Cassandra Jenkins "My Light, My Destroyer" (2024)

My Light, My Destroyer

release date: Jul. 12, 2024

format: vinyl / digital (18 x File, FLAC) (Deluxe Edition)

[album rate: 4 / 5] [4,06]

producer: Andrew Lappin, Cassandra Jenkins

label: Dead Oceans - nationality: USA

Track highlights: 1. "Devotion" (4 / 5) - 2. "Clams Casino" - 3. "Delphinium Blue" (4 / 5) - 5. "Aurora, IL" - 6. "Betelgeuse" (4 / 5) - 7. "Omakase" (4 / 5) - 9. "Petco" - 11. "Tape and Tissue" - 12. "Only One" - *15. "Hailey / Hayley (Only One)" - *17. "Stardust"

* Bonus track on Deluxe Edition

3rd studio album by Cassandra Jenkins following the acclaimed An Overview on Phenomenal Nature (Feb. 2021) and more recently the following release of demos and outtakes released as (An Overview on) An Overview on Phenomenal Nature (Nov. 2021). The standard vinyl and cd issues of the album contains 13 tracks with a total running time of just under 37 minutes. The digital Deluxe Edition (and the 2-disc cd issue) extends the running time to 52 minutes [ find it on bandcamp ]. The title of the album comes from the song "Omakase" and its chorus lines: "My lover - My light - My destroyer - My meteorite".

The album is held in the same original style and tone as her 2021 album. It's therefore made with a distinct sense for sophistication. It's a perfect blend of new age, jazz, indie rock, sophisti-pop, and with delicate use of field recordings. A couple of the bonus tracks are more experimental with bold use of field recordings and less focus on coherency - especially track #17, "Stardust" appears as one long experimental. The album is, however, no less than yet another amazing release. The whole album is meant for attentive listening and it works as a complete work - and more so than a collection of individual songs.

My Light, My Destroyer is one of this year's absolute best albums. For now, it's in my top-3, but I only suspect it to go higher.

Highly recommended.

[ allmusic.com, Uncut 4,5 / 5, 👍Pitchfork 8,0 / 10, 👍Mojo, The Guardian, Slant 4 / 5 stars ]

2024 Favourite releases: 1. Adrienne Lenker Bright Future - 2. Hurray for the Riff-Raff The Past Is Still Alive - 3. Cassandra Jenkins My Light, My Destroyer

Prefab Sprout "Jordan: The Comeback" (1990)

Jordan: The Comeback
release date: Sep. 7, 1990
format: vinyl / cd
[album rate: 4 / 5]
producer: Thomas Dolby
label: Kitchenware / CBS - nationality: England, UK

Track highlights: 1. "Looking for Atlantis" (4 / 5) - 2. "Wild Horses" (4 / 5) - 3. "Machine Gun Ibiza" - 4. "We Let the Stars Go" - 5. "Carnival 2000" (4 / 5) - 6. "Jordan: The Comeback" (4 / 5) - 7. "Jesse James Symphony" (4 / 5) - 8. "Jesse James Bolero" - 10. "All the World Loves Lovers" - 12. "Ice Maiden" - 13. "Paris Smith" - 15. "One of the Broken" (4 / 5) - 18. "Scarlet Nights" - 19. "Doo-Wop in Harlem" (4 / 5) (live)

5th studio album by Northhern English band Prefab Sprout following Protest Songs (Jun. 1989). The band has had a changing line-up but the two McAloon brothers have been the only stable members. On this, the band consists of what was the most stable line-up over a period of 13 years from 1984-97: Paddy McAloon on vocals, guitars, keyboards, Martin McAloon on bass, Wendy Smith credited vocals, guitars, keyboards, and Neil Conti on drums and percussion. Although, the band is founded with two brothers, the undisputed leader is older brother, Paddy, who writes (near) all songs for the band - not only for this album but on all their studio releases from 1982 to present days).
Jordan: The Comeback is untraditionally long, in terms of total running time for a 2-sided longplayer exceeding more than 64 minutes. It peaked at number #7 on the albums chart in the UK (by the band only surpassed by the '88 album, From Langley Park to Memphis, reaching number #5). The track "Carnival 2000" had a lot of airplay on the national Danish radio station P3 that year, but other than that, the album contains so many great tracks that the whole album is the biggest hit of the release., which initially made me confusing it as a compilation. I owned a cd issue for years and only as of 2022 managed to get hold of a fine original vinyl issue.
Prefab Sprout initiated their career by playing guitar-founded jangle pop but this one (like the majority of their albums) is dominated by a sophisti-pop style that loans from other genres and styles, and the album simply stands as one the best pop /rock albums of the 1990s, in my opinion.
Highly recommended.
[ allmusic.com 4,5 / 5, SputnikMusic 5 / 5 stars ]

