Jon Fratelli "Bright Night Flowers" (2019)

Bright Night Flowers

release date: Feb. 15; 2019

format: digital (9 x File, MP3)

[album rate: 3,5 / 5] [3,55]

producer: Jon Fratelli, Stuart McCredie

label: Cooking Vinyl - nationality: Scotland, UK

Track highlights: 1. "Serenade in Vain" - 3. "After a While" - 5. "Rolling By" - 7. "Dreams Don’t Remember Your Name" - 9. "Somewhere"

2nd solo album from The Fratellis front figure Jon Fratelli (aka John Paul Lawler) as his solo follow-up to Psycho Jukebox (Jul. 2011) may follow 7½ years later but it's a bit of a difficult situation thinking Jon's solo releases represent something different from what he makes with the band - partly because in The Fratellis, he's the only songssmith of the band, he mostly stands as only composer, and he delivers the songs as lead vocalist accompagnied by his lead guitar or keyboard notes, and then also because the music by the trio hasn't exactly been a one-dimensional soundscape but it has changed considerably over its five studio releases. And whether Jonn has been in front of the band, representing one half of the duo-project Codeine Velvet Club, or delivering his own songs entirely on his own, the music blends, loans, and make up a whole that is the product by John Paul Lawler. He obviously enjoys baroque pop, power pop, glam rock, garage rock, and appears to have been influenced by American singer / songwriters of various eras, and that may be found on the music he produces. His first solo attempt from 2011 sounded much like a blend of The Fratellis as they came out on the debut Costello Music (2006) with hints from the more orchestrated follow-up Here We Stand (2008). With Codeine Velvet Club (2009) he revealed his love for baroque pop, and then followed three more albums with The Fratellis that both show various stylistic variations and in a way sums up the big pond from where he's musically influenced. All that history sort of lays a foundation to Bright Night Flowers, although, it fits perfectly in Lawler's musical influences, it nevertheless reveals a new side to his many statements so far by being more soft rock -or ballad-oriented with music inspired by an American songwriter tradition, I think. It's not far from what the albums Codeine Velvet Club, Here We Stand, and Eyes Wide, Tongue Tied (2015) indicated. There's like a deeper layer to his songs with themes that he attempts to ellaborate on instead of building music on sing-a-long catch-phrases and tickling guitar-hooks. In that way, he does remind me of how Alex Turner of Arctic Monkeys stood out as someone with more substantial things on his mind. That said, there's something more traditional to the music of Lawler, who focuses more directly on the strengths of his stories than what could have been a way to produce new music that blends almost anything. In that respect, Lawler stays on secure musical roads where others may have been but he nevertheless exells with his fine vocal and delicate touch with a handful of melancholic songs that may grow on you when given enough attention.

Don't expect The Fratellis' hooks or energy. It's not something revolutionary but more a quite traditional

menu with glimpses of beauty.

[ allmusic.com, Spill Magazine, Hot Press 4 / 5, Uncut 3,5 / 5 stars ]

Kashmir "Trespassers" (2010)

Trespassers
release date: Feb. 1, 2010
format: cd
[album rate: 2 / 5] [2,05]
producer: Kashmir, Andy Wallace, John O'Mahony
label: Columbia Records / Sony Music - nationality: Denmark

Track highlights: 1. "Mouthful of Wasps" (2,5 / 5) - 2. "Intruder" (3 / 5) - 3. "Mantaray"

6th studio album by Kashmir is yet another not so original album release with music strongly inspired by (mostly British) artists like Radiohead, Coldplay and bits of new stylistic elements in its universe taken from post-punk revival artists like Editors and Interpol. The track "Mouthful of Wasps" featuring Oh Land on vocals was played so often on the national radio stations P3 and P4 that I had to turn off my radio - it's simply not a fine song - at the best it's mediocre (this album isn't even that), and that's really a fitting label for this copy-band, but don't say that to a Dane - they are so proud of Kashmir, and Eistrup is such a gifted songwriter (there). The bass, guitar and drum lines are Radiohead-founded to a degree that makes me wonder: WHY not try something else??? And no, I don't mean when you add a piano-sequence from a Coldplay track! That doesn't make it any better.

