Veto "Sinus" (2012)

Sinus, ep
release date: Sep. 2, 2012
format: cd
[album rate: 3,5 / 5] [3,45]
producer: Veto
label: Sony BMG - nationality: Denmark

Tracklist: 1. "Bowls" (3 / 5) - 2. "Upwards" - 3. "Four to the Floor" (4 / 5) - 4. "Spears" (3 / 5) - 5. "Filter" (3,5 / 5) - 6. "Show Me Where You Go" (3 / 5)

6-track ep release by Veto. The band doesn't do a lot to incorporate new styles in its sound, although, this shows a small tendency in borrowing elements from glitch pop. Sometimes I still hear a little too much inspiration from Bloc Party (e.g. 'Upwards') but Troels Abrahamsen has a very different vocal sound which makes that tolerable.
The band produces some great tunes but struggles in making coherent and solid album releases. This is, however, a strong ep, perhaps the band's very best release, that makes you wish there were more.

Underworld "Barking" (2010)

Barking

release date: Sep. 13, 2010
format: digital (10 x File, FLAC)
[album rate: 3 / 5] [3,18]
producer: various
label: Cooking Vinyl - nationality: England, UK

8th studio album by Underworld is succeeding Oblivion with Bells (Oct. 2007) thus following the near usual three years in between studio albums. On this the duo has progressed into drum and bass electronic and returned to trance, which was one of their initial styles back in 1994.
Frankly, my initial feelings about the album was a rather boring release and I have to admit that I didn't really play it that many times. I always ended up skipping tracks and by putting something else on in the end. To me it was the disappointing continued journey into earlier and already known territory, however, I did continue to return to the album. Just to try to understand on one hand my rejection 'cause I really enjoy several of their other albums and on the other hand to see if I could find the band's fascination and intentions. And luckily so, I did! I have ended up seeing this from a much more positive perspective. It took me a long time to get there, but after enjoying their 2016 album I returned to the albums, I somehow had rejected as detours, and what I found here is the same distinct fingerprint that simply says 'Underworld'. It's a take on the electronic genre with clear evidence of their fascination of progressiveness. Sometimes they incorporate techno and trance but there are always hints of more danceable styles like drum & bass and house, which in the end has become their distinctive style. And although, this is more techno than breakbeat it's also simply more experimental progressive electronic as such, and with a will to understand it does contain fine compositions and music that matters despite not being an album of single wonders.
[ allmusic.com 3 / 5, NME 2,5 / 5, Mojo, Uncut 4 / 5 stars ]

The Police "Every Breath You Take - The Singles" (1986)

Every Breath You Take - The Singles (compilation)
release date: Oct. 25, 1986
format: vinyl / cd
[album rate: 4 / 5]
producer: various
label: A&M Records - nationality: England, UK

Compilation album by The Police containing twelve A-side singles listed in chronological order and spanning all of the band's five studio albums from 1978 to '83. This is the band's first official compilation. The first three albums are each represented with two singles, whereas three singles stem from each of the last two studio albums. Only "Don't Stand so Close to Me '86" (track #6) is a new recording with a different arrangement from the original 1980 single.
Since the first issue, this album has been re-issued, re-packaged and remastered in various editions with new titles by A&M Records. An identical repackaged version was released as Their Greatest Hits in 1990, which appears as the blue-print for the expanded Greatest Hits (1992) - a 16-track release with four additional non-singles thrown in here and there, and then Every Breath You Take - The Classics (1995), where the original '86 release was expanded to a 14-track single cd, only adding two tracks to the original tracklist. In '96 that very same issue became Greatest Hits (of course: a 'new' title requires a new cover... but they are identical). The curious thing is that the two 'Greatest Hits' issues ('92 and '96) were released by the same label (A&M, who have released all official albums by The Police) but these two albums have different tracklistings, whereas the 'The Classics' (95) and the 'Greatest Hits' ('96 version) appear as identical issues with different titles and covers. Well, profit in the making.
Personally, I like the idea of releasing all singles in chronological order, regardless sales numbers and popularity. As often is the case with this kind of releases, the money men of record companies soon focus on how you attract most customers, and you may not do that by putting the band's most popular songs at the end or by including songs that wasn't big hits, but in this case the various reissues are quite close to the original idea - and then of course: there's only one version of an A-side singles' issue.
[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

