Peter Murphy "Love Hysteria" (1988)

Love Hysteria
release date: Mar. 1988
format: digital
[album rate: 3,5 / 5] [3,68]
producer: Simon Rogers
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "All Night Long" - 3. "Dragnet Drag" - 5. "Indigo Eyes" - 6. "Time Has Got Nothing to Do With It" - 7. "Blind Sublime" - 8. "My Last Two Weeks"

2nd studio album by Peter Murphy following his acclaimed debut Should the World Fail to Fall Apart (1986) after the disbandment of Bauhaus. Where the debut consisted mainly of music written by multi-instrumentalist Howard Hughes, Love Hysteria is an album where Murphy has teamed up with another established composer in the form of guitarist and composer Paul Stratham (of B-Movie) with whom Murphy has written most of the tracks, and together with Simon Rogers from The Fall and a new backing band called The Hundred Men, the album marks quite naturally a change of sound. The album includes a cover of "Funtime" by Bowie and Iggy Pop, originally included on the 77 album The Idiot by Iggy Pop.

The dominant art pop touch Murphy demonstrated his interest for with the project Dalis Car as well as on his solo debut, has stepped into the background for a style, which instead combines Murphy's taste for melodrama rooted in the gothic rock scene, which characterised the Bauhaus period and older styles based on his obvious fascination and inspiration in glam rock, David Bowie, Iggy Pop, and with hints of Tom Verlaine, which also had been a component of the Bauhaus era. On the one hand, you'll find hints of a continuation of a will to explore bright pop-melody structures as found on his debut, but more layers appear on this one, both containing a darker tone but also points in new stylistic directions.

With Love Hysteria, Murphy aims his solo career for an audience with a taste for the darker sides of Bauhaus as opposed to complex rhythms and art pop, as he demonstrated on the otherwise fine Should the World Fail to Fall Apart (1986). The new album garnered quite positive reviews, where it was noted that Murphy partly continues to show his influence from Bowie, but also that he has made his so far most solid release since leaving Bauhaus. My initial verdict was experienced as a disappointment because he hadn't continued in his new-found style of the debut, but that sensation wore off after a while, and when comparing with his later releases, there's no doubt that this very album stands stronger than what his more detached and impersonal debut turned out to be.

Putting Murphy's Bowie-imitating style aside, Love Hysteria is quite a solid and distinctive album that stands the test of time and actually may be his very best.

[ allmusic.com 4 / 5 stars ]

Joy Division "Substance - 1977-80" (1988)

Substance - 1977-80 (compilation)
release date: Jun. 1988
format: cd (1999 reissue)
[album rate: 3,5 /5]
producer: Joy Division, Martin Hannett
label: London Records - nationality: England, UK

10 track compilation album by Joy Division originally released by Factory Records, is a collection of early single releases and only really interesting for fans and collectors. I bought it because it contains the four track ep An Ideal for Living, and the "Licht und Blindheit" single. The original LP version doesn't really do justice to the band as a good and reasonable buy if you don't have their two studio albums but it really only expands the view on Joy Division in terms of insight in the original sound. Nonetheless, the 1991 cd version contains the addition of 7 tracks (making it a 17 track cd), which seems like a more interesting issue as it also includes "Glass", "From Safety to Where", and "Komakino" - tracks that are hard to find elsewhere. Other compilations exist but I don't really find them that useful. A box-set 1977-1980 has been released consisting of 5 discs and it includes their official studio albums as well as Substance but really, although it's an attempt to embrace most of the band's material: you'll be better off just buying the original studio albums. It doesn't include any of The Peel Sessions at all, and the 'problem' with a compilation of Joy Division material is basically how much they changed over short time. This will not be easy to obtain on any disc, changing from Unknown Pleasures over Closer, to Still with its poor sound quality and so forth. Best of releases and Martin Hannett editions and the like... no, just start from the beginning. It's not a long journey after all. I resold the vinyl album at some point in the early '90s.