Elvis Costello "The Best of Elvis Costello - The First 10 Years" (2007)

The Best of Elvis Costello - The First 10 Years (compilation)
release date: May 1, 2007
format: digital
[album rate: 4,5 / 5]
producer: various
label: Hip-O Records - nationality: England, UK

Best of compilation by Elvis Costello compiled by Costello himself is a strong contender to the best single disc compilation around with his earliest - and best - material. The selection starts off from the debut album My Aim Is True (1977) and ends with his last album released on F-Beat, Blood & Chocolate (1986). A couple of fine things about the album is how all studio releases except (the shallow) Goodbye Cruel World (1984) from this ten year period are represented, and that the songs appear in chronological order. The total of 22 tracks is made up from three taken from Costello's first three albums, My Aim..., This Year's Model (1978) and Armed Forces (1979), then two from albums 4 and 5, Get Happy!! (1980) and Trust (1981), one composition from his 6th, Almost Blue (1981), then again three from his 7th, Imperial Bedroom (1982), two from his 8th, Punch the Clock (1983), two from his 10th, King of America (1986), and one song from his 11th, Blood & Chocolate. Of course there's no way he would be able to satisfy everyone's taste and personally; I miss more from Get Happy!! and Blood & Chocolate and I could live without few of the selected, but ultimately, it's impossible to pick 22 tracks only, and when going for 1-3 songs from these albums, it's a pretty decent job.

[ allmusic.com 4,5 / 5 stars ]

Icehouse "Primitive Man" (1982)

Primitive Man
release date: Sep. 20, 1982
format: vinyl / cd (2002 remaster)
[album rate: 4 / 5] [3,88]
producer: Iva Davies and Keith Forsey
label: Chrysalis / Diva Records - nationality: Australia

Track highlights: 1. "Great Southern Land" - 2. "Uniform" - 3. "Hey, Little Girl" - 4. "Street Cafe" - 5. "Glam (instrumental)" - 7. "One by One" - 9. "Mysterious Thing" - 10. "Goodnight, Mr. Matthews"

2nd studio album by Australian synthpop and new wave band Icehouse following two years after the bands debut Icehouse (1980) - released under the name of Flowers. This album is quite extraordinary as it's basically a solo-project release as lead vocalist, multi-instrumentalist and only songwriter of the band, Iva Davies, recorded all songs of the album all on his own only with some help from co-producer Keith Forsey. The album is still released as a band effort, although, credits on the album leave no information about this. Apparently, Davies wrote and composed all songs, supplied backing vocals, guitars, keyboards, bass, and drum programming, and then Forsey added percussion to the recordings. After this, the rest of the band then gathered up with Davies to promote the album for a following live tour. And for that, the band presented a new line-up with Iva Davies on vocals, guitar & keyboard, Michael Hoste on keyboards, John Lloyd on drums, and then adding three new members: Bob Kretschmar on guitar, Guy Pratt on bass, and Andy Qunta on keyboards & backing vocals.

Primitive Man was met by critical acclaim and peaked at number #3 on the national chart list, it topped the list in New Zealand, peaked at number #5 in Germany and it was a small hit in most of the Scandinavian countries. The single "Hey, Little Girl" remains the band's best-selling single. It was, however, surpassed by two positions in Australia by the release of the first single "Great Southern Land" peaking at number #5, but it didn't make noteworthy entries except for in New Zealand.

The album was the first I came across by this great Australian band. As I recall, it was quite popular in the Fall of '82 / Spring of '83. Stylistically, it blends various styles of art pop, new wave, and sophisti-pop, which really wasn't a familiar style back then - but the album really was one of the first true sophisti-pop albums leaning on Roxy Music, David Bowie, Japan, and probably influencing upcoming artists like Simple Minds, David Sylvian and The Church. At the time of the release I found it too mainstream sounding, although, in retrospect, it really is a strong and most vital album.

Highly recommended.