Saybia "No Sound From the Outside" (2015)

No Sound From the Outside
release date: Oct. 2, 2015
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Michael Patterson, Nicolas Jodoin, Saybia
label: Columbia Records - nationality: Denmark

Track highlights: 2. "No Sound From the Outside" - 3. "Black Hole" - 4. "Hollow Is Your Promise" - 5. "One Minute Man" - 7. "It's About Time" - 8. "Down" - 11. "I'm Still Waiting"

4th studio album by Saybia released more than eight years since the predecessor Eyes on the Highway (Aug. 2007) and following the start of a succesful solo career of lead vocalist and songwriter Søren Huss. After the band's hiatus from late 2007 to Jul. 2010, the band played comeback concerts in the Summer of 2010 in the Netherlands, but it wasn't until 2014 that they announced a new album to be released early 2015. During the recording sessions, founding member, lead guitarist Sebastian Sandstrøm decided to call it a day and he was subsequently replaced by Kasper Rasmussen, which may explain the delay of the release.
I believe that many thought Saybia had come to an end after the 2007 album - and especially after Huss proved to experience major success as solo artist, and perhaps also after what some saw as an artistic slacken in the output from Saybia. Allegedly, Huss has stated that the band members didn't want to see their 2007 album as their final statement, which called for at least another attempt.
Stylistically, No Sound From the Outside still sounds very much like Saybia, but it appears as the band's most electrified studio release to date. Where the two predecessors have much in common, this one sticks out with a bolder alt. rock sound and style, which for a start makes a positive impression.
Musically, it may be in short of hit-material, although it succeeds by being no less than one of the band's most cohesive studio albums. It (obviously) still contains ballads, but they are shaped to a new formative sound and they don't point in various directions, and that's the album's biggest asset. Also, this is the first time you cannot argue that they sound like this or that - contemplating they copy this or that - yes, it's contemporary alt rock with various stylistic traits. Some compositions are shaped with inspiration from post-punk, others have progressive rock elements, and some reflect a more general soft rock approach, but altogether, they all sound like stemming from the same band just using whatever they find natural to colour its own original blend. At bottom line, I find they just sound as Saybia, which is a bit of an accomplishment.
The album didn't enter or peak at the top of charts but it reached the position as number #7 on the national albums chart list. Commercially, it may not be the great come-back album they sat out for, but musically, I find simply find it their second-best of all their albums, and who knows, perhaps in a few years, we'll all look back at this very album with a common confidence and state that it's actually their finest ever. It's a fine grower, and it contains several fine compositions.
Recommended.
[ Gaffa.dk 4 / 6 stars ]

10,000 Maniacs "Love Among the Ruins" (1997)

Love Among the Ruins

release date: Jun. 17, 1997
format: digital
[album rate: 3,5 / 5] [3,35]
producer: John Keane
label: Geffen Records - nationality: USA

Track highlights: 1. "Rainy Day" - 2. "Love Among the Ruins" - 5. "Green Children" - 7. "More Than This" - 11. "Shining Light"