~ ~ ~ ~ ~ ~ ~

4 other similar issues from A&M

Their Greatest Hits (1990) (new title, new cover but identical tracklist)	Greatest Hits (1992) (expanded to 16-tracks, 4 additional tracks thrown in here and there)	Every Breath You Take - The Classics (1995) (remastered & expanded to 14-tracks with 2 additional tracks apperaring at the end)	Greatest Hits (1996) (new title, new cover but identical to '95 compilation 'The Classics')

Stuart A. Staples "Leaving Songs" (2006)

Leaving Songs
release date: May 29, 2006
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Stuart A. Staples
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Goodbye to Old Friends" - 2. "There Is a Path" - 3. "Which Way the Wind" - 4. "This Road Is Long" (Duet sung with Maria McKee) - 5. "One More Time" - 7. "That Leaving Feeling" (Duet sung with Lhasa de Sela) (4 / 5) - 10. "Pulling in to the Sea"

2nd solo outing by Stuart A. Staples following his solo debut Lucky Dog Recordings 03-04 from 2005 is as the title indicates a 'farewell album'. Like his debut, this was made with the aid from Staples' old associates from the band Asphalt Ribbons, and who both took part in the formation of Tindersticks: guitarist Neil Fraser and keyboardist David Boulter. Other former acquaintances count drummer Thomas Belhom, trumpeter and saxophonist Terry Edwards, and vocalist Gina Foster. In addition, two of the songs are formed as duets, one features Maria McKee, the other features Lhasa de Sela.

The album is a fine small departure from Staples' first solo with a stronger sense of a collection that were written and recorded within a continuous period, where both lyrics and music revolve around the same themes. The album has more of the well-known chamber pop arrangements from Tindersticks back again, but it's still a more scraped-down version and simpler than the band's most recent albums, which were heavily instrumented in places. To me, this sound more like linked to Simple Pleasure (1999) and Curtains (1997). Here, the songs may be bloated and grandiose, while the whole is kept quite strict and simple.

Leaving Songs is once again better than Tindersticks have proved to be lately, and perhaps with this, Staples cements that an era has come to an end and a new one may take its beginning. In any case, the band Tindersticks is from hereon founded on the cast Staples welcomed on his solo albums.

[ allmusic.com 4 / 5 stars ]

10,000 Maniacs "Our Time in Eden" (1992)

Our Time in Eden
release date: Sep. 29, 1992
format: vinyl / cd
[album rate: 4 / 5] [4,16]
producer: Paul Fox
label: Elektra Records - nationality: USA

Tracklist: 1. "Noah's Dove" (4,5 / 5) - 2. "These Are Days" (5 / 5) - 3. "Eden" (live) - 4. "Few and Far Between" (live) - 5. "Stockton Gala Days" (4 / 5) (live on Letterman) (MTV unplugged) - 6. "Gold Rush Brides" - 7. "Jezebel" (4 / 5) - 8. "How You've Grown" (4 / 5) - 9. "Candy Everybody Wants" (4,5 / 5) - 10. "Tolerance" - 11. "Circle Dream" - 12. "If You Intend" (4 / 5) - 13. "I'm Not the Man"

5th studio album by 10,000 Maniacs following Blind Man's Zoo (May 1989), again released on Elektra, is the final album with new material to feature Nathalie Merchant on lead vocals. Before this they released their first compilation album Hope Chest: The Fredonia Recordings 1982-1983, compiling their earliest recordings: the ep Human Conflict number Five from 1982, and the self-released debut album Secrets of the I Ching (1983). Paul Fox is new producer on this one, and I simply consider this the best-produced album with 10,000 Maniacs. The album is my only vinyl release with the band. I already had In My Tribe (1987) on cassette, which until then was my favourite with the band, and these two are imo the band's master works, being much alike, without being repetitive, but both albums have that special tone, which has to do with Nathalie's narrating melancholic, yet strong voice, and the band's trademark of blending folk, jangle pop and pop / rock into a great mixture with banjo, mandolin, violin, and percussion. On this, brass sections is an additional element, which helps shaping this as their best-sounding album with great melodic catchy songs.
In 1993, Nathalie Merchant parted with the band and initiated a long-lasting solo career. Elektra chose to follow Merchant's solo career and instead dropped the band, who extended the line-up with two members: a return to founding member John Lombardo and new lead vocalist Mary Ramsey (both from the folk-duo John & Mary) and the sextet initially went by the name of John & Mary, Rob, Steve, Dennis, & Jerry before settling with the old band name.
Highly recommended.
[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