The Cranberries "No Need to Argue" (1994)

No Need to Argue
release date: Oct. 4, 1994
format: cd
[album rate: 3,5 / 5] [3,72]
producer: Stephen Street
label: Island Records - nationality: Ireland

Track highlights: 1. "Ode to My Family" (4 / 5) - 2. "I Can’t Be With You" - 4. "Zombie" (4,5 / 5) - 5. "Empty" - 6. "Everything I Said" - 9. "Ridiculous Thoughts" - 13. "No Need to Argue"

2nd studio album by The Cranberries is like the debut produced by Stephen Street. All lyrics are by Dolores O'Riordan, as well as most of the music, or it's written in collaboration with guitarist Noel Hogan (7 of 13 tracks).
It follows closely down the same musical path as the fine debut, although, this seems somewhat less coherent - the lows here are of lesser quality, and there is left more room for a more traditional celtic rock and celtic folk inspiration.
The album launched the two best-selling singles: "Zombie" and "Ode to My Family", the first is a protest song and a track most will associate with The Cranberries. It also became the band's first and only registered song to top the singles chart lists in several countries (e.g. Australia, France and Germany). "Zombie" (released as the only single prior to the album release) shows an angry grunge rock tone, which is never carried out on the remaining tracks on a primarily acoustic-driven album - what makes me think of it as incoherent. No Need to Argue became the band's highest charting and best-selling album with several number #1 positions, nationally, and in countries like Germany, Australia, New Zealand, France and Canada.
My initial verdict (from 1994) would only have secured a score just above 2,5 / 5; however, once I had finally come to terms with / accustomed myself to the vibrant and insisting voice of O'Riordan, I find the album much closer to the quality of the debut 'cause there's simply too many fine songs left on the album. It is a front-loaded album with several great tracks, but the second half doesn't quite suffice resulting in a fine follow-up
[ allmusic.com, Q Magazine 4 / 5, Rolling Stone 2,5 / 5, Sputnikmusic 4,5 / 5 stars ]

Moby "18" (2002)

18
release date: May 13, 2002
format: digital
[album rate: 3,5 / 5] [3,62]
producer: Moby
label: Mute Records - nationality: USA

Track highlights: 1. "We Are All Made of Stars" - 2. "In This World" - 11. "Sunday (The Day Before My Birthday)" - 15. "Harbour" (feat. Sinéad O'Connor) - 17. "The Rafters"

6th studio album by Moby follows closely in the footsteps of his international break-through album Play from 1999 incorporating many samples. It contains 18 tracks and has a total running time above 71 mins. and it turns out a bit more experimental compared to his great '99 album, as it isn't composed in the same danceable house-style but reflects a bolder ambient and downtempo electronic release.
Possibly, aided by the success of the predecessor, 18 became an immediate world-wide top-selling album reaching number #4 on the Billboard 200 in the US - topping the Dance / Electronic list there, and also topping albums chart lists in several countries including Australia, France, Germany and the UK making it his so far best-selling album.
For a long time, I found it a bit of a disappointing and mediocre affair, possibly handing it 2,5 / 5, but over the years I have come to regard it as much better than that. It doesn't contain strong singles like "Porcelain" from the '99 album, but it's nicely held together and has an underlying melancholic tone, which makes it quite gripping once you get to the core of the album. In fact, it's a much more coherent collection of songs than the big mish-mash of styles and almost two-sided affair from start to finish that you find on the acclaimed Play.
A grower of an album, mind you.
[ allmusic.com, Blender, Q Magazine 4 / 5, Rolling Stone 3,5 / 5 stars ]

Richard Hawley "False Lights From the Land" (2010) (ep)

False Lights From the Land, ep
release date: Jun. 8, 2010
format: digital
[album rate: 3 / 5] [3,07]
producer: Richard Hawley and Colin Elliot
label: Mute Records - nationality: England, UK

Tracklist: 1. "Remorse Code" (4,5 / 5) - 2. "Shallow Brown" (feat. the Smoke Fairies) - 3. "The Ellan Vannin Tragedy" (feat. the Smoke Fairies) - 4. "There's a Storm a Comin' "

An ep in between album releases. The first track is the epic track from Truelove's Gutter (2009), which means beautiful chamber pop, but the remaining tracks are very different, but the collecting theme here is sailors' songs, which also is implied in the title. "Shallow Brown" is an a capella, or more correct: a sea shantie song, or: sailors' song (here) without music. "The Ellan Vannin Tragedy" is likewise a track with a clear sailor motif with scarce music accompanying, and the last track "There's a Storm a Comin' " is more in style with his normal production. The two shanties drag in the negative way, I think, and overall it's a bit too varied style-wise.

