5 stars ]

Chris Isaak "Chris Isaak" (1987)

Chris Isaak
release date: Feb. 16, 1987
format: cd (1990 reissue)
[album rate: 3,5 / 5] [3,62]
producer: Erik Jacobsen
label: Warner Bros. - nationality: USA

Track highlights: 1. "You Owe Me Some Kind of Love" - 2. "Heart Full of Soul" - 3. "Blue Hotel" (4 / 5) (live) - 4. "Lie to Me" (4 / 5) - 7. "This Love Will Last"

2nd studio album by Chris Isaak is like the debut produced by Eric Jacobsen and released by Warner. The title signals an early new - but still second - start. Perhaps because the debut was rather unnoticed by critics and music buyers, which also explains a more mainstream approach with more jangle pop instead of the more laid-back americana sound on the debut.
I don't think it betters the debut much, but it certainly has more mainstream potential. The songs are still pretty good, and it's basically a more homogeneous album, although, I find that the first half is clearly the best.
[ allmusic.com 3 / 5 stars ]

Chris Isaak "Silvertone" (1985)

Silvertone [debut]
release date: Jan. 10, 1985
format: cd (1987 reissue)
[album rate: 3,5 / 5] [3,56]
producer: Erik Jacobsen
label: Warner Bros. - nationality: USA

Track highlights: 1. "Dancin' " - 3. "Livin' for Your Lover" - 5. "Voodoo" - 6. "Funeral in the Rain"

Studio debut album by Chris Isaak named after his 3-piece backing band consisting of James Calvin Wilsey on guitar and lap steel, Prairie Prince on drums and with Chris Solberg on bass. The credit list on the back cover only enlists James Calvin Wilsey in the same character font as Isaak himself with production staff mentioned afterwards, which points to Wilsey's significance. It is after all his lap steel guitar and its 'surf rock' sound that has become a kind of a trademark of Isaak's.
I didn't come across this album until recently, and I must confess that it overshadows his more successful later releases. At this point he was overlooked in the chart lists and it wouldn't be until his "Wicked Game" single from '89 that he became an international star. Three of the album tracks (#1, #5 and #6) are issued on the Wicked Game compilation album from 1991.
[ allmusic.com 4,5 / 5 stars ]

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.

Volbeat "Beyond Hell / Above Heaven" (2010)

Beyond Hell / Above Heaven
release date: Sep. 10, 2010
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Jacob Hansen
label: EMI - nationality: Denmark

Track highlights: 1. "The Mirror and the Ripper" - 2. "Heaven Nor Hell" - 4. "Fallen" - 5. "A Better Believer" - 13. "Thanks"

4th studio album by Volbeat follows one year after Guitar Gangsters & Cadillac Blood, is like all the band's previous albums produced by Jacob Hansen.

The line-up remains intact and the writing/composer-procedure continues with the same pattern with poulsen as only songwriter and composer of 9 out of 13 songs and as co-composer with other band members on 4 songs.
Again, the music is within narrow boundaries of primarily hard rock and as on the 2008 release, they succeed with a personal expression. They also explore the use of featuring artists as on their national monster-hit "A Garden's Tale" with Johan Olsen to much further extend. Henrik Hall of Love Shop features on track #2, Mille Petrozza of Kreator and Michael Denner of Mercyful Fate / King Diamond both feature on track #6, Jakob Øelund of Taggy Tones is featuring artist on track #8, and Mark 'Barney' Greenway of Napalm Death appears on track #11. The album is the band's final with guitarist Thomas Bredahl, who left the band in Nov. 2011.
I do recognize the band's contribution to the genre and their hard-headed determination. Still, the style is not really something I listen much to, and I still think many of their tracks sound too much alike. Compared to the predecessor that in some ways signaled a new way, they once again seem stuck with a matrix they think is the right combination to open the hidden safe box, which will let them have all the money and fame instead of making some new great music. Again, it's not entirely bad, it's just not something I would recommend because it's like the C and D-sides to an earlier album and I frankly think they are stuck in a bubble with no doors.
Not recommended.
[ allmusic.com 3,5 / 5 stars ]

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.

Volbeat "Guitar Gangsters & Cadillac Blood" (2008)

Guitar Gangsters & Cadillac Blood
release date: Sep. 1, 2008
format: digital
[album rate: 3 / 5] [3,06]
producer: Jacob Hansen
label: Mascot Records - nationality: Denmark

Track highlights: 3. "Back to Prom" - 4. "Mary Ann's Place" - 6. "Maybellene i hofteholder"

3rd studio album by Volbeat following 1½ years after Rock the Rebel / Metal the Devil (Feb. 2007) is also the band's third with Jacob Hansen as producer. The album is the first to feature new guitarist Thomas Bredahl, who replaced Franz Gottschalk after the 2007-album.
Stylewise, it seems the band attempts to continue on a musical path laid-out by their most popular song from the predecessor "A Garden's Tale". It's no longer only blazing and simple heavy metal and rockabilly but a turn to more sophisticated compositions. And speaking of which, previously lead vocalist Michael Poulsen was credited all the band's songs but here he is only credited as sole songwriter and composer of five of the album's 14 songs. Seven are co-composed with mostly new guitarist Thomas and / or bassist Anders Kjølholm and drummer Jon Larsen. Two songs are old classic covers (tracks #11 by Hank Williams, and #14 by Jimmy Work).
The album is not bad, although, it's still rockabilly and heavy metal but here they have simply produced better material and turned down the pure metal grinding machine and added a few nice sing-a-long choruses here and there. It's pretty much like a rewind to the better follow-up to the debut album.
In my mind, this is the band's best album, but it's still not really recommended.