[ allmusic.com 4 / 5, Rolling Stone 3 / 5 stars ] 

Edwyn Collins "Badbea" (2019)

Badbea
release date: Mar. 29, 2019
format: digital (12 x File, MP3)
[album rate: 3,5 / 5] [3,56]
producer: Edwyn Collins, Sean Read
label: Analogue Enhanced Digital - nationality: Scotland, UK

Track highlights: 1. "It's All About You" - 3. "I Guess We Were Young" - 5. "Outside" - 6. "Glasgow to London" - 10. "I'm OK Jack" - 12. "Badbea"

9th studio solo album by Edwyn Collins released by Collins' co-founded micro label AED is his first album out in six years - following Understated from 2013. Stylistically, it's a blend of the many styles Collins has been involved with in his long musical career. It contains elements of pop soul, sophisti-pop, indie pop and singer / songwriter, but it's first and foremost a quite coherent output. There's the ever-present echo of an ancient proto-punk energy, which makes me think of The Stooges and Patti Smith, and also bonds with Collins' fine '94 album Gorgeous George. It's psychedelic rock bits and pieces, art punk twists with screaming horns and also a very present subtle caring in ballad-like and honest-to-the-bone songs of present days - delicately woven songs with acoustic guitars and his charismatic crooning. On top of that there's also left room for electronic traits scattered around to widen the stylistic expression rather than the attempt to take control of songs. And quite surprisingly, it doesn't feel much like the usage of too many styles. And I think, primarily thanks to the production sound and Collins' dark vocal, which cleverly binds it all together.
The front cover depicts Collins in a confronting fragile portrait hinting to his physical conditions after multiple cerebral hemorrhages that struck him around 2005.
This is a warm grower and a recommended listen. It's so great to see and hear Collins back!!
[ allmusic.com 4,5 / 5 stars ]

Elvis Costello & The Attractions "The Very Best of Elvis Costello & the Attractions" (1994)

The Very Best of Elvis Costello & the Attractions (compilation)
release date: Oct. 25, 1994
format: digital
[album rate: 4 / 5]
producer: various
label: Demon Records - nationality: England, UK

Best of compilation album released on Costello's former record label with songs spanning from his earliest albums to Blood & Chocolate (1986) after which he signed with Warner Bros. And just this label had earlier in '94 (Mar. 8) released Costello's Brutal Youth, which had been seen as a "return" despite having already released two other albums on Warner since his '86 album; however, both Spike (1989) and Mighty Like a Rose (1991) had been reviewed and possibly intentionally released as bolder mainstream albums, and Brutal Youth was compared to his more power pop-shaped '86 release.

This is not the best "best of" album you'll find with Costello, in fact there are so many best of albums claiming to contain his "hits" that it seems like an endless project to list them all. The first official album making the attempt to compile a best of album is The Best of Elvis Costello and The Attractions from 1985 issued on Columbia exclusively for the North American market containing 19 tracks, and a similar, though not identical, release The Best of Elvis Costello - The Man issued by Demon for the UK and Japanese markets containing 18 tracks. These two issues originally had the same front cover as background but "only" twelve tracks in common and a completely different playlist. Later issues of the UK version have a different cover. In 2007, Hip-O-Records issued the album The Best of Elvis Costello - The First 10 Years compiled by Costello himself, which basically is a (fine) combination of the two former best of albums containing 22 tracks.

Demon also released the extensive album Girls + £ ÷ Girls = $ & Girls (commonly referred to as Girls, Girls, Girls) subtitled "The Songs of Elvis Costello / The Sounds of Elvis Costello & The Attractions" from 1989 containing 47 tracks, and in 1999: The Very Best of Elvis Costello containing 42 tracks. Apart from these, Demon and associated labels have released various compilation albums, and also Warner / WEA has issued a number of Costello compilations like Malice and Magic (1994) and Extreme Honey (The Very Best of the Warner Bros. Years) (1997).

Forced to choose just one of the many best of albums, I would go with the 2007 Hip-O-Records issue.