6th studio album by 10,000 Maniacs following nearly five years after Our Time in Eden (Sep. 1992) is the first without Nathalie Merchant, who has been substituted by Mary Ramsey, and back in the band is founding member guitarist and songwriter John Lombardo, making the band a sextet once again. The style has changed to be less jangle pop, less mainstream pop / rock, and with more stress on traditional folk, and what's more apparent is that the great songs simply are absent. Nathalie Merchant almost wrote all lyrics for the band and now that part is left to the band as such, and although, Ramsey is not a bad singer, it's just that she simply doesn't have an instrument of a matching caliber to substitute Merchant. A cover version of "More Than This" originally performed by Roxy Music (written by Bryan Ferry) doesn't present the magic of the original. This is one of the band's least successful albums to date, imho, although, I'm fully aware that by losing old fans they still manage to attract a new audience, who find the new stylistic blend and sound a welcoming turn to traditional folk.
With this, I initially lost my interest in the band, who by no means was seen as a mere failure. I do think that some of the original fans really welcomed the return of Lombardo - the band's original guitarist and songwriter - and with him, 10,000 Maniacs returned to a more traditional stand of folk pop, which had been the basis for the duo John & Mary (Lombardo & Ramsey). Shortly after this, guitarist Robert Buck took a year off from the band to focus on another musical project but he returned again for what was regarded the final album from 1999. Sadly however, he passed away from a liver failure in Dec. 2000, which by then nearly put an end to the band.
Love Among the Ruins is not my recommended album to start with but it's part of the discography of 10,000 Maniacs albeit a fine example of contemporary soft rock founded on traditional folk, and in retrospect I do find it one of the band's best albums without Merchant. If you, as I do, associate this band with the sound of Nathalie Merchant, I suggest starting with the band's first five studio albums.
[ allmusic.com 2 / 5, Rolling Stone 2,5 / 5 stars ]

Gianna Nannini "Malafemmina" (1988)

Malafemmina
release date: 1988
format: vinyl (837 097-1)
[album rate: 3 / 5] [3,18]
producer: Alan Moulder & Gianna Nannini
label: Polydor Records - nationality: Italy

8th studio album by Gianna Nannini.

Rod Stewart "Unplugged... and Seated" (1993) (live)

Unplugged... and Seated (live)
release date: May 24, 1993
format: vinyl
[album rate: 3 / 5] [3,16]
producer: Patrick Leonard
label: Warner Bros. - nationality: England, UK

Live album by Rod Stewart with special guest Ronnie Wood on acoustic guitar recorded Feb. 5, 1993 at Universal Studios, Los Angeles as part of MTV’s Unplugged series.

[ collectors' item - from ~ €50,- ]

Sanne Salomonsen "Where Blue Begins" (1991)

Where Blue Begins
release date: Apr. 1991
format: vinyl (211 817)
[album rate: 2,5 / 5] [2,62]
producer: Jim Gaines, Sanne Salomonsen
label: Virgin Records - nationality: Denmark

8th studio album by Sanne Salomonsen recorded in Memphis, Tennessee, is her second consecutive album with English lyrics and it's an album of cover songs only.

C.V. Jørgensen "Lediggang agogo" (1983)

Lediggang agogo

release date: Feb. 1983

format: cd (MdCD 6130)

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

producer: Nils Henriksen

label: Medley Records - nationality: Denmark

Track highlights: 1. "Verden fra mit vindue" - 3. "Lediggang agogo" (4 / 5) - 4. "Backstage Boogie" - 6. "Johnny & Djiim" - 8. "Byen uden midler" - 9. "Elisabeth" (4 / 5)

7th studio album by C. V. Jørgensen released approx. 2½ years after his to date most successful and critically acclaimed Tidens tern, and with that comes a reunion with Nils Henriksen as both album producer and guitarist. Tidens tern was certainly a commercial highlight, but for C.V. it wasn't without costs, and after his break in '81 with Delta-Cross-Band, which had briefly been a regular backing band, it appears as if he now seeks - perhaps also by establishing greater self-control - to find his own path as an artist and as soloist . On this new album, Jørgensen is now the only one credited songs and music, and he's in charge controlling his music in a new musical direction as opposed to what seemed imminent after a commercial peak. The touring and the collaboration with Delta-Cross Band had come to an abrupt end in the Spring of '81 - C.V. didn't feel at home with the musical direction, and you could be tempted to ask yourself if he had felt trapped in the new narrow bonds. Billy Cross was co-composer on almost all tracks, and he was credited as musical arranger on a score he also produced. In that professional partnership, it's not difficult to see Jørgensen reduced to a vocalist and simple passenger on a cargo ship, over which he was no longer in control. Previously, he had only just freed himself from restrictive ties with Det Ganske Lille Band in the company of a number of stable musicians, only to find himself in even stronger ties. With Lediggang agogo, he finally stands alone as soloist with nine new tracks, and he has teamed up with guitarist Nils Henriksen, who produced T-Shirts, gummisko & terylenebukser (1975) and Storbyens små oaser (1977). Former drummer Gert Smedegård is also back, but it is obviously not a desire to reunite old forces, because on both guitar and bass, Jørgensen has hand-picked Lars Hybel (from Warm Guns, also former member of Spillemændene) and percussionist Jacob Andersen (from Sneakers) - and apart from a few other participants, this is the tight little unit who plays on the album.

