Genesis "Selling England by the Pound" (1973)

Selling England by the Pound

release date: Oct. 13, 1973

format: cd (1986 reissue)

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

producer: John Burns & Genesis

label: Virgin / Charisma - nationality: England, UK

Track highlights: 2. "I Know What I Like (In Your Wardrobe)" (live) - 3. "Firth of Fifth" - 5. "The Battle of Epping Forest" - 7. "The Cinema Show"

5th studio album by Genesis following one year after Foxtrot and only two months after the band's first live album Genesis Live. Co-producer John Burns had worked as sound engineer on the '72-album and would also produce the band's follow-up album The Lamb Lies Down on Broadway (1975). The band remains the stable quintet of vocalist Peter Gabriel, guitarist Steve Hackett, bassist Mike Rutherford, keyboardist Tony Banks and drummer Phil Collins, and although, Gabriel wrote all lyrics, all five are credited the album's eight tracks, which has a total playing time at just under 54 minutes.

Musically, it's first and foremost a prog rock album with an overall theme reflecting on old nostalgic England in a contemporary modern era of economic and social crisis.

The album was met by positive reviews and became the band's first top-3 charting album, and retrospect reviews has put the album near the very top on lists of the best prog rock albums ever. It's also the band's first of only two albums to be included in "1001 Albums You Must Hear Before You Die".

Together with the successor, The Lamb Lies Down on Broadway, this represents the most daring and artistic original version of the band Genesis.

Recommended.

[ allmusic.com 5 / 5, Q Magazine 4 / 5 stars ]

New Order "1981-1982" (1982) (ep)

1981-1982, ep
release date: Nov. 1982
format: vinyl (FACTUS 8) / digital
[album rate: 4 / 5] [4,20]
producer: Martin Hannett; New Order
label: Factory Records - nationality: England, UK

Tracklist: A) 1. "Everything's Gone Green" (5 / 5) - 2. "Procession" (5 / 5) - 3. "Mesh" (3,5 / 5) - - B) 1. "Temptation" (4 / 5) (studio session) - 2. "Hurt" (3,5 / 5)

1st studio ep release by New Order aka Factus 8 on Factory Records. It's a strong and classic ep, which signals a new sound of the band, but it still shows the bonds to the sound of Joy Division. Upon its release, my favourite tracks were #A2, #A1, and #B1, in that order. "Procession" is a marvellous track, I recorded on cassette from a radio program (it was originally released as the band's second single Sep. '81) before buying the album, and I played it over and over a zillion times. That bass-line, and progress in development is... gorgeous. It has both something of the new synthpop as well as much of the old post-punk, like heard on "Ceremony". It's the last album to be produced by Martin Hannett, who had worked with the band since the beginning, thus helping in shaping the sound and style of both Joy Division and New Order. But where the debut album Movement (1981) by New Order follows close in the footsteps of Joy Division, this ep signals a new era, which would really come through on the following album. The A-side is produced by Hannett, whereas New Order themselves produced the B-side.
[ allmusic.com 3 / 5 stars ]

Die Kapelle "MCMLXXXVI" (1986)

MCMLXXXVI [debut]
release date: 1986
format: vinyl (SAM 13)
[album rate: 3,5 / 5] [3,46]
producer: Die Kapelle, Peter Brander
label: SAM Records - nationality: Denmark

Full-length studio album debut by Danish post-punk band Die Kapelle consisting of the two brothers Tange, vocalist and guitarist Michael and drummer Niclas, and together with bassist Martin Sellen they form this trio. The band released its ep, or mini-album debut As the Book of Autumn in 1984.
Musically, this comes close to music by The Sound and Killing Joke, but also points to a more synth rock-based style, which at times seems inspired by early Simple Minds. I purchased this album upon its release.