[ allmusic.com 4,5 / 5 stars ]

Bryan Ferry "Avonmore" (2014)

Avonmore
release date: Nov. 17, 2014
format: digital
[album rate: 3,5 / 5] [3,58]
producer: Bryan Ferry, Rhett Davies, Johnson Somerset, Todd Terje
label: BMG - nationality: England, UK

Track highlights: 1. "Loop De Li" - 2. "Midnight Train" - 3. "Soldier of Fortune" (4 / 5) - 4. "Driving Me Wild" - 5. "A Special Kind of Guy" (4 / 5) - 7. "Lost" - 10. "Johnny and Mary" (live)

15th solo studio album by Bryan Ferry following his 2012 album The Jazz Age. Now, who would have thought this possible? 69 year-old Ferry has come up with an album that resembles his best solo works of the late 70s and mid-80s, and his most recent album from 2012 was basically 'only' a collection of re-recordings - and before that, he launched Olympia in 2010, which was only a shadow of his heydays with Roxy Music.
From my perspective, his last good album was Dylannesque (2007) and his last really fine solo was As Time Goes By from 1999. This is like Roxy Music revisited but not just old classics disguised as new material. It's vibrant and solid sophisti-pop from one of the genre's best voices, and he does more than just Okay. Most tracks are from his own hand but track #3 Soldier of Fortune is co-written with Johnny Marr of The Smiths, and the end-track Johnny and Mary is Robert Palmer's fine classic, which Ferry handles in his own and personal way without losing touch with the original.
[ allmusic.com, The Guardian 4 / 5, Rolling Stone 3,5 / 5 stars ]

Elvis Costello & The Attractions "Goodbye Cruel World" (1984)

Goodbye Cruel World
release date: Jun. 18, 1984
format: digital (2004 2 cd remaster)
[album rate: 3 / 5] [2,88]
producer: Clive Langer & Alan Winstanley
label: Rhino Records - nationality: England, UK

Track highlights: 1. "The Only Flame in Town" - 2. "Home Truth" - 3. "Room With No Number" - 6. "Love Field" - 12. "The Deportees Club"

9th studio album released as Elvis Costello & The Attractions following 10 months after Punch the Clock (1983) is like the predecessor produced by the duo Langer / Winstanley. The end result is not as good since Costello apparently wanted to pursue a stronger folk rock sound but the management and the producer-duo sat out for a new pop-styled mix, which ended up with a compromise: songs like "I Wanna Be Loved" [track #7] and "The Only Flame in Town" were pure Langer-Winstanley productions, whereas other songs were made according to Costello's wishes.

The 2004 2cd remaster on Rhino comes with a bonus disc containing 26 additional tracks consisting of demo takes, alternate versions, outtakes, other takes and live recordings - as a collector's item, mostly.

The album is mainstream pop / rock-founded in sheer sophisti-pop-arrangements with bits of pop soul that makes it sound like a close relative to the '83 album - also with the same producer-duo.

To me, it was like witnessing the end of a great comet-career with two lesser albums in a row, and with this like the outtakes to the '83-album being clearly the weakest. Some compositions even sound as well-written songs but with strong use of harmony-vocals, 80s synths and an abundance of shakers and bleeps and bloops songs are turned into a generic... mish-mash.

The album spawned three singles: track #13 "Peace in Our Time", track #7 "I Wanna Be Loved", and track #1 "The Only Flame in Town" peaking at number #48, number #25, and #71 respectively on the UK singles chart list.

Costello had been super-productive from the late 70s and into the early '80s but his artistic level had begun to crumble, or so it appears. For a '95 reissue in the liner notes, Costello even wrote: "Congratulations! You've just purchased our worst album." And that's pretty much how it's widely considered.

In retrospect it doesn't really shine much, and looking at Costello's long-lasting career this very album seems like an absolute wrong turn down a dead-end street without a clear direction, which he luckily understood quite soon. The album may suffer from the fact that Costello and The Attractions experienced inner conflicts, which apparently had Costello suggest it was to be his last with the backing band [also hinted at in the title] and that he found himself in the midst of a divorce from his first wife Mary as well as in a romantic restart of his relationship with (American) Bebe Buell. In this respect, many of the songs deal with starting and ending relationships.

Already as the album was in the making, Costello had made plans of solo concerts in the US without his normal backing band, and these concerts gave him the freedom he needed.

Given various ideas of musical direction, inner conflicts between band members, the album is an incoherent whole, and it stands out as a strong contender to Costello's biggest miss. Overall, it's an album that cannot be recommended.