C.V. Jørgensen has already made significant style changes several times in his career. The first time was with Storbyens små oaser (1977) and a turn towards laid-back soft rock with distinct elements from jazz, and already on the sequel Vild i varmen (1978) he was in a new place jumping into mainstream pop / rock with bigger arrangements, a bolder uptempo beat and with the inclusion of funk. Tidens tern (1980) offered a distinctly American-arranged version of traditional rock with roots in blues rock, and now on this, his most recent album, C.V. finds himself in a softer version with focus on lyrics. The songs are supported by lighter arrangements, which appear to link more to a British version of soft rock and with tempting hints of new wave, which could have drawn inspiration from bands like The Kinks and the more uptempo tracks from The Knack. You'll find splashes of jazz, but overall it still appears as a rock album, where the production probably has become slightly more scrappy, but the end result is that it presents itself more in harmony with other contemporary rock releases.

The album was certainly not what the audience or reviewers expected. Some critics saw the production as narrow and thin, and Lediggang agogo 'only' sold 30,000 copies in contrast to the quadruple sales figures of its predecessor, but C.V. was apparently happy with the new expression.

In the early eighties I considered this a minor album, but in retrospect I think it's better than it was then regarded to be. Compared to his 1980 album, Lediggang agogo is perhaps narrower but at the same time, it's also more focused, and it contains a number of fine tracks. I really enjoy the sound of Lars Hybel's guitar, which nicely pulls the surf rock guitar into the present, and which recalls the strength of Warm Guns. Likewise, Henriksen's guitar adds a layer of quality with a flavour of Andy Summers. The simple but tight arrangements give a sense of newer European rather than older American styled music. The tone of the narratives has also changed. It's no longer C.V.'s raised index finger against everyday consumption and other people's daily lives but a less stomach-churning view of life - or a more nuanced view. There have also crept in more introspective lyrics in 'I' form, which may be found on "Fingeren på pulsen", "Johnny & Djiim", "Byen uden midler", and best of all on the two brilliant songs: "Verden fra mit vindue" and " Elisabeth", where the latter is with the singer's mother in mind.

As usual since '79, the cover is credited C.V.'s girlfriend, Annemarie Albrectsen

Recommended.

Billy Joel "An Innocent Man" (1983)

An Innocent Man
release date: Aug. 8, 1983
format: vinyl / cd
[album rate: 4 / 5] [3,78]
producer: Phil Ramone
label: CBS Records - nationality: USA

9th studio album by Billy Joel is his fifth consecutive album to be produced by Phil Ramone, and it follows one year after the album The Nylon Curtain (Sep. 1982).
I really don't have any recollection that tells me anything about how and why I became convinced in purchasing this very album, although, I think I did acquire it in late '83 or in early '84. I wasn't particular interested in Joel and didn't know of any of his previous albums. My best guess is that I really liked the singles that I heard on MTV. A massive total of seven singles were released from the album - at first the promotion single "Tell Her About It" (Jul. 1983), which became the only number #1 single hit from the album, and then the following two singles: "Uptown Girl" (Sep. 1983) - peaking as number #3 in the US but generally performing best internationally - and "An Innocent Man" (Dec. 1983) making it to a tenth spot in the US. A fourth single "The Longest Time" was released Mar. '84, and it simply continued the fine chart performances reaching number #14 on the singles chart in the US, which paved the way for another three single releases: "Leave a Tender Moment Alone" (Jun. 1984) - charting as number #27, "This Night" (released exclusively in Japan and in the UK), and "Keeping the Faith" (Jan. 1985) peaking at number #18 in the US.
What I do remember is that I played the album quite a lot in about a year or so, after which it sort of had played its part. Listening to the album anew makes me remember the time but also reminds me that I never was and never has been a big fan of Billy Joel. Yes, he made some classic pop songs, and that's about it. At the same time there's something specifically American to his music that just doesn't appeal to me in the same way, say Bruce Springsteen, Neil Young, Lou Reed, Patti Smith, Joni Mitchell, or Etta James have had lasting impact. What's also saying about my taste for Joel, is the fact that I don't remember ever listening to his following album The Bridge (Jul. 1986) in its full length.
An Innocent Man is very much a product of a narrow time in music history. It's definitely a solid and classic album you should know of, although, many will have very different opinions as to calling it a certified classic pop album but to me, it fits on a shelve with best selling albums by Tina Turner, Michael Jackson, Pat Benatar, and Supertramp for that matter.
Recommended.