Blur "13" (1999)

13
release date: Mar. 15, 1999
format: 2 cd (2012 remaster)
[album rate: 3,5 / 5] [3,44]
producer: William Orbit
label: Food / Parlophone - nationality: England, UK

Track highlights: 1. "Tender" (4 / 5) (live) - 2. "Bugman" - 3. "Coffee & TV" - 4. "Swamp Song" - 7. "Battle" - 11. "Trimm Trabb" - 12. "No Distance Left to Run"

6th studio album by Blur follows two years after the album Blur and it's the band's first not to be produced by Stephen Street. As Blur has increasingly experimented and sought out new styles the change of producer really comes like a natural progression, and frankly had been expected at an earlier stage. The album both follows closely in the footsteps of Blur with its noisier style, but also manages to go its own way by incorporating new elements like trip hop and neo-psychedelia. Producer William Orbit is an English instrumental electronic musician, which may not be heard on the album, but naturally adds in the making.
Apparently, guitarist Graham Coxon had pushed the band towards a more noise rock / alt. rock universe, which had its dawn on Blur, while Albarn dragged the band into a more experimental sound. An episode which had its impact in shaping the album took place in the personal life of Damon Albarn, who experienced a break-up in a long-time relationship with Elastica vocalist Justine Frischmann, which may be hinted at on several tracks. The title refers to the recording studio by Blur, and in addition, when placed close enough, the two digits 1 + 3 [13] form the letter B for "Blur". The cover art is a detail of a painting "The Apprentice" by guitarist Graham Coxon with the addition of the title numbers.
13 doesn't contain obvious pop hit songs, although, three well-fairing singles were released: "Tender", "Coffee & TV" and "No Distance Left to Run". The album was generally met by positive reviews, and it topped the albums chart list as the fourth consecutive by Blur, and the single "Tender" reached number #2 on the singles chart list. In addition, 13 was nominated several awards including the prestigious Mercury Prize Award.
I always found this album a bit strange, but it does win in the long run. The trip hop and art pop elements that Blur elaborate on here are not far from later Albarn projects. What seems an interesting point is the fact that Albarn shortly prior to starting the recording sessions for the album initiated collaborative works with Jamie Hewlett, who would later be the other half of the Albarn-project, Gorillaz. 13 is a bit of a mixed bag with some fine songs but also too many ideas and stylistic expressions that it's difficult to listen to in one go. That impression doesn't disappear with the remastered 2-disc issue with the inclusion of a "Bonus material disc", which takes everything even further in all directions.
After this album, Albarn initiated his (virtual) project-band Gorillaz and guitarist Graham Coxon concentrated on a solo career he had already initiated before the recording sessions for this album.
[ allmusic.com, Rolling Stone 3,5 / 5, The Guardian, Q Magazine 4 / 5 stars ]

U2 "Pride (In the Name of Love)" (1984) (single)

Pride (In the Name of Love), 12'' single
release date: Sep. 3, 1984
format: vinyl (601 469-213)
[single rate: 4 / 5] [3,94]
producer: Brian Eno, Daniel Lanois
label: Island Records - nationality: Ireland

Tracklist: A) "Pride (In the Name of Love)" - - B) 1. "Boomerang I" (instrumental) - 2. "Bommerang II" (vocal) - 3. "4th of July"

Single release by U2 taken from the forthcoming album The Unforgettable Fire. Both the A-side and track #B3 are included on the '84 album, whereas the two "Boomerang" tracks are really not of much interest.

Boney M "Nightflight to Venus" (1978)

Nightflight to Venus
release date: Jul. 28, 1978
format: vinyl (UK) / digital
[album rate: 3 / 5] [2,82]
producer: Frank Farian
label: Atlantic - nationality: (West) Germany

3rd studio album by Boney M originally released on Hansa International.