Peaches "The Teaches of Peaches" (2000)

The Teaches of Peaches [debut]
release date: Sep. 8, 2000
format: digital
[album rate: 3 / 5] [3,18]
producer: Peaches
label: Kitty-Yo / XL Recordings - nationality: Canada

Track highlights: 1. "Fuck the Pain Away" - 2. "AA XXX" - 4. "Set It Off" - 5. "Cum Undun" - 8. "Lovertits" - 10. "Sucker"

Studio album debut by Peaches [aka Merrill Beth Nisker] is actually Nisker's second studio album as she released the album Fancypants Hoodlum in 1995 under the name  of Merrill Nisker. I haven't come by her musical debut, which I have seen enlisted in the genre of post-punk, and this is stylistically far from that description, and then Peaches is the name she adopted after moving to Berlin and turning to electronic music. Nisker is a Canadian performance artist and when performing as Peaches she's mainly associated with electronic genres as electroclash, electro-disco using elements of glam rock as well as from punk rock.
On this, I also find an influence from industrial sub-genres. Apparently, Nisker now lives in Berlin, and thinking of that, it seem easier to associate her with Nina Hagen. Like the German art punker, Peaches make use of shock and provocation as means in creating her musical persona. She often refers to and speak explicitly about sex - both as subject as well as a natural ingredient of her language.
The Teaches of Peaches is far from bad. It really reflect great hooks and tracks, although, some songs come out as mere fillers and / or experiments. Anyway, the overall rating may not do justice to the originality of this.
[ allmusic.com 4,5 / 5, Rolling Stone 3,5 / 5 stars ]

Killing Joke "Night Time" (1985)

Night Time
release date: Mar. 1985
format: vinyl / digital (2008 remaster)
[album rate: 4 / 5] [3,92]
producer: Chris Kimsey
label: E.G. Records - nationality: England, UK

5th studio album by Killing Joke released on EG, sub-label of E.G. Records.

Elvis Costello & The Attractions "High Fidelity" (1980) (single)

High Fidelity, 12'' single

release date: Apr. 4, 1980

format: vinyl (XX3T)

[single rate: 4 / 5] [3,82]

producer: Nick Lowe, Elvis Costello

label: F-Beat - nationality: England, UK

Tracklist: A) "High Fidelity" - - B) 1. "Getting Mighty Crowded" - 2. "Clowntime Is Over (Version 2)"

2nd single taken from the album Get Happy!! (Feb. 1980) following the first single I Can't Stand Up for Falling Down (Feb. 1980) and succeeded by the third and final single from the album: New Amsterdam (Jun. 1980). The A-side is produced by Lowe, whereas the two B-side compositions both are produced by Costello.

High Fidelity was not another Top 10-single hit as the first single, which had charted as number #4 as it topped as number #30 on the UK singles chart, however, over the years, the song is regarded as one of Costello's major songs and in a way embellies the Motown soul tribute of the album and stands as one of his most danceable songs.

Elvis Costello & The Attractions "Get Happy!!" (1980)

Get Happy!!
release date: Feb. 15, 1980
format: vinyl / cd (1994 remaster Extended Play)
[album rate: 4,5 / 5] [4,46]
producer: Nick Lowe
label: F-Beat / Demon Records - nationality: England, UK

Track highlights: 1. "Love for Tender" (5 / 5) - 2. "Opportunity" - 3. "The Imposter" (4,5 / 5) - 5. "King Horse" - 6. "Possession" (5 / 5) - 7. "Man Called Uncle" - 8. "Clowntime Is Over" - 10. "High Fidelity" - 11. "I Can't Stand Up (For Falling Down)" - 14. "B Movie" - 15. "Motel Matches" - 18. "Temptation" (5 / 5) - 19. "I Stand Accused" - *23 "Getting Mighty Crowded" - *24. "So Young"
*Bonus track on 1994 remaster 'Extended Play'