1992 Favourite releases: 1. Morrissey Your Arsenal - 2. 10.000 Maniacs Our Time in Eden - 3. Adrian Borland Brittle Heaven

Sting "Bring on the Night" (1986) (live)

Bring on the Night (live)
release date: Jul. 1, 1986
format: digital
[album rate: 3 / 5] [3,16]
producer: Sting, Kim Turner
label: A&M Records - nationality: England, UK

Track highlights: 1. "Bring on the Night / When the World Is Running Down..." - 2. "Consider Me Gone" - 4. "We Work the Black Seam" - 5. "Driven to Tears" - 7. "Tea in the Sahara" - 8. "Moon Over Bourbon Street" - 10. "Another Day" - 11. "Children's Crusade"

2nd solo album by Sting, issued as a double vinyl live album consisting of tracks from his recent solo debut and several songs by The Police. The production sound doesn't reveal much post-production, which means it's very authentic as live recordings.
The inclusion of various compositions by The Police basically serves to document Sting's progression towards a more jazz-influenced sound. Yes, the material is there, undoubtedly, it consists of a number of great compositions, and the (star) backing band personnel including Branford Marsalis, Darryl Jones, Kenny Kirkland, and Omar Hakim doesn't come short on jazz - but as a contemporary pop / rock release I find it a bit tedious. It contains long jazz solos, which makes it a bit dreary in the long run, and I never was a big fan of fusion jazz.
[ used to own on vinyl ].
[ allmusic.com 3,5 / 5 stars ]

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.

Orchestral Manoeuvres in the Dark "The Best Of" (1988)

The Best Of (compilation)
release date: Mar. 12, 1988
format: cd
[album rate: 4 / 5]
producer: various
label: Virgin Records - nationality: England, UK

First official best of compilation album by OMD. The vinyl issue contains fourteen tracks, whereas the cassette and cd issues contain eighteen all spanning the band's career from 1980-88.
The album was issued as the band struggled in finding the right form - something the band members always seemed to have disagreed on. The critically acclaimed first four albums were all experimental in some ways, and they all contained simple pop-shaped songs, which brought them radio play and a growing crowd, but after a more direct shift towards a mainstream pop universe the band also experienced a decline in sales numbers in its studio albums, although, several single releases fared quite well.
The album was more than well-received as it reached #2 on the national albums chart list, and OMD subsequently launched on a US tour promoting the album as supporting act for Depeche Mode.
The album is a fine collection, although, I find it focusing way too heavy on the band's later career with only 8 tracks from the band's first classic 4 albums, whereas the remaining 10 tracks are taken from 3 [minor] studio albums, one soundtrack and with one previously unreleased song.
By the end of the tour the two Weir brothers left the band, and also unsatisfied with the musical direction of the band it also had co-founder Paul Humphreys calling it a day, basically leaving OMD as an Andy McCluskey solo project.
[ allmusic.com 4,5 / 5 stars ]

Veto "Everything Is Amplified" (2011)

Everything Is Amplified
release date: Feb. 28, 2011
format: cd
[album rate: 3 / 5] [3,16]
producer: Veto
label: RCA Records - nationality: Denmark

Track highlights: 1. "You're Hard to Get" (4 / 5) (live) - 2. "Am I Awake Or Should I Wake Up" - 3. "This Is Not" (4 / 5) - 8. "Take It Outside"

3rd studio album by Veto who continues its heavy / hard indietronica style. The rhythm section is tight and the band's trademark. Compared to another Danish act of the genre, Turboweekend, Veto has a more simple, yet more danceable sound, which simply rely on sound, but also a weaker lyrical side, which at times simply ruin the impression.