[ allmusic.com, Rolling Stone 4 / 5 stars ]

Radiohead "Hail to the Thief" (2003)

Hail to the Thief
release date: Jun. 9, 2003
format: cd (2008 reissue)
[album rate: 3,5 / 5] [3,32]
producer: Nigel Godrich & his magic boxes
label: Parlophone - nationality: England, UK

Track highlights: 1. "2 + 2 = 5 [The Lukewarm.]" - 3. "Sail to the Moon. [Brush the Cobwebs Out of the Sky.]" - 9. "There There. [The Boney King of Nowhere.]"

6th studio album by Radiohead (fourth to be co-produced by Nigel Godrich) is the band's continued journey into new territory. It's the band's so far final studio album released on the EMI-owned label, Parlophone. The band has moved away from the jazz rock influence, which is heard on the two previous albums and instead they combine an acoustic-founded base of soft rock with a more electronic sound by incorporating synths and programming in addition to piano and guitar-based compositions, thus making a particular spacial and sometimes almost ambient sound.
Almost as usual the new album, the new style, made way for critical acclaim, and the album was like its predecessors nominated several prizes and [as could easily have been predicted] it topped the national album charts list as well as selling more than just well in a number of countries.
I have never really enjoyed this particular album much. I have tried to listen to it many times but mostly I just find myself in desperate search of 'that thing' I do not grasp, and each time it simply eludes me. I have come across some positive reviews referring to the album's strong lyrics, as comments to Western society, American politics, etc., which is to say: strong narrative qualities. However, I never have and never will be able to use the lyrical aspect of music alone as an argument for critical acclaim. In music, there has to be good music. Point taken, 'cause I think it lacks here. I consider it a low point only exceeded by the debut in the band's discography.
[ allmusic.com, Rolling Stone 4 / 5, Spin, Uncut 4,5 / 5, The Guardian 3 / 5 stars ]

Saybia "Eyes on the Highway" (2007)

Eyes on the Highway
release date: Aug. 27, 2007
format: cd
[album rate: 3,5 / 5] [3,42]
producer: Rune Nissen-Petersen, Saybia
label: EMI Music Denmark - nationality: Denmark

Track highlights: 1. "On Her Behalf" - 2. "Eyes on the Highway" - 3. "Angel" - 4. "Godspeed Into the Future" - 7. "Pretender"