4th studio album by Elvis Costello is like the predecessor made with The Attractions, and it's his now fourth album to be produced by Nick Lowe. The original vinyl release is released on F-Beat and the '94 remaster in the Extended Play-series, is released by Demon Records.
Already, at this point Costello was known for the incredible production speed he was pursuing. Many artist spewed out albums faster than ever before at this point in modern music history, but Costello wrote and composed close to 100% of his material on his own, and here just one year after the new-found style of Armed Forces he bangs another style-shift on the counter with this one to avoid repeating himself.
Get Happy!! contains 20 tracks in the original vinyl version, which in itself is an accomplishment and something almost unheard of with its running time at 48 mins they indeed pressed the limits with the vinyl format. Several songs run out under 2 mins, and the average playing time of the songs must be somewhere around 2:30, but still he demonstrates impressive writing pace. Stylistically, the album showcases Costello's musical strengths as he explores soul and r&b sources to mix his own new wave and power pop version of pop soul and with the tight backing band, The Attractions they make it a bomb of sheer rhythmic energy.
I think the album is one of my first purchases after having bought This Year's Model with Costello in the early 1980s, and it immediately felt great. I know, contemporary critics praised his earlier and some later releases higher than this, but from my perspective this is Costello at his best. Much like with his '79 album it's a pretty hard job to enlist the track highlights on an album that just consists of great songs, which is why I have only enlisted the very very best. The 1994 remaster on Demon is worth every penny. Like the vinyl was followed by producer Nick Lowe's comment to the record buyer to pay attention that the album has 10 tracks on each side without loss of quality, the remaster has another 10 bonus tracks in the 'Extended Play' series (actually, 11 tracks counting the unlisted 31st incomplete demo track of "Love for Tender" intentionally ending abruptly after 1:39). The original vinyl album was issued with a wrong playing order - having swapped the A and B-sides, and the '94 remaster plays along with this by enlisting the total tracks in reverse order.
The first (and the best charting) single from the album is I Can't Stand Up (For Falling Down) (Feb. 1980) peaking at number #4 on the UK singles chart list, followed by High Fidelity (Feb. 1980) and New Amsterdam (Jun. 1980). The album was well-received, and it reached the same high position on the national albums chart list with a second place, although, it wasn't met by the same positive reviews as his two previous albums. Retrospectively, however, the album is by many considered one of Costello's absolute best. On the website Acclaimed Music, the album is ranked the 76th most acclaimed album of the 1980s, and in 1989, Rolling Stone placed Get Happy!! at number #11 on its list of 'The 100 Best Albums of the 1980s'.
The album is and has always been one of my absolute favourites by Costello, and would surely end up on my personal top 3 list of his extensive production, if I should ever attempt to make such a list.
Highly recommended.
"EveryHomeShouldHaveOne."
[ allmusic.com, Blender, Sounds, Uncut 5 / 5, Rolling Stone, Select 4 / 5 stars ]

Morrissey "Suedehead" (1988) (single)

Suedehead, 12'' single
release date: Feb. 27, 1988
format: vinyl (12POP 1618)
[single rate: 4 / 5] [3,86]
producer: Stephen Street
label: HMV - nationality: England, UK

Tracklist: A) 1. "Suedehead" (4 / 5) - - B) 1. "I Know Very Well How I Got My Name" (3,5 / 5) - 2. "Hairdresser on Fire"

Solo debut single by Morrissey taken from his forthcoming album produced by Stephen Street who also co-wrote the tracks with Morrissey. After leaving Rough Trade Records Morrissey signed with EMI and would have his releases issued by the sub-label of His Master's Voice.
The US version of the debut album also includes the final track from the 12'' single, "Hairdresser on Fire", which wasn't included on the 7'' version nor on the European edition of the album but it found its way to the compilation album Bona Drag (1990). The front cover artwork is seemingly a continued style from the days with The Smiths but the cover isn't a retro photo of a 1960s British or US musician or actor but is instead a fan-photograph of Morrissey taken at a live concert with The Smiths by Geri Caulfield. And yes, it suits him well to resemble his own heroes, like a Dallesandro or Dean.
This, the first solo release by Morrissey was highly anticipated, and I recall purchasing it the first week of its release. I was especially struck by the great guitar work of the title track, and basically found it like the continued sound and style of The Smiths, and as it had been the case with one of the very first singles by The Smiths this one only made me want the forthcoming full-length solo album even more.