Volbeat "Rock the Rebel / Metal the Devil" (2007)

Rock the Rebel / Metal the Devil
release date: Feb. 23, 2007
format: digital
[album rate: 3 / 5] [2,85]
producer: Jacob Hansen
label: Mascot Records - nationality: Denmark

Track highlights: 3. "The Garden's Tale (feat. Johan Olsen)" - 7. "Radio Girl"

2nd studio album by Volbeat following 1½ years after their debut album (Sep. 2005) is once again made with producer Hansen. The band remains the same quartet for these eleven new recordings but lead guitarist Franz 'Hellboss' Gottschalk was after the album release replaced by Thomas Bredahl. The music and style here is pretty much like on the debut without any noteworthy changes, except from a negative one with less remarkable songs that once again are only credited singer and vocalist Michael Poulsen.
There's still too much rockabilly and heavy metal for my taste. The only standout is track #3, which simply is a combination of forces. It's made with featuring vocalist Johan Olsen of Danish rock-band Magtens Korridorer, and via his contribution with a strong, characteristic vocal fusioned with a great composition this song sky-rocketed the band's popularity, and it has almost become an alternative national anthem. One song doen't make a great album, and imho you would do yourself a favour by simply just getting the single.
Not recommended.

Volbeat "The Strength / The Sound / The Songs" (2005)

The Strength / The Sound / The Songs [debut]
release date: Sep. 26, 2005
format: digital
[album rate: 3 / 5] [2,88]
producer: Jacob Hansen
label: Rebel Monster - nationality: Denmark

Track highlights: 1. "Caroline Leaving" - 4. "Rebel Monster" - 5. "Pool of Booze, Booze, Booza" - 8. "Soulweeper" - 13. "I Only Wanna Be With You"

Studio album debut by the Danish band Volbeat released on Dutch label Rebel Monster Records. The band is a quartet consisting lead vocalist and rhythm guitarist Michael Poulsen, lead guitarist Franz 'Hellboss' Gottschalk, bassist Anders Kjølholm and drummer Jon Larsen. The album contains 15 tracks and with 3-4 decent tracks it doesn't make a really good album. The album was well-received, nationally, but it's not really my style, as it's simply too much heavy metal, and the combination with rockabilly doesn't make it any better. Since this, the band has experienced considerable and increasing popularity in most of Scandinavia. From my perspective, the band summons up standardised hooks and simple chorus-lines without adding anything new to a genre and style that just doesn't appeal to me. To me, they could be playing the same 4-5 melody-lines with small variations leaving me wondering if the album didn't have 15 tracks and not 5. Also, Poulsen's vocal is tiresome after a few tracks and it becomes a bit of a struggle to listen through the whole album. Still, I rate it above mediocre, and sometimes wonder why. But this is their starting point and tracks #1, #4, #5 and the Dusty Springfield cover, track #13 all have some qualities that could be elaborated on, and could make stepping stones for better future albums.
Not recommended.

Neil Young & Shocking Pinks "Everybody's Rockin' " (1983)

Everybody's Rockin'
release date: Jul. 26, 1983
format: cd (1993 reissue)
[album rate: 2 / 5] [2,18]
producer: Neil Young and Elliot Mazer
label: Geffen Records, Germany - nationality: Canada

Track highlights: 4. "Wonderin' " - 5. "Kinda Fonda Wanda" - 9. "Mystery Train"

13th studio album by Neil Young released as Neil Young and the Shocking Pinks. This is rockabilly country rock! Now, talk about an unlucky number! Gee, I hardly now how to rate this. Is it just a joke, or is it Neil's homage to some of his original sources of inspiration from the 1950s?? One theory suggests that it's an attempt, once and for all, to make the record company decide that Neil Young is no more - that all that is left of this gifted musician is some crazy guy who used to be one of the most lucent singers and songwriters. Fact is, the following year, Geffen Records sued Neil Young for $3.3 million dollars on grounds that this album and its predecessor were uncharacteristic for his style. Young counter-sued Geffen for $21 million for neglecting contractual specifications about his artistic freedom and they settled their dispute off-court.
Neil Young is notoriously known for writing his own songs, but most of these are cover-versions, so it's also an album off the track in that respect, and I don't really like it much. Anyway, you really have to love both cheesy country AND rockabilly to appreciate this album - I mean, it's not quite enough to love Neil Young. Even gods make mistakes, and this is one of his biggest blunders, although, I find it more digestible than both the 1981 and '82 albums.
This album is not recommended except for completists.
[ allmusic.com 2 / 5 stars ]

The Clash "Sandinista!" (1980)

Sandinista!
release date: Dec. 12, 1980
format: 3 lp vinyl (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 ]