[ allmusic.com, Mojo, Blender, Rolling Stone 2 / 5, Uncut, Q Magazine 4 / 5 stars ]

The Blue Nile "High" (2004)

High
release date: Aug. 30, 2004
format: cd
[album rate: 4 / 5] [3,98]
producer: The Blue Nile
label: Sanctuary Records - nationality: Scotland, UK

Track highlights: 1. "The Days of Our Lives" - 2. "I Would Never" (4 / 5 ) - 3. "Broken Loves" (5 / 5) - 4. "Because of Toledo" - 5. "She Saw the World" (4 / 5) - 6. "High" - 7. "Soul Boy" - 9. "Stay Close"

4th and so far final studio album by The Blue Nile released 8 years after the previous album. After the least successful album to date, the band left Warner Bros., and this album is released on the smaller Sanctuary Records (sublabel of BMG). It's like a return to their old style, just updated with a better production and skilful use of electronic.
"Broken Loves" is such a fabulous track, and the album is highly recommended.
Since this, the band has kept quiet. Paul Buchanan, however, released his fine solo debut album Mid Air in 2012.
[ allmusic.com 3,5 / 5, The Guardian 4 / 5 stars ]

Show lyrics <- click...

~ ~ ~

"Broken Loves"

"I feel exactly like a matchstick in relation to you
Thin and broken.
And nothing I can seem - There's Nothing I can seem to do
Make you switch the TV off - To Make you switch the TV off
And look up - Oh look up
Look up

Sail away
Sailing away from me also
I count your sticks and all your toys
You're laughing in the background noise
We won't give up
I'm going to give you something else
That's some kind of broken words

Children swing, to and fro
Do you ever wonder
Where did the summer go?
Counting The TV's and counting the stars
It's so unfunny I don't know where you are anymore
I don't know where you are anymore

Sail away
Sail on back to me envy
I count your sticks and all your toys
Your laughter in the background noise
Please don't give up
I am gonna promise you something else
Not some kind of broken loves

Sail away
Sail on back to me and then (yeah yeah)
I'll keep your sticks and all your toys
I'll keep you in the background noise
Yeah we don't give up
And I am gonna find you something else
Not some kind of broken loves"

~ ~ ~

Bryan Ferry "... Is Your Love Strong Enough?" (1986) (single)

... Is Your Love Strong Enough?, 7'' single
release date: Mar. 1986
format: vinyl
[single rate: 3,5 / 5] [3,46]
producer: Rhett Davies & Bryan Ferry
label: EG Records - nationality: England, UK

Tracklist: A) "... Is Your Love Strong Enough?" - - B) "Windswept (instrumental)"

Single release by Bryan Ferry taken from the "Legend" soundtrack (Ridley Scott movie).

Bryan Ferry "Boys and Girls" (1985)

Boys and Girls
release date: Jun. 3, 1985
format: vinyl / cd
[album rate: 4 / 5] [3,96]
producer: Rhett Davies & Bryan Ferry
label: EG Records / Polydor K.K. - nationality: England, UK

Track highlights: 1. "Sensation" - 2. "Slave to Love" (5 / 5) - 3. "Don't Stop the Dance" (4 / 5) - 5. "Windswept" - 7. "Valentine" - 8. "Stone Woman"

6th studio album by Bryan Ferry follows seven years after The Bride Stripped Bare (1978), and here Ferry has paired up with Rhett Davies as the album producers. All tracks except one (track #3 by Bryan Ferry and Rhett Davies) are exclusively credited Ferry.

Stylistically, Ferry moves further up the 'art pop' alley and makes his so far boldest 'sophisti-pop' album with strong bonds to the final Roxy Music album Avalon (1982), which also featured Rhett Davies as co-producer.

The album was met by critical acclaim and topped the charts in several countries including the UK, as Ferry's only solo album, and it's also his only Platinum-selling album in the UK. The album spawned three singles: tracks #2, 3 and 5, peaking at #10, #21 and #46 respectively on the UK singles chart.

I recall buying the album upon its release at a time when I found it a bit too smooth; however, over the years I have returned to it and basically find it his best solo album to date. Also, in retrospect the album simply stands out as a cornerstone in modern sound production.

Highly recommended.