Laurie Anderson "Home of the Brave" (OST) (1986) (live)

Home of the Brave (soundtrack) (live)
release date: Apr. 25, 1986
format: cd
[album rate: 4 / 5]
producer: Laurie Anderson and Roma Baran; Nile Rodgers (2 tracks)

Tracklist: 1. "Smoke Rings" (4,5 / 5) - 2. "White Lily" - 3. "Late Show" (4 / 5) - 4. "Talk Normal" (4 / 5) - 5. "Language Is a Virus" (4,5 / 5) - 6. "Radar" - 7. "Sharkey's Night" - 8. "Credit Racket"
[ full movie ]

3rd album by Laurie Anderson follows nearly two years after Mister Heartbreak (Jun 1984) is also an experiment of formats. It's both a live album, a soundtrack, and a studio album. The movie is not entirely live takes but a mix of live recordings and studio mixing. The film Home of the Brave is fascinating, although, it's merely a concert flick. "Sharkey's Night" is taken from Mister Heartbreak (1984) but here it comes in a different version, and the track "Language Is a Virus" is taken from her 5 lp live album United States Live (1984).
Overall, I think, it's a more fascinating release than Mister Heartbreak and not really at the same level as her debut album.
Strong recommendation.
[ allmusic.com 2 / 5 stars ]

Editors "The Back Room" (2005)

The Back Room [debut]
release date: Jul. 25, 2005
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Jim Abbiss
label: Kitchenware - nationality: England, UK

Tracklist: 1. "Lights" - 2. "Munich" (4 / 5) - 3. "Blood" - 4. "Fall" (2,5 / 5) - 5. " All Sparks" (3 / 5) - 6. "Camera" - 7. "Fingers in the Factories" - 8. "Bullets" (4 / 5) - 9. "Someone Says" (3 / 5) - 10. "Open Your Arms" - 11. "Distance" (3 / 5)

Studio album debut by Editors, and the first album I heard with the band. The cover is very much in family with the minimalist art direction by Peter Saville (who made covers for Joy Division and New Order) as well as Interpol's debut album, and the music is likewise a fine combo of the two prominent artists of post-punk. What is very different from the early contributors of the genre is clearly the production side. Also, Editors' musical universe is more symphonic but still simple and clear, and then of course: the music of the post-punk of the 1980s was not commercially intended... according to the artists themselves. I think, this first album is a fine and interesting release among many artists and releases that seek glory in the past.
[ allmusic.com 4,5 / 5, NME 4 / 5, Rolling Stone 3 / 5 stars ]

Lloyd Cole "Don't Get Weird on Me Babe" (1991)

Don't Get Weird on Me Babe
release date: Jan. 21, 1991
format: vinyl / cd
[album rate: 3,5 / 5] [3,52]
producer: Fred Maher, Lloyd Cole, Paul Hardiman
label: Polydor Records - nationality: England, UK

2nd solo studio album by Lloyd Cole is a turn to an even more singer / songwriter founded style compared to his debut. Again, Cole works with Blair Cowan who plays keyboard on the album.
I bought the album upon its release but never really enjoyed it as much as his previous album. I think, I found it too polished and missed the more uptempo jangle pop songs. Today, I consider this a better album. It's simply more of a whole, and the songs are lyrically better compositions.
[ allmusic.com 4 / 5 stars ]

The Pogues "Poguetry in Motion" (1986) (ep)

Poguetry on Motion, ep
release date: Feb. 24, 1986
format: digital
[album rate: 4 / 5]
producer: Elvis Costello
label: Stiff Records - nationality: England, UK

Tracklist: 1. "London Girl" (4 / 5) - 2. "Rainy Night in Soho" (4 / 5) - 3. "The Body of an American" (4 / 5) (live) - 4. "Planxty Noel Hill" (3,5 / 5)

4-track studio ep by The Pogues, released after their breakthrough album Rum Sodomy & the Lash from 1985, and like that these tracks were produced by Elvis Costello. The band has been expanded with guitarist Terry Woods, but it was also the last album to feature founding member Cait O'Riordan who married Costello in may '86. Stylistically, this is close to the two great albums of '85 and '88. A song like "Rainy Night in Soho" sounds much like an early blueprint of the band's famous Christmas song "Fairytale of New York", which would appear on the '86 album. The first three tracks are credited MacGowan and the last instrumental track is credited banjo-player Jem Finer.