3rd studio album by Saybia, who has timed up with Danish producer Rune Nissen-Petersen, although, still blending melodic soft rock and pop / rock in a mix with acoustic ballads and more uptempo chorus-based rock tunes the style very much seems unchanged compared to These Are the Days from 2004.
Tracks #2-4 make up a collection of very strong compositions but the rest doesn't quite match this high level, but what's worse is that the band has been met by a declining interest from music fans, and despite being well-received by most critics, the album became the band's so far least successful release in terms of sold albums - only reaching 15.000 sold copies nationally, where it also peaked at number #2 on the national albums chart list. And it secured the band top-20 entries in Norway, Switzerland and in the Netherlands, where the band most likely experienced greater success than they did nationally.
Eyes on the Highway is by no means a bad album - it's just as unfocused and incoherent as its predecessor. The band members play with instrumental skills, but they still sound like they are too much inspired by others. You listen to one of their songs, and immediately ask yourself, what artist and song it sounds like 'cause it's really hard to point to the very essence of Saybia without mentioning 4-5 familiar names, which is kind of sad. Also, this band doesn't exactly release new albums every year - you have to wait some years, which should leave them time to make something coherent and original. And frankly, if you put together the band's last two albums, you actually have enough great songs to make two great but also very different albums, but instead we have two fine and yet much alike releases pointing in too many directions to call them great.
Tragically, the wife and daughter of Huss were involved in a traffic accident, Dec. 2007, in which the wife was killed and the daughter hospitalised with severe injuries. This of course came to have a significant impact on the band's further engagements. In late summer of 2008 Saybia officially announced to take a planned hiatus, although they played their scheduled Autumn concerts.
[ Gaffa.dk 3 / 6 stars ]

Saybia "These Are the Days" (2004)

These Are the Days
release date: Sep. 14, 2004
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Andreas Ahlenius, Saybia
label: EMI-Medley - nationality: Denmark

Track highlights: 1. "Brilliant Sky" - 2. "Bend the Rules" - 3. "I Surrender" (4 / 5) - 4. "Guardian Angel" - 6. "Soul United" - *11. [untitled]
*unlisted song with a running time at 17:22

2nd studio album by Saybia released 2½ years after the acclaimed debut is like that produced by Saybia and Swedish producer Andreas Ahlenius. The album marks a slight change of style by being lesser crafted as a mere rock album - there's a bolder use of acoustic instrumentation with piano, acoustic guitar and strings as opposed to electric guitars and keyboards, although, the first two compositions take off in an orchestrated electrified production.
Following an acclaimed debut, These Are the Days didn't quite meet the expectations, despite also topping the national chart list, and it also appears as pointing in at least two different directions. It starts off with britpop electrified energy and then slows down with singer / songwriter material, and then it all ends with a strong progressive rock anthem, which makes you wonder where they will go after this. Even after years and dozens of full listenings, it really feels very unresolved when it clings out after close to 60 mins.
Saybia still sounds like Coldplay and Keane, but I also hear inspiration from Radiohead and Mew, which isn't entirely something bad - I just end up asking myself what Saybia is all about 'cause I can't decide whether it's the first power track, the beautiful soft pop / rock ballad, "I Surrender", or the post rock-inspired end-composition that marks the true highlight of this album. Not that any particular track necessarily needs to sum up the album's strengths, but it just exemplifies how impossible it is to point to that personal trait of what Saybia is, and I think that's not only the album's biggest weakness but also Saybia's. Having said that, I do think it's a mighty fine collection of worthy pop / rock material, which should not be forgotten and which also stands quite strongly against artists like Keane and Coldplay, imho.
[ Gaffa.dk 4 / 6 stars ]

Supertramp "The Very Best of Supertramp" (1990)

The Very Best of Supertramp (compilation)
release date: Jun. 3, 1990
format: digital
[album rate: 3 / 5]
producer: various
label: A&M Records - nationality: England, UK

Compilation album by Supertramp comprising mostly the band's most commercially successful albums with just one track originating from Crisis? What Crisis?, one from "'Famous Last Words', and one from their '85 album without Hodgson Brother Where You Bound, two from Even in the Quietest Moments..., but then four tracks have found it's way to this from Breakfast in America and six (!) from Crime of the Century, which makes it a best of album consisting of 2 /3 of the songs originating from only two albums, which I think is near ridiculous. Yes, it's a compilation, and although Supertramp isn't one of my favourite acts, I really miss more songs - also from my personal favourite.
[ allmusic.com 4,5 / 5 stars ]

Supertramp " "...Famous Last Words..." " (1982)

"...Famous Last Words..."
release date: Oct. 1982
format: digital
[album rate: 2,5 / 5] [2,56]
producer: Peter Henderson, Russel Pope, Supertramp
label: A&M Records - nationality: England, UK