[ allmusic.com 4 / 5, Rolling Stone 3,5 / 5 stars ]

Japanese CD cover

The Beautiful South "Superbi" (2006)

Superbi
release date: May 15, 2006
format: cd
[album rate: 3 / 5] [3,16]
producer: Ian Stanley
label: Sony BMG - nationality: England, UK

Track highlights: 2. "Manchester" - 3. "There Is Song" - 4. "The Cat Loves the Mouse" - 7. "Meanwhile" - 9. "Bed of Nails" - 10. "Never Lost a Chicken to a Fox"

10th and final studio album by The Beautiful South and its second for Sony BMG. It introduces a new producer [Ian Stanley, former keyboardist of Tears for Fears] after having working with Jon Kelly from the band's third to its most recent album Golddiggas Headnodders & Pholk Songs from 2004, or over a period of 12 years. In that sense Superbi introduces a new start of The Beautiful South, and although, Paul Heaton and David Rotheray still have composed all its songs, the band does sound refreshingly new. Or: they have made some 'progression' and once again focused in the making of new material. 'Progression' because it shares much with former fine albums. What was slowly introduced over several albums from Blue Is the Colour back in '96 and through the next three albums was a certain country-inspired British folk sound, which comes out more original and full-fledged on this. Maybe it doesn't contain truly great songs but the bottom level has surely raised. Whether it's thanks to Ian Stanley, a new record deal, or Paul Heaton, who has finally given in on his gloomy tristesse is uncertain, but it's nice to hear The Beautiful South - again.
Without being great, it's a nice listen - much on par with Quench (1998) without reaching the heights of the band's first three.
The album was the last by The Beautiful South, and in Jan. 2007 the band officially announced its split due to *'musical similarities' - an ironic reference to 'musical differences' which are often cited as the reason for a band's split.
*[from wikipedia, source].
[ allmusic.com 3 / 5 stars ]

Roxy Music "The Atlantic Years 1973 - 1980" (1983)

The Atlantic Years 1973 - 1980 (compilation)
release date: Nov. 1983
format: vinyl / cd
[album rate: 4 / 5]
producer: various
label: EG / Polydor - nationality:

Compilation album by Roxy Music released after Bryan Ferry had dissolved the band earlier that year. The vinyl edition of the album contains ten tracks with a total running time of 41 minutes. The selected tracks may intend to reflect the entire history of the band but it's quite obviously made with the attempt to showcase Roxy Music in the light of its most recent albums, thus putting emphasis on the sophisti-pop branch of the band's later stylistic sound in contrast to its glam rock initial period. Four tracks (tracks #1, #2, "6, and #9) are from Manifesto (1979), four tracks (tracks #3, #5, #7, and #8) stem from Flesh + Blood (1980), and one track (tracks #4 and #10) are originally found on Siren (1975) and For Your Pleasure (1973) respectively.

Elvis Costello & The Attractions "Punch the Clock" (1983)

Punch the Clock
release date: Aug. 5, 1983
format: vinyl (XXLP 20) / digital (2013 remaster)
[album rate: 3,5 / 5] [3,62]
producer: Clive Langer & Alan Winstanley
label: F-Beat Records - nationality: England, UK

Track highlights: 1. "Let Them All Talk" - 2. "Everyday I Write the Book" - 3. "The Greatest Thing" - 4. "The Element Within Her" - 5. "Love Went Mad" - 6. "Shipbuilding" (5 / 5) - 7. "TKO (Boxing Day)" - 13. "The World and His Wife"

8th studio album by Elvis Costello - his sixth with The Attractions and the first of two consecutive albums to be produced by the pop-producer-duo Langer / Winstanley, who at this point had faced great sales with albums like The Rise & Fall by Madness and Too-Rye-Ay by Dexys Midnight Runners, and the duo's job was to secure hit material singles that had been missing on his previous album, Imperial Bedroom (Jul. '82). Langer / Winstanley stood for large-scale arrangements and they brought with them strings arranger David Bedford, the Afrodiziak [backing choir] and the brass-constellation, The TKO Horns in support of The Attractions.

The 2013 remaster is released by Mobile Fidelity Sound Lab.

I recall buying the vinyl album immediately upon its release - I found the single "Everyday I Write the Book" rather nice despite signalling a new pop tone to the sonic universe of Costello. I also recall how I found the album too slick and without much else. Yes, it also contains his modern classic "Shipbuilding", originally written by Costello to be released with Robert Wyatt [Wyatt version] on lead vocals in Aug. '82 - a quite unforgettable version - and as Costello thought of it as his best song ever he included it here with his own vocals and with the addition of a trumpet solo by Chet Baker; and then a few other fine songs, but the overall impression wasn't entirely positive. The video to "Everyday I Write the Book" became an MTV staple and together with a positive Costello, who no longer rejected the press but now willingly stood up for interviews, all in all secured good sales, and the album eventually sold Gold, both in the US and in the UK, where the album peaked at a high top 3 - making it his best-selling album since Get Happy!! (1980).