I believe, as a 13 year-old, I purchased this back in '78 and subsequently got hold of the Love for Sale album.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Neil Young "Time Fades Away" (1973) (live)

Time Fades Away (live)
release date: Oct. 15, 1973
format: digital
[album rate: 3 / 5] [3,15]

producer: Neil Young, Elliot Mazer

label: Reprise Records - nationality: Canada

Track highlights: 1. "Time Fades Away" - 5. "Love in Mind" - 8. "Last Dance"

First official live album by Neil Young released as 'previously unreleased material' recorded shortly after the release of After the Gold Rush. The late 1960s and early '70s was a period where live sessions, festivals, and live recordings was paid much attention. This album, however, is mostly found in poor sound quality as it was heavily pirated, and it doesn't contain his best songs from his major releases, 1962 to 1972. The album was only released in limited vinyl pressings and therefore most likely is found as bootleg material up until it's first official re-issues, which would be in 2017, which also may explain the origination of the digital version of the album, I have come by.

Tracey Thorn "A Distant Shore" (1982)

A Distant Shore [debut]
release date: Aug. 1982
format: digital
[album rate: 4 / 5] [3,78]
producer: Pat Bermingham [recorded by]
label: Cherry Red Records - nationality: England, UK

Track highlights: 1. "Small Town Girl" - 2. "Simply Couldn't Care" - 4. "Femme Fatale" - 5. "Dreamy" - 7. "New Opened Eyes" - 8. "Too Happy"

Studio solo debut album by former Marine Girls vocalist, guitarist and composer Tracey Thorn is a relatively short album counting 8 compositions and a total running time at only 23 mins. All songs except the Velvet Underground cover "Femme Fatale" (by Lou Reed) are written by Thorn, and the arrangements are stripped down to Thorn singing on top of her strumming acoustic guitar all recorded as is by Pat Bermingham, who also produced the debut Beach Party by Marine Girls.
Stylistically, it follows closely in the patterns played by Marine Girls and it also forecasts the later works by Everything but the Girl. It's far from the early 1980s post-punk agenda, and it comes out as something completely on its own terms - far from contemporary genres and styles and just is plain folk pop and singer / songwriter compositions in minimal outing.
It's a quite pleasant collection of tunes albeit staying much on the same path. Thorn's singing capabilities makes it all worth and shines through an ever-present melancholy like sun-spots in a summer's rain. "Femme Fatale" is great with Nico but this version is even stronger.
The front cover art work is btw credited band member Jane Fox of Marine Girls.
[ allmusic.com 4,5 / 5 stars ]

BEST OF 1998:Grant Lee Buffalo "Jubilee" (1998)

Jubilee
release date: Jun. 9, 1998
format: cd / vinyl (2 lp)
[album rate: 4 / 5] [4,18]
producer: Paul Fox
label: Slash Records - nationality: USA

Tracklist: 1. "APB" (4 / 5) - 2. "Seconds" - 3. "Change Your Tune" (4,5 / 5) - 4. "Testimony" (4 / 5) - 5. "Truly, Truly" (4 / 5) - 6. "SuperSloMotion" - 7. "Fine How'd Ya Do" - 10. "Everybody Needs a Little Sanctuary" (4 / 5) - 12. "Crooked Dice" - 13. "Jubilee" - 14. "The Shallow End" (4 / 5)

4th and final studio album by Grant Lee Buffalo following Copperopolis (1996). The style is very much the same recognizable alt. rock and indie rock, although this is, in my opinion, the band's best and most pop / rock-styled release with a bunch of great and original songs. This is also the least alt-country, country rock, and least americana-styled release of its 4 albums. Bassist, keyboardist, and the band's usual producer Paul Kimble had left the band in '97 and he's replaced by Dan Rothchild on bass, Rami Jaffee on organ, and Jon Brion on keyboards for the studio recordings only 'cause the band is by now just a duo, consisting of Grant-Lee Philips and drummer, Joey Peters. Many guest artists (vocalists and instrumentalists) feature on several of the songs. Most notable are Andrew Williams (additional vocals on tracks #5 and #9), Robyn Hitchcock (additional vocals and harmonica on track #11, and additional vocals on #14), and Michael Stipe (additional vocals on track #10).
All the band's albums had been very well-received by the music press in general but the band basically failed to attract customers remaining a cult band that never experienced huge popularity in its lifetime. In early 1999 Phillips and Peters split and pursued solo careers. Singer and songwriter Grant-Lee Phillips (who had written all songs for the band) initiated his fine solo career, but this album is simply the best pop / rock release of 1998 - and too few know of its existence.
[ allmusic.com 4 / 5 stars ]