I think, the album starts off as their so far album out, but then falls after track #3 and just never reach the same fine level. Perhaps as a consequence to this the band has only released another two eps after this.

M.I.A. "Kala" (2007)

Kala
release date: Aug. 21, 2007
format: cd
[single rate: 4 / 5] [4,08]
producer: various
label: XL Recordings - nationality: England, UK

Track highlights: 1. "Bamboo Banga" - 2. "Bird Flu" (4 / 5) - 3. "Boyz" (4 / 5) - 4. "Jimmy" - 5. "Hussel" (feat. Afrikan Boy) - 8. "World Town" - 10. "XR2" - 11. "Paper Planes" (4 / 5) - 12. "Come Around" (feat. Timbaland)

2nd studio album by M.I.A. Her debut album Arular (2005) was with reference to her father, and this is dedicated her mother, named Kala. Her third album /\/\ /\ Y /\ (aka 'Maya') (2010), succeeding this one, is literally her own.

I first came across her in 2008 after she had released the single "Paper Planes" taken from this very album. The track is (like most of her music) great uk hip hop dance-pop electropop fused with grime (making it very different from American hip hop) and some glitch pop, and then that track is very cleverly sampled from the song "Straight to Hell" by The Clash. Her style is unique, and then she utilizes her music to speak openly about Sri Lanka vs. India vs. England vs. how the world ignores the impotent political situation in her parents' foster land. Other great tracks from the album are "Bird Flu" and "Boyz", which were both composed, recorded, and arranged in the process of travelling. M.I.A. had laid the foundation of the songs at home, then left to various parts of the world and each new place she rearranged bits, wrote new stuff and added new instrumentation to the individual song making them real world tunes.

In my mind, this is her best album and also one of the most interesting releases in 2007, although, she's really a great singles artist, as her albums are more than just interesting but also lack consistency or homogeneity.

The album ended up on many best of lists including number #1 on Rolling Stone's best albums of the year. And quite deservedly, the album is enlisted in "1001 Albums You Must Hear Before You Die".

[ allmusic.com 4,5 / 5 stars ]

Paul Weller "Paul Weller" (1992)

Paul Weller [debut]
release date: Sep. 1, 1992
format: cd
[album rate: 3,5 / 5] [3,42]
producer: Paul Weller, Brendan Lynch
label: Go! Discs / London Records - nationality: England, UK

Track highlights: 1. "Uh Huh Oh Yeh!" - 2. "I Didn't Mean to Hurt You" - 5. "Remember How We Started" - 6. "Above the Clouds" - 11. "Bitterness Rising"

Solo studio debut by Paul Weller after leaving The Style Council, and after leaving behind various stylistic attempts. This is a better effort than his last releases with The Style Council. On this, he continues his fascination for pop soul but blends it nicely within a modern context of jazz pop influences and mod revival elements, which again links to his glorious days in The Jam. He makes an original blend without making it sound entirely as sophisti-pop, and he builds songs with a stronger sense of singer / songwriter and mature pop / rock. It's still a first sketch with hints pointing here and there, but generally it's just nice to hear him challenge his talent on his own instead of wasting time on polished posh. This is his first solo album in a long journey that propels him up to current time. Some tracks sound like shaped for The Style Council and in that way makes it a half success.
[ allmusic.com, Mojo 4 / 5, Rolling Stone 2 / 5 stars ]

Grant-Lee Phillips "Virginia Creeper" (2004)

Virginia Creeper
release date: Feb. 24, 2004
format: cd
[album rate: 4 / 5] [4,12]
producer: Grant-Lee Phillips
label: Zoë Records - nationality: USA

Track highlights: 1. "Mona Lisa" (4 / 5) - 2. "Waking Memory" - 3. "Lily-a-Passion" (4 / 5) - 4. "Dirty Secret" - 5. "Always Friends" - 6. "Calamity Jane" - 7. "Josephine of the Swamps" - 8. "Far End of the Night" - 9. "Susanna Little" (5 / 5) - 10. "Wish I Knew" - 11. "Hickory Wind"