Track highlights: 3. "It's Raining Again" - 9. "Don't Leave Me Now" (2,5 / 5)

7th studio album by Supertramp. The title is in brackets suggesting something more than just a final album, which has to do with founder Rodger Hodgson's decision to leave the band and pursue a solo career. Roger Hodgson and Rick Davies are credited as exclusive composers of almost every song in the band's back catalog, which also is the case on this one. The two have also shared the role as lead vocalist, sometimes both singing lead on the same song, and often, like here, they have arranged the songs on the album so Hodgson has lead on tracks #1, #3, #5, #7, and #9, and Davies on the others. So it's an obvious end to the backbone of the band, but the title also suggests that the band will continue. I have never paid the album much attention, and frankly find it very much like the predecessor: boring except for one or two songs, but the hit song have also been played on every radio station worldwide to a degree that makes it "boring". Best peaking single from the album is unquestionably "It's Raining Again" making it to number #5 in the US but only number #26 in the UK. The album was a commercial success and secured many #1 positions on various album charts around the world but it only went number #5 and #6 in the US and UK, respectively.
[ allmusic.com 3 / 5 stars ]

Supertramp "Breakfast in America" (1979)

Breakfast in America
release date: Mar. 29, 1979
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Peter Henderson, Supertramp
label: A&M Records - nationality: England, UK

Track highlights: 2. "The Logical Song" (4 / 5) - 4. "Breakfast in America" - 10. "Child of Vision"

6th studio album by Supertramp. The album may be seen as the band's first full mainstream pop / rock album. Many consider it the band's best, which I think has to do with the 'new' audience the band primarily attracted by the late 1970s. Critics are much divided when ranking the album. Yes, they sold millions of albums, gained their largest group of supporters, and experienced a lot of radio airplay, but except from the two hit singles, "The Logical Song" and the title track, I just find it of little interest, and only think of it as downright boring, and I think of it as closely related to the mainstream pop / rock by Genesis who also attracted a huge crowd of fans by making (safe) soft pop / rock. It is, however, the band's best selling album putting it as number #3 in the UK, but reaching number #1 in the US and many other countries including Canada, Germany, France, and Australia.
[ allmusic.com 4,5 / 5, Mojo 4 / 5, Rolling Stone Album Guide, Uncut 3 / 5 stars ]

Supertramp "Even in the Quietest Moments..." (1977)

Even tn the Quietest Moments...
release date: Apr. 1977
format: digital
[album rate: 3 / 5] [3,12]
producer: Supertramp
label: A&M Records - nationality: England, UK

Track highlights: 1. "Give a Little Bit" (4 / 5) - 3. "Even in the Quietest Moments" - 4. "Downstream" - 6. "From Now On" - 7. "Fool's Overture"

5th studio album by Supertramp. Two years under its way the album shows the band's move into more mainstream territory. The album is, like its front cover suggests, also piano-founded music. It's soft rock more than anything and it's also fine songwriting, although, I also find it a bit on the dull side.
[ allmusic.com 3,5 stars ]

Supertramp "Crisis? What Crisis?" (1975)

Crisis? What Crisis?
release date: Sep.14, 1975
format: vinyl (1977 reissue) / digital
[album rate: 3,5 / 5] [3,65]
producer: Ken Scott, Supertramp
label: A&M Records - nationality: England, UK

Tracklist: A) 1. "Easy Does It" - 2. "Sister Moonshine" (4,5 / 5) - 3. "Ain't Nobody But Me" (3 / 5) - 4. "A Soapbox Opera" (4 / 5) - 5. "Another Man's Woman" (3 / 5) - - B) 1. "Lady" (4 / 5) - 2. "Poor Boy" - 3. "Just a Normal Day" - 4. "The Meaning" (4 / 5) - 5. "Two of Us"

4th studio album by Supertramp. Like the successful Crime of the Century (Nov. 1974) the album is co-produced by Ken Scott. It's the first album I ever heard with the band. I used to borrow the album from my older brother, and really liked it a lot. Eventually, he gave me the album when he moved out of our family house back in '78. I still consider the album the band's best. It's right there on the verge of progressive rock art pop and the more cheesy and standardised pop they made later on, and I like it more than its more famous predecessor because it's a move away from bluesy American r&b soft rock to a more simplified European art pop.
[ allmusic.com 3 / 5 stars ]

~ ~ ~

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.