1998 Favourite releases: 1. Grant Lee Buffalo "Jubilee" - 2. Mark Hollis "Mark Hollis" - 3. Fatboy Slim "You've Come a Long Way, Baby"

CajsaStina Åkerström "Klädd för att gå" (1996)

Klädd för att gå
release date: 1996
format: digital
[album rate: 2 / 5]

2nd studio album by CajsaStina Åkerström. The music is mostly pop soul singer / songwriter and she has a nice vocal. Only, I think, the music and songs lack that special thing that should make it interesting. It's not very bad. It just leaves me indifferent, with a thought of "so what?". And: "Why should I bother listen to it again?" There are so many other interesting artists from Sweden, I'd rather listen to. The two Lisas: Ekdahl and Nilsson, make more interesting music, and this album is a mere shadow of her fine debut.

Die Kapelle "Makasi" (1985), single

org. cover

Makasi, 7'' single
release date: 1985
format: vinyl (RP 17 643)
[single rate: 3 / 5] [2,92]
producer: Die Kapelle; John Christensen (a); Lars Nielsen (b)
label: Power Puke Production - nationality: Denmark

Tracklist: A) "Makasi" - - B) "Another Song"

Single release by Danish post-punk and gothic rock band Die Kapelle.
[Unfortunately, my purchased single was sold with a generic white paper sleeve].

Grant Lee Buffalo "Copperopolis" (1996)

Copperopolis
release date: Jun. 4, 1996
format: cd
[album rate: 3,5 / 5] [3,38]
producer: Paul Kimble
label: Slash Records - nationality: USA

Track highlights: 1. "Homespun" - 3. "Arousing Thunder" (4 / 5) - 9. "Two and Two" - 10. "Better for Us" - 12. "Comes to Blows" - 13. "The Only Way Down"

3rd studio album by Grant Lee Buffalo following Mighty Joe Moon (1994), once again produced by bassist and keyboardist Paul Kimble is also his last with the band as he would leave in '97. The style isn't that far from the '94 album but perhaps feels more like a combination of the first two studio albums, but it also lacks really great compositions.
[ allmusic.com 3,5 / 5 stars ]

Ideal "Ideal" (1980)

Ideal [debut]

release date: Nov. 1980

format: cd (1990 reissue)

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

producer: Klaus D. Müller

label: WEA - nationality: Germany

Track highlights: 1. "Berlin" - 2. "Irre" - 3. "Telepathie" - 4. "Blaue Augen" - 6. "Luxus" - 7. "Rote Liebe"

Studio album debut by Berlin quartet Ideal originally released on the independent label Innovative Communication founded by German artist Klaus Schultze and Michael Haentjes. The band consists of vocalist, keyboardist and songwriter Annette Humpe, guitarist Frank Jürgen 'Eff Jott' Krüger, bassist Ernst Ulrich Deuker, and drummer Hans-Joachim 'Hansi' Behrendt. Both Humpe and Krüger had previously played together in X-Pectors, and Humpe was also a member of Neonbabies where she figured alongside her younger sister Inga before leaving that band to concentrate on Ideal.

Ideal counts ten compositions of which three have music credited all members, two are credited Humpe and Krüger, whereas the five remainders are credited Humpe alone.

Stylistically, this is one of the earliest examples of the German variation of new wave that came to be known as Neue Deutsche Welle (NDW), a style based on British and American new wave and art rock (think Talking Heads, Devo, Pere Ubu, David Bowie, XTC). The style may be regarded as the fuse of energy transformed from punk rock with inspiration from a simplistic and experimental rock style with that of a strong social dimension - a trait that later fell in the background on the expense of melodic pop arrangements - here you may think of a musical progression from early Ideal (this album) and Nina Hagen Band via Spliff, Extrabreit, Fehlfarben and DAF to Nena, Trio and DÖF.