Richard Hawley "Truelove's Gutter" (2009)

Truelove's Gutter
release date: Sep. 9, 2009
format: cd
[album rate: 3,5 / 5] [3,44]
producer: Richard Hawley and Colin Elliot
label: Mute Records - nationality. England, UK

Track highlights: 2. "Open Up Your Door" (4 / 5) - 4. "Remorse Code" (4,5 / 5) (live at Melkweg) - 5. "Don't Get Hung Up in Your Soul" - 6. "Soldier On" - 8. "Don't You Cry"

5th solo album release by Richard Hawley. It's not that it's a lesser release but in his list of albums it's not that far from the 2007 release Lady's Bridge. There's not much new in his music, and yes, I'm well aware of the fact that some musicians really don't have to present us the big progression 'cause what they do just sounds perfectly fine as is, and Hawley is one of those artists. "Remorse Code" is a beautiful (almost progressive) long track at 9:50 min, and "Don't You Cry" even surpasses it lasting 10:42 min. Both tracks may be seen as Hawley experimenting with sound and sentiments, and all in all the album is his most quiet and tender album so far. The album won the prize Mojo Record of the Year in 2009.
[ allmusic.com 4,5 / 5, The Guardian, Mojo, Q Magazine 4/ 5, Uncut 3 / 5 stars ]

The Church "The Blurred Crusade" (1982)

The Blurred Crusade
release date: Feb. 22, 1982
format: vinyl (CALS 140) / cd (2010 remaster)
[album rate: 4 / 5] [3,98]
producer: Bob Clearmountain; Chris Gilbey
label: Carrere Records - nationality: Australia

Track highlights: 1. "Almost With You" (4 / 5) (live) - 2. "When You Were Mine" - 3. "Fields of Mars" - 6. "Just for You" (4 / 5) (live) - 8. "To Be in Your Eyes" (4 / 5) - 9. "You Took" (org. video)

2nd studio album by The Church - in Europe the album followed only 1 month after the debut.

Stylistically, the band continues the jangle pop from the predecessor, although it's also clear that this second album is a more coherent release. The Blurred Crusade was for many years one of my favourites by this great Australian band, and what I personally find succeeds here, is the addition of larger and more complex arrangements to an original style, which already here points to a new-found neo-psychedelia, a certain trademark of theirs on all following releases. Apart from that, this album is also better produced.

Without ever being mention, this appears in hindsight as something that could easily be a source of inspiration to a style you would come to hear a few years later in bands like Aztec Camera and The Smiths.

[ allmusic.com 4,5 / 5 stars ]

Annika Aakjær "Lille filantrop" (2008)

Lille filantrop [debut]
release date: May 5, 2008
format: cd (Digipak)
[album rate: 3,5 / 5] [3,46]
producer: Henrik Marstal
label: Playground - nationality: Denmark

Track highlights: 1. "Jeg er stadig smukkere end du nogensinde bli'r" - 2. "Tyk" - 5. "Kjøvenhavner sangen (feat. Ole Thestrup)" - 6. "Drømmenes toilet" (live)

Studio album debut by Annika Aakjær. It's a fine subtle collection of singer / songwriter, folk pop that has been almost completely unnoticed by the public in Denmark. She had little airplay on national radio, and presumably none on local radio stations. Still, she writes some fine and witty lyrics in a gentle and fragile singing voice accompanied by simple orchestration, which suits her music quite well. This is better, more talented and much more profound than e.g. Sys Bjerre.

The song "Tyk", which could be translated to 'fat' is here with reference to the state of having gained weight as the result of being impregnated, and it's a typical and witty self-ironic track in the better end.

Lille filantrop is a fine and promising debut.


Other songs with Annika Aakjær:

"Tre små soldater" (live)

Madness "Keep Moving" (1984)

Keep Moving
release date: Feb. 20, 1984
format: vinyl (GHS 4022) / cd (2010 remaster)
[album rate: 3,5 / 5] [3,64]
producer: Clive Langer, Alan Winstanley
label: Geffen - nationality: England, UK

Track highlights: A) 1. "Keep Moving" - *2. "Wings of a Dove" (4 / 5) - 5. "March of the Gherkins" - 6. "Michael Caine" - - B) 2. "Victoria Gardens" - 4. "One Better Day" (4,5 / 5)
*track only included on the US version