Over the years it has proved to contain other fine songs but it's still an album that has that unfortunate Langer / Winstanley 'over-produced' touch all over it - a notion several contemporary critics also heard when they referred to the album as 'pretentious' - a tendency that would prove to be further accentuated on Goodbye Cruel World (rel. Jun. '84) - also produced by Langer / Winstanley. The album may be touched, or slightly ruined from poor production and too heavy arrangements, but it's still an album that reveal great songwriting, and in that perspective, it's not a bad album at all.

[ allmusic.com, Blender, Uncut, Mojo 3 / 5, Rolling Stone, Sounds 4 / 5 stars ]

David Sylvian "Everything and Nothing" (2000)

Everything and Nothing (compilation)
release date: Oct. 2000
format: 2 cd
[album rate: 3 / 5]
producer: David Sylvian, Steve Nye
label: Virgin Records - nationality: England, UK

2-disc compilation album by David Sylvian. The album covers most of his vast repertoire from his days with Japan, various collaboration works and recent solo works.
I don't think it's as good as it could've been. First thing that bothers me is the way the tracks in chronological order are randomly put together, or so it seems. Another difficult thing is that the album offers room for all Sylvian's various musical styles and experiments, which makes it more of a document than a digestible album; however, the quality of the single compositions do not justify my rating of the album.
[ allmusic.com 4 / 5 stars ]

Roxy Music "Oh Yeah" (1980) (single)

Oh Yeah, 7'' single

release date: Jul. 25, 1980

format: vinyl

[single rate: 4 / 5] [3,76]

producer: Rhett Davies & Roxy Music

label: Polydor / EG - nationality: England, UK

Tracklist: A) "Oh Yeah (On the Radio)" (5 / 5) (TOTP 1980) - - B) "South Downs"

The second single to be taken from Flesh + Blood (May 1980), the seventh studio album by Roxy Music. Both tracks are credited Bryan Ferry, and the B-side is a non-album instrumental. The single was issued with various front covers and also as this: in a generic white sleeve without print or any titles.

Roxy Music "Flesh + Blood" (1980)

Flesh + Blood

release date: May 23, 1980

format: vinyl / cd (2015 remaster)

[album rate: 4 / 5] [3,84]

producer: Roxy Music & Rhett Davies

label: Polydor / EG / Universal Music - nationality: England, UK

Track highlights: 1. "In the Midnight Hour" - 2. "Oh Yeah" (5 / 5) - 3. "Same Old Scene" - 5. "My Only Love" - 6. "Over You" (5 / 5) - 9. "No Strange Delight"

7th studio album by Roxy Music following one year after Manifesto (Mar. 1979) is the band's second out of three albums in total following the reunion in '78. Shortly before recording the album drummer Paul Thompson broke his thumb and was unable to play until the band was ready to go on a live tour promoting the album, which means the album was made with session drummers (especially Allan Schwartzberg also playing percussion on nearly all tracks, and then also assisted by drummer Andy Newmark and percussionist Simon Phillips). The band is therefore reduced to a trio for the album recordings - meaning: Bryan Ferry, Andy Mackay, and Phil Manzenera.

The album was met by some of the same lukewarm reviews that had followed Manifesto; however, the album became the band's second to top the albums chart list in the UK, which it replicated in New Zealand, and despite some reluctance expressed by the music press, Manifesto became the band's commercially so far best-selling album world-wide. Also, the album produced no less than five single releases starting with "Over You" (May 9, 1980) and followed by "Oh Yeah" (Jul. 25, 1980) - both reaching number #5 on the singles chart. The release of the title track as a single only manifested in Italy. Then followed "Same Old Scene" (Oct. 1980) and ended with "In the Midnight Hour" (?), which was only released for the North American market and in Portugal. Some critics found that the band had come to a stand-still, unable to make any real progress, and I think I understand what caused some of the criticism, only I don't agree on the full perspective. Flesh + Blood isn't far from the style of Manifesto but the real point is that the band has destilled its sound. No, they no longer play art rock or real glam rock and upholds a position at the forefront of modern rock music - instead the band has taken a deliberate turn and now play with a fusion of styles focusing on melody, sophisticated pop / rock that builds on r&b, pop soul, and bits of disco, although, this is lesser accentuated on this, but the main point is: no one else showcases this melodic blend. But I guess the 'real' problem is that the album came out when punk rock and new wave was on everyone's lips, and this simply ignores all of that.