Despite being released on a small independent label, the album went as high as to number #3 on the national albums chart list, and the band made way for a general interest, as well as that from more established labels, in other artists playing NDW.

I vividly recall watching the band on TV transmissions on (German) Rockpalast back in the early 80s, and I really enjoyed their sound but at the same time witnessed how little interest they garnered in the English music press. This very album stands as their perhaps best effort as a cornerstone, not only in Germany but as an important pioneers of European music that has inspired many more artists to follow. I hear much of their music in later Danish acts like Warm Guns, Voxpop, TV2, and Clinic Q.

Highly recommended.

CajsaStina Åkerström "Cajsa Stina" (1994)

Cajsa Stina [debut]
release date: 1994
format: digital
[album rate: 3 / 5]
producer: Kaj Erixon
label: MCA Music - nationality: Sweden

Track highlights: 1. "Fråga stjärnorna" (4 / 5) - 3. "Du (vill se dig igen)" (3,5 / 5) - 4. "Om jag var din flicka" (3 / 5) -6. "Vill du veta vem jag är" (3,5 / 5) (live)

Studio debut album by CajsaStina Åkerström. The style is European pop with a twist of r&b, pop soul and sophisti-pop. It contains the song "Fråga stjärnorna" ['Ask the stars'], which undoubtedly is her so far biggest hit in most Scandinavian countries. It sounds much like songs by Lisa Nilsson but is fine and addictive compositions. Apart from that the album is bit dull, though. Sometimes shes sounds like Nilsson, and other times she sounds more like Eva Dahlgren, which points to the weakness of the album: she seems more preoccupied about playing music by her sources to her inspiration rather than being her own self.

CajsaStina Åkerström

~ ~ ~

CajsaStina Åkerström [aka Cajsa-Stina] is a Swedish pop soul contemporary r&b singer / songwriter born Aug. 16, 1967 in Stockholm, Sweden. She is daughter of Swedish folk and singer / songwriter Fred Åkerström. Musically, her style is pop, pop soul, and in that closely related to that of Swedish Lisa Nilsson.

~ ~ ~

Van Morrison "Into the Music" (1979)

Into the Music
release date: Aug. 1979
format: cd (2008 remaster)
[album rate: 4 / 5] [4,16]
producer: Van Morrison, Mick Glossop (ass. producer)
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "Bright Side of the Road" (4 / 5) - 2. "Full Force Gale" (4,5 / 5) (live) - 3. "Stepping Out Queen" (4 / 5) - 4. "Troubadours" - 6. "You Make Me Feel So Free" (4 / 5) - 7. "Angeliou" - 8. "And the Healing Has Begun" - 9. "It's All in the Game"

11th studio album by Van Morrison originally released on Mercury Records is almost as the Morrison tradition prescribes: something else as he has hardly ever released two consecutive albums in the same genre and style. It's always build on a singer / songwriter formula, and quite often, as is the case here, he incorporates rhythm & blues and soul. Compared to his previous and rather successful album Wavelength from '78 he has sort of summed up things on this one. Although, he had just produced his so far most mainstream pop / rock album ever, and to much success, he has abandoned that style with Into the Music, which is a way of saying: "that wasn't me - now, let's dig into the music."
At this point of his musical journey Morrison had left America and returned to the UK, settling in a London-neighbourhood. The songs are both filled with religious / mystic content, which has been central motifs throughout his long career and then celtic folk also plays a strong part on an album that seems to contain both ends of his musical strengths: the strong self-reflections on emotional grounds and the uptempo soulful compositions that recall Ray Charles and Fats Domino as inspirational sources.
The album is rightfully considered one of Morrison's very best and it contains several compositions that have found their way to best of albums, which I initially wrongly thought the album was - all because of the strong songs it contains. Just the first three tracks: "Bright Side of the Road", "Full Force Gale" and "Stepping Out Queen" are top-notch compositions, and the quality of the remaining songs is so high that it's no wonder it received critical acclaim and is regarded a musical cornerstone. Village Voice music critic Robert Christgau argued that the album was his best since 1970's Moondance. Van Morrison has never been a singles hit artist, and the best fairing single from the album was "Bright Side of the Road" reaching number #63 in the UK and number #110 in the US, which seems almost ridiculous. That song also featured as the B-side on "Full Force Gale", which didn't make noteworthy sales, which again proves how singles weren't Morrison's nor the label's concern, but both tracks are natural ingredients on any compilation album encompassing his long career.
Highly recommended.
[ allmusic.com 4,5 / 5, Rolling Stone 5 / 5 stars ]