3rd solo album by Grant-Lee Phillips released 2½ years following Mobilize (Aug. 2001) is Phillips back as sole producer on his own songs, which comes out as soft folk rock destilled in a slow and skilful way.
I really love his coolness and 'I don't mind'-attitude. Not only has he written all but one track on the album, he has also put himself in the production seat, and he sings lead vocals, plays the banjo, guitar, and piano. I think, he likes to do things his own way. He makes alternative singer / songwriter indie folk rock in his own narrating way with touches of americana. I also like how he explores different genres from time to time. You never know what kind of music he releases but somehow the albums are always a compound of interesting songs, which in a way is how mature artists often operate, although, not many musicians dare to be that honest and just follow their heart. Although, Mobilize was a mighty fine album Virginia Creeper is easily his so far best solo work proving he does more than well on his own.
Track highlights' are all eleven songs - this is naturally highly recommended.
[ allmusic.com, The Guardian, PopMatters, Uncut 4 / 5, Mojo 4,5 / 5 stars ]

2004 Favourite releases: 1. Arcade Fire Funeral - 2. The Streets A Grand Don't Come for Free - 3. Grant-Lee Phillips Virginia Creeper

<  show lyrics >

~ ~ ~
"Mona Lisa"

"You're the last of your kind, Mona Lisa
With a wink of your eye,
Ya make it all right
Oh there's more left to life, Mona Lisa
Let me take you along for the ride

Aint nothin' that stays the same
Won't ask it a' you
Just that burgundy smile you wore yesterday
Say ya won't ever lose

I been down, I been worse
Mona Lisa
Came in last, came in first
But it all gathers dirt, Mona Lisa
'Fore ya bathe in the light

Aint nothin' that stays the same
Won't ask it a' you
Just that burgundy smile you wore yesterday
Say ya won't ever lose

Oh ya taught me this much, Mona Lisa
I done set it aside
For when you need the same magic touch
For for when you need remindin'

Aint nothin' that stays the same
Won't ask it a' you
Just that burgundy smile you wore yesterday
Say ya won't ever lose
Just that burgundy smile you wore yesterday
Say ya won't ever lose"

~ ~ ~

"Susanna Little"

"Sussana Little, Sussana Little
Gone 'fore I ever arrived
Questions that stream through my own Creek blood
The odyssey of your life

A motherless child, you were torn from your home
By decree of the county affairs
Good Christians, they gave you a lily-white dress
And they shorn back that Indian hair

Told ya 'study your Bible, be silent and still
And take to the ways of the whites'
Nothin' they offered could break down your will
For you ran for the gates one night

Sussana Little, Sussana Little
Gone 'fore I ever arrived
Questions that stream through my own Creek blood
Stories that keep you alive

Your daddy, Joe Little, had woes of his own
Drink was much stronger than greed
But some in the city felt native red hands
Were no place to let rest a deed

Oklahoma was rich with the stench of black oil
And the men who came there to drill
In the sun baked clay of Indian lands
There, in the desolate fields

Sussana Little, Sussana Little
Gone 'fore I ever arrived
Questions that stream through my own creek blood
Songs that'a keep you alive

Mysterious crimes, oh they swept through the county
Waving the finger of blame
Eyes turned to Joe Little
A couple too many of acres land to his name

No one would have heard the lone shot in the night
They never posted his bail
Big Joey Little, he never walked out
Of Sheriff Stanton's jail

Sussana Little, Sussana Little
Gone 'fore I ever arrived
Questions that stream through my own Creek blood
The odyssey of your life

For all of the lives you lived this far
No part of you could have known
The evil hearts of the men who would fetch ya
One night by the side of the road

The moon, it grew dark and the frost would form
Before ya finally were found
Chained to a log in a torn white dress
Shakin wild eyed on the ground

Sussana Little, Sussana Little
Gone 'fore I ever arrived
Questions that stream through my own creek blood
Such were the trials of your life...