5th studio album by Madness and originally released by Stiff Records is (as usual) produced by Clive Langer & Alan Winstanley. This particular edition of the album is an American issue with a different track listing and the replacement of two songs. The US issue includes the hit single "Wings of a Dove" - released as a stand-alone single in the UK - and "The Sun and the Rain" - these two exclude "Waltz Into Mischief" and "Time for Tea".
The band has slowed a bit down on its release-pace, as it has taken the band 1½ years since the last full studio album. In '83 the band released its second best of album, simply titled Madness and primarily for the American market after experiencing unexpected success with the single "Our House". from The Rise & Fall, which hadn't had a release there.
Keep Moving is once again a little more mainstream-shaped than its predecessor, and at the time of its release I basically regarded it as a clearly lesser release - a bit of a disappointment, really. But it's far from mediocre. It contains several truly fine songs, "One Better Day" being one of the band's absolute best, as I think it more than any contain that specific touch and tone that synthesizes the soul of the band - and then the voice of Graham McPherson is just spot on. In the 80s, I didn't like the broader production sound of the band much - too many additional arrangements and vocal harmonies, the absence of the characteristic ska revival, which altogether made Madness sound like so many other artists at the time. The track "Michael Caine" is another genius gem from an album that contains more than meets the eye.
Founding member Mike Barson took part in the recording sessions for the album but basically had left the band at the time of the album release. He would be replaced by Steve Nieve (Elvis Costello & The Attractions).
The album is not one of the band's best albums, but it doesn't need to be to be better than average.
This is still quite original and also a recommended release of the mid-80s. As I have both the US and the original EU issues, I do think the US version easily wins the battle. Both exchanged singles are better songs, which only increased the value.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Lloyd Cole "Lloyd Cole" (1990)

Lloyd Cole [debut]
release date: Feb. 21, 1990
format: vinyl / digital
[album rate: 3,5 / 5] [3,42]
producer: Lloyd Cole, Paul Hardiman, Fred Maher
label: Polydor Records - nationality: England, UK

Studio solo debut album by Lloyd Cole after the disbandment of Lloyd Cole and The Commotions in '89. Musically, it's not a huge step from Mainstream (1987), but with more personal, introvert and singer / songwriter feel attached to it. After leaving his band behind, Cole also left London and England to live in New York, however, he still works with keyboardist Blair Cowan from The Commotions with whom he has written three of the songs.
At the time of its release I liked this better than the final album with The Commotions, and eventually also found it better than his successive album, a thing I have changed my mind on.
[ allmusic.com 3 / 5 stars ]

Hüsker Dü "Zen Arcade" (1984)

Zen Arcade
release date: Jul. 1984
format: digital
[album rate: 3 / 5] [3,22]
producer: Hüsker Dü, Spot (aka Glen Lockett)
label: SST Records - nationality: USA

Track highlights: 1. "Something I Learned Today" - 3. "Never Talking to You Again" - 8. "Beyond the Threshold" - 11. "The Biggest Lie" - 15. "Somewhere" - 17. "Pink Turns to Blue" - 20. "Whatever" - 22. "Turn on the News"

2nd studio album by Hüsker Dü continues where Everything Falls Apart (1983) ended, although, there's a clear introduction to something pointing to a stylistic change away from the British hardcore punk sound and to what should later be referred to as alt. rock. After the studio debut the band released the 7 track ep Metal Circus in '83, which was more as its predecessor. Despite clearly punk rock-fused on Zen Arcade, the speed has slowed down and the tracks consists of something one may describe as post hardcore. The track lengths may not reveal the general impression of compositions that have been slowed down - and some are definitely not without high energy - but the overall focus is somewhere else than just hurling away at maximum speed. There are elements of art punk and noise rock, more evidently than on the predecessor, but there are also tracks of acoustic folk rock and neo-psychedelia. The original issue was a double vinyl album with a total of 23 tracks. Where Bob Mould took responsibility of the songs on the debut, this one still has his signature on 18 of the tracks (12 exclusively written by Mould alone) - this offers more space for songs written entirely by drummer, vocalist and pianist, Grant Hart and / or all three together. Hart is credited four tracks without Mould or Norton (the latter being cowriter on four).
I never fell for the style on this - not back in the 80s - nor when I rediscovered the band's early stuff in the 90s, but I have to admit that it's quite original - and dated, Yes! But with a very sharp and highly original style that is anything but 'just' noise. It's dark, angry and sinister but there are multiple layers to sink into. I can't really say that it's bettering the debut, as it in a way restarts the mission of the band, pointing to many paths to walk after this, but having grunge rock nearly a decade further up the road, this is at least a source it all leads back to.
Note: track #23 has a running time close to 14 min, which exceeds the remaining tracks (except 1) by more than 11 min.
[ allmusic.com 5 / 5, Rolling Stone 4 / 5 stars ]