Supertramp "Crime of the Century" (1974)

Crime of the Century
release date: Nov. 1974
format: digital
[album rate: 3,5 / 5] [3,29]
producer: Ken Scott, Supertramp
label: A&M Records - nationality: England, UK

Track highlights: 2. "Bloody Well Right" - 4. "Asylum" - 5. "Dreamer" (4 / 5) (live) - 8. "Crime of the Century"

3rd studio album by Supertramp. The album is the first to be co-produced by Ken Scott. It's also known as the band's breakthrough album. Musically, it's no longer a fusion of various styles with single tracks having various inspirational sources, so one track may be inspired by this and another by something completely different. The band obviously still has taken inspiration from many sources, which gave them an undefinable sound on the two previous albums, but here, Scott and the band keeps things together and pins out a style of their own with equal parts of r&b, jazz rock and progressive rock, resulting in art rock and soft rock. The album is enlisted in many best-of-lists compiling the best pop / rock albums of all time. It's the only Supertramp album to figure in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Sputnikmusic 4 / 5 stars ]

Supertramp "Indelibly Stamped" (1971)

Indelibly Stamped
release date: Jun. 1971
format: digital
[album rate: 2,5 / 5]
producer: Supertramp
label: A&M Records - nationality: England, UK

2nd studio album by Supertramp. The album is less fusion-oriented and more r&b-founded, but the result is really not much better than the debut. I think, many would find it more rockin'. I just don't like the soft rock tone. It's probably more american than the debut, but they play well, and it's more straight forward than the poor debut.
[ allmusic.com 2 / 5 stars ]

Saybia "The Second You Sleep" (2002)

The Second You Sleep [debut]
release date: Jan. 21, 2002
format: cd
[album rate: 4 / 5] [3,82]
producer: Andreas Ahlenius, Saybia
label: EMI-Medley - nationality: Denmark

Track highlights: 1. "7 Demons" - 2. "Fools Corner" - 3. "The Second You Sleep" (4 / 5) - 4. "Snake Tounged Beast" - 5. "Joy" - 6. "Still Falling" - 7. "The Day After Tomorrow" - 8. "In Spite Of" - 9. "Empty Stairs" - 11. "The One for You"

Studio album debut by Danish quintet Saybia released on Medley Records (since 1992 bought by EMI Records and continued in Denmark as EMI-Medley). Saybia consists of primary songwriter and lead vocalist Søren Huss, lead guitarist Sebastian Sandstrøm, bassist Jeppe Langebek Knudsen, keyboardist Jess Jensen and drummer Palle Sørensen.
The band plays soft rock and pop / rock with obvious jangle pop and chamber pop influences.
The Second You Sleep is filed as the first Danish debut album to top the national chart list and at the Danish Music Awards 2003 Saybia won the prizes for Best Danish Album, Best Danish Band, and Søren Huss was handed the prize for Best Danish Vocalist.
Yes, the national hype around this band was tremendous, but they deserve all the acclaim. It truly is a great and surprisingly solid collection of songs for a debut. The style is not the most original one clearly building on britpop acts like Coldplay, Sleeper, Manic Street Preachers and Travis, but the production and the execution - the instrumental and vocal performances on these 11 songs lack nothing in comparison with their much more renowned British colleagues.
The album was never really a favourite of mine. I think, I tired too much of the musical exposure and also found it a bit too much on the softer side of rock to my liking - but my only regret was that I found it too close to music already made; however, there's no doubt that this is altogether a quite an impressive Danish debut where especially Søren Huss shines brightly as vocalist.
[ Gaffa.dk 4 / 6, SputnikMusic 3,5 / 5 stars ]