Yet in the years to come, you took a man
Raised five of your own
And for a spell it was as almost as though
The light of justice had shown

The hand that had written this part but for you
And made it all plenty hard
Gave you a gusher, a well spring of oil
There in your own back yard

So pile them kids in the plush back seat
Ridin shotgun in the Packard to town
With your man, Tom Fisher, one hand on the wheel
The other on your knee now

Sussana Little, Sussana Little
Gone 'fore I ever arrived
Questions that stream through my own Creek blood
The odyssey of your life

:Sussana Little
:Sussana Little"

~ ~ ~

Mellemblond "Ude af mine hænder" (2009)

Ude af mine hænder [debut]
release date: Jan. 26, 2009
format: cd (TBL 125)
[album rate: 3,5 / 5] [3,58]
producer: Adrian Aurelius & Mellemblond
label: Auditorium / A:larm - nationality: Denmark

Track highlights: 1."Lyd over land" - 2. "Alle veje" - 3. "Ishånd" - 4. "Minder om lys" - 6. "Jeg rør' dig ikke mer' " - 8. "Lille fugl" - 12. "Dråbeglans"

Studio album debut by the Danish band Mellemblond following one year after the 5-track ep debut Mellemblond was actually pretty well-received - at least in the Danish press. The audience and the radio stations have not read the reviews, I guess, 'cause you hardly ever heard the album on any stations, which is really sad but that's how it is, and that's how it's always been in tiny Denmark: The established names [have labels to pay to] get airplay - the rest are too strange, undefined, and lack similarities with international names, or whatever motifs reason this attitude. Anyhow, two of the tracks (#3 and #6) are also found on the debut ep.

My first impression of this album was rather bland but I rapidly changed mind to really like it. An initial verdict had me settled on 'interesting' and a mediocre 2,5 to 3 stars. Then after less than two months I was much more generous and rated the album 3,5 out of 5. They have a distinct style, and despite the simplistic and deliberate lo-fi production sound - which adds a garage rock feel to it - it really suits the songs in a way that makes me think of the legendary Danish band Steppeulvene and their 1967 debut Hip - also thanks to singer (and main composer) and guitarist Kristoffer Munck Mortensen's vocal - in a mix with early Dire Straits and great swamp rockers, Creedence Clearwater Revival, although, that's not suffice as the music is highly original despite the bonds to the past.

This was the first album I listened to by Mellemblond.

Not their best but more than fine.

[ Gaffa.dk 5 / 6 stars ]

The Church "Heyday" (1985)

Heyday
release date: Nov. 1985
format: vinyl / digital
[album rate: 3,5 / 5] [3,48]
producer: Peter Walsh
label: EMI - nationality: Australia

Track highlights: 1. "Myrrh" - 2. "Tristesse" - 3. "Already Yesterday" (video) - 4. "Columbus" (video) - 8. "Disenchanted"

4th studio album by The Church follows nearly 2½ years after Seance (Jun. 1983) and it's the band's first under contract with Warner Bros. The album was released by EMI in Europe and Australasia.

For the first time, the front cover reveals the four members of the band on an album cover [top left corner shows Marty Wilson-Piper, Steve Kilbey, Richard Ploog and Peter Koppes].

I've always had mixed feelings about this album. I had already followed the band for some years and really enjoyed their original sound and style but with this I think some of their uniqueness vanished as they - with aid from a new record label management - apparently aimed for a broader audience.

The album is fine, more so so, without obvious great tracks.

[ allmusic.com 4,5 / 5 stars ]

Veto "Crushing Digits" (2008)

Crushing Digits
release date: May 5, 2008
format: cd
[album rate: 3,5 / 5] [3,45]
producer: Veto; Carsten Heller & Veto (2, 3, 8)
label: RCA Records / Sony Music - nationality: Denmark

Track highlights: 1. "Blackout" - 2. "Built to Fail" - 3. "Shake" - 4. "You Say Yes, I Say Yes" (4 / 5) - 5. "Crooks" - 6. "Digits" - 8. "You Can't Afford It"

2nd studio album by Veto. This is a move towards a more distinct sound based on indietronica, and it's clearly the band's best effort so far. Veto consists of Troels Abrahamsen on lead vocals and keyboards, David Krogh Andersen on guitar, Jens Skov Thomsen on bass and backing vocals, Mark Lee on guitar and keyboards, and with Mads Hasager on drums.
The music is the band's strongest asset, and the lyrics sometimes draws too much attention because of Danish-English grammar, which unfortunately is an issue on later releases as well. However, this is (thank 'god') not Bob Dylan, hence, the vocal is a mere instrument, but basically, I really enjoy the energy, and the output they produce, and that's what matter here. It's quite original and definitely has something to offer, although, the quality of the songs varies somewhat throughout the album.