"Oh Yeah" and "Over You" are two of the band's most iconic songs and to have both on the same album is simply a pure delight.

Highly recommended.

[ allmusic.com 2 / 5, Rolling stone 2,5 / 5, Smash Hits 6,5 / 10, Pitchfork 6,6 / 10 stars ]

The Beautiful South "Golddiggas Headnodders & Pholk Songs" (2004)

Golddiggas Headnodders & Pholk Songs
release date: Oct. 18, 2004
format: cd
[album rate: 3 / 5] [2,86]
producer: Paul Heaton, Jon Kelly
label: Sony Music UK - nationality: England, UK

Track highlights: 2. "Livin' Thing" - 6. "Don't Fear the Reaper" - 11. "Blitzkrieg Bop"

9th studio album by The Beautiful South is the last to be co-produced with Jon Kelly and the first on Sony after leaving Mercury and Go! Discs. This is a very different release from a band, who as always played and written original compositions as except from one song, it's made up of cover versions. It's not great but the versions are quite original in the way various distinctive songs from different eras, styles and genres all have been transposed into the musical universe of The Beautiful South regardless if punk rock, soul pop, funk or disco was the original incarnation of the song.
Now, not that I find it among their best, it is more than just a mediocre covers album, which is something else, also in this era of the band.
[ allmusic.com 3,5 / 5 stars ]

The Beautiful South "Gaze" (2003)

The Beautiful South
release date: Oct. 27, 2003
format: digital
[album rate: 2,5 / 5] [2,44]
producer: Jon Kelly, John Brough, Paul Heaton
label: Mercury, Go! Discs - nationality: England, UK

8th studio album by The Beautiful South who has regrouped with new vocalist Allison Wheeler replacing Jacqui Abbott, who left after the release of Painting It Red. The style is unchanged a mix of sophisti-pop and country and folk with focus on story-telling about working class life and partnership struggles, which seems like Heaton's only subjects.
Compared to earlier compositions the band has put aside the more original chorus-based songs and instead rest satisfied with a handful of song templates to go with new lyrics.
To me, this is just another mediocre release from this once fine band.
[ allmusic.com 2,5 / 5 stars ]

Roxy Music "Manifesto" (1979)

Manifesto
release date: Mar. 1, 1979
format: vinyl (reissue) / cd (2015 remaster)
[album rate: 4 / 5] [3,78]
producer: Roxy Music
label: Polydor Records - nationality: England, UK

Track highlights: A) 2. "Trash" - 3. "Angel Eyes" - 4. "Still Falls the Rain" - 5. "Stronger Through the Years" - - B) 1. "Ain't That So" - 3. "Dance Away" - 4. "Spin Me Round"

6th studio album by Roxy Music originally released by E.G. in the UK, Polydor in Europe and by Atco Records for the North American market. The album is the band's first after having reunited in '78 and after a period where Bryan Ferry released three solo albums. Manifesto follows the release of the band's fifth: Siren from 1975 after which Ferry released three solo albums Let's Stick Together (1976), In Your Mind (1977), and The Bride Stripped Bare (1978). The band credited on Manifesto are reduced to four members: Bryan Ferry, Phil Manzanera, Andy Mackay, and Paul Thompson - the latter left the band in 1980.
Musically, the band has taken a bolder move with a stronger dancefloor appeal by including elements from a world of disco and funk. Critics weren't exactly overwhelmed by the new Roxy Music; however, the album performed more than well, peaking at number #7 in the UK and reaching number #23 in the US - their best-ever charting album on the Billboard 200.
In retrospect, I have come to think of it as one of the band's better albums, and I guess the big difference is when, and for what reasons, you fell for this band's music. Personally, I didn't really know of the period before this, which I only discovered after falling for this, the successor Flesh + Blood (May 1980), and their grand finale: Avalon (May 1982), and imho, those three albums represent the band's peak period but I'm perfectly aware that lots of fans see it in a different light, and that some of these feel that the 'real' and best version of this band include Brian Eno, who only participated on its first two albums.
Imo, this is classic Roxy Music and a most recommended album.
[ allmusic.com 3 / 5, Rolling Stone 3,5 / 5, Pitchfork 7,5 / 10, Smash Hits 4 / 5 stars ]