Elisabeth "Elisabeth" (1985)

Elisabeth [debut]

release date: (Jan.?) 1985

format: vinyl (GENLP 145) / cd (1998 reissue)

[album rate: 3,5 / 5] [3,58]

producer: Finn Verwohlt

label: Genlyd - nationality: Denmark

Track highlights: A) 1. "En sømand som dig" - 3. "Hud mod hud" - 5. "Tågedage" - - B) 3. "Sidste cigaret" - 4. "En torsdag i livet"

Solo album debut by Elisabeth (aka Elisabeth Gjerluff Nielsen) after disbanding Voxpop in '83. The song "Tågedage" is one of her first songs, which debuted on the soundtrack to the 1984 John Hilbard film "Suzanne & Leonard".

Neil Young & Crazy Horse "Weld" (1991) (live)

Weld (live)
release date: Nov. 23, 1991
format: 2 cd (1994 reissue)
[album rate: 4,5 / 5] [4,25]
producer: Neil Young, David Briggs, Billy Talbot
label: Reprise Records, Germany - nationality: Canada

Tracklist: Disc 1: 1. "Hey Hey, My My (Into the Black)" (4 / 5) - 2. "Crime in the City" (3,5 / 5) - 3. "Blowin' in the Wind" (3,5 / 5) - 4. "Welfare Mothers" (3,5 / 5) - 5. "Love to Burn" (3,5 / 5) - 6. "Cinnamon Girl" (5 / 5) - 7. "Mansion on the Hill" (3,5 / 5) - 8. "Fuckin' Up" (4,5 / 5)
Disc 2: 1. "Cortez the Killer" (5 / 5) - 2. "Powderfinger" (4,5 / 5) - 3. "Love and Only Love" (4 / 5) - 4. "Rockin' in the Free World" (4 / 5) - 5. "Like a Hurricane" (5 / 5) - 6. "Farmer John" (4,5 / 5) - 7. "Tonight's the Night" (4 / 5) - 8. "Roll Another Number (For the Road)" (3,5 / 5)

Live album released as Neil Young & Crazy Horse recorded in Apr. 1991 as Young & Crazy Horse were on promotion tour with the Ragged Glory album as part of the North American tour. The album is recorded 'as is' without studio dubs nor with other musicians except for Neil Young & Crazy Horse, who aside from the man himself consists of Frank 'Poncho' Sampedro on guitar, Univox Stringman synthesizer and vocals, Billy Talbot on bass and vocals and with Ralph Molina on drums and vocals. Initially, the album was released in a 25,000 copy limited 3-disc edition titled Arc Weld with the 3rd disc made up of guitar feedback called "Arc".
In my mind this is the best live album by Neil Young. I know many of the old school fans who love him for his folk rock and singer / songwriter period do not agree. I'm from the punk rock period, and I love Neil Young playing garage rock... also. This is simply a great live manifest of a great live performer and a fabulous songwriter, and it's the album by Neil Young that I have played the most. The average playing time of the individual tracks is somewhere around 7+ minutes - the shortest being "Cinnamon Girl" at 'only' 4:47....
I first copied the album to a cassette, back in the early '90s, after finding a copy at the local library, and I played it over and over again before finally buying the album on cd - I then wore the cd-player down, listening to this. Although the songs may be found in their original studio versions on various Young albums dating from the earliest '70s to the latest Ragged Glory, these tracks are just all new because they are played with intuition and improvisations and they come to live in a never before heard version that shows these old guys as young at heart, and they play as if it was their last ever show together. Just listen to "Cinnamon Girl", a track that is already a classic pop / rock song, and here it's even like: "waoo, they even managed to make that one better!". Even Dylan's "Blowin' in the Wind" sounds refreshingly new performed here in an 'upgraded' version. It's simply amazing how this 4-piece band is able to play so... voluminously.
Just give me this album, Ragged Glory, This Note's for You, On the Beach, After the Gold Rush, and Everybody Knows...... and then of course the 8-disc box Neil Young Archives Vol. 1 (1963–1972). Seven releases, that's about all you really need from Neil Young, the rest are just minor to really fine works, but this... this is one of the absolute best live albums of rock that you will ever find.
[ allmusic.com 4,5 / 5 stars ]

Wilmer X "Klubb Bongo" (1989)

Klubb Bongo
release date: 1989
format: cd
[album rate: 3,5 / 5] [3,56]
producer: Magnus Frykberg & Nisse Hellberg
label: EMI Svenska AB - nationality: Sweden

9th studio album by Wilmer X. The album is not more than what you would expect from this band, but still they do just that so well. Nisse Hellberg on vocals and guitar writes music for the band and he IS almost Wilmer X much like Springsteen is expected to lead the E Street Band. My Swedish is not as good as my English. but the significance of narrating entirely in Swedish is really priceless for this particular band. They play so well and tight, but playing a traditional American blues rock would have been a disadvantage if not with the Swedish lyrics.

His Name Is Alive "The Dirt Eaters" (1992)

The Dirt Eaters, ep
release date: Apr. 20, 1992
format: vinyl (BAD 2005)
[album rate: 3 / 5] [2,78]
producer: His Name Is Alive
label: 4AD Records - nationality: USA

Ep release by American experimental rock and dream pop band His Name Is Alive released on British label 4AD Records.

The Pogues "If I Should Fall From Grace With God" (1988)

If I Should Fall From Grace With God
release date: Jan. 18, 1988
format: vinyl / cd
[album rate: 4 / 5] [4,12]
producer: Steve Lillywhite
label: Pogue Mahone / Warner Music Group - nationality: England, UK

Tracklist: 1. "If I Should Fall From Grace With God" (4 / 5) - 2. "Turkish Song of the Damned" (4 / 5) - 3. "Bottle of Smoke" (3,5 / 5) - 4. "Fairytale of New York" (feat. Kirsty MacColl) (5 / 5) - 5. "Metropolis" (4 / 5) - 6. "Thousands Are Sailing" (4 / 5) - *7. "South Australia" (3,5 / 5) - 8. "Fiesta" (5 / 5) - 9. "Medley" ('The Recruiting Sergeant' / 'The Rocky Road to Dublin' / 'The Galway Races') (4 / 5) - 10. "Streets of Sorrow / Birmingham Six" (3,5 / 5) - 11. "Lullaby of London" (4 / 5) - *12. "The Battle March Medley" (2,5 / 5) - 13. "Sit Down by the Fire" (3,5 / 5) - 14. "The Broad Majestic Shannon" (4,5 / 5) - 15. "Worms"
* Bonus track on cd issue

3rd full studio album by The Pogues marks one of the bigger changes in the members list of the band. Founding member, bassist and backing vocalist Cait O'Riordan left the band after marrying Elvis Costello in 1986. On bass she was replaced by Darryl Hunt, but also multi-instrumentalist Terry Woods was a new member. The band's label Stiff Records was no more and the band founded their own label Pogue Mahone but the distribution part was handled by Warner Music Group in Europe and by Island Records in the US, which launched the album with an entirely different cover. The original vinyl album contains 13 tracks of which two are traditionals, 9 are written by Shane MacGowan, one by Jem Finer, and one by new guitarist Phil Chevron. The original cd version contains 15 tracks and a 2004 reissue 19 tracks. The band now consists of eight members. The album is the band's highest ranked album in the UK making it to number #3 on the national album charts, and it contains its best selling single ever: "Fairytale of New York" (written by Shane MacGowan and Jem Finer), which would turn out as a very popular Christmas song. The album is one of the band's best ever, and it's deservedly included in "1001 Albums You Must Hear Before You Die".
[ allmusic.com hands it 4,5 / 5, Mojo and Sounds 5 / 5, NME 10 / 10, Q Magazine 4 / 5 stars ]