Grant Lee Buffalo "Mighty Joe Moon" (1994)

Mighty Joe Moon
release date: Sep. 20, 1994
format: cd
[album rate: 3 / 5] [3,42]
producer: Paul Kimble
label: Slash Records - nationality: USA

Track highlights: 1. "Lone Star Song" (4 / 5) - 2. "Mockingbirds" - 4. "Sing Along" - 5. "Mighty Joe Moon" - 8. "Drag" - 11. "Honey Don't Think"
[ full album ]

2nd studio album by Grant Lee Buffalo released 1½ year after Fuzzy (1993). The style is basically the same as on the fine debut from '93, although, this seems somewhat more melodic but also slightly more alt. rock-styled as contrary to more folk-based compositions on the predecessor. I find that the album is interesting but also without obvious great tracks, and it simply seems more murky without being boring.
[ allmusic.com 4,5 / 5 stars ]

Grant Lee Buffalo "Fuzzy" (1993)

Fuzzy [debut]
release date: Feb. 23, 1993
format: digital
[album rate: 3,5 / 5] [3,63]
producer: Paul Kimble
label: Slash Records - nationality: USA

Track highlights: 1. "The Shining Hour" - 2. "Jupiter and Teardrop" (4 / 5) - 3. "Fuzzy" - 5. "The Hook" - 7. "Stars 'n' Stripes" - 9. "America Snoring" - 11. "You Just Have to Be Crazy"

Studio debut album by the Los Angeles trio Grant Lee Buffalo consisting of Grant-Lee Phillips on lead vocals and guitar, Paul Kimble on bass and keyboards, and with Joey Peters on drums. The band has become known as an artists' favourite band - many have lauded the music and style of the band but they never has been a great public magnet. Lead vocalist of R.E.M., Michael Stipe called the album best of the year, and also music critics on both sides of the Atlantic praised the album. Stylistically, the band plays an alt. rock with focus on folk rock and americana, and has been linked with the music of John Stewart and Neil Young. I recall, being introduced to Fuzzy by a friend of mine back when it was released, but I didn't rate it as high as I would later on. I think, my initial rejection of the music had much to do with my own fascination for dream pop and grunge rock at the time, and this is far from that. Today, I really enjoy it, and I think my rating has gone from 2,5 to 3,5 in the span of 20 years.
[ allmusic.com 4,5 / 5, NME, Q Magazine 4 / 5 stars ]

Tom Waits "Small Change" (1976)

Small Change
release date: Oct. 1976
format: cd
[album rate: 4,5 / 5] [4,32]
producer: Bones Howe
label: Asylum Records - nationality: USA

Track highlights: 1. "Tom Traubert's Blues (Four Sheets to the Wind in Copenhagen)" (5 / 5) - 2. "Step Right Up" - 3. "Jitterbug Boy (Sharing a Curbstone With Chuck E. Weiss, Robert Marchese, Paul Body and the Mug and Artie)" - 5. "The Piano Has Been Drinking (Not Me)" (4 / 5) - 7. "Pasties and a G-String (At the Two O'Clock Club)" (4 / 5) - 9. "The One That Got Away" - 11. "I Can't Wait to Get Off Work" (4 / 5)

4th studio album by Tom Waits following one year after his 'live' album Nighthawks at the Diner.

Opening the album with "Tom Traubert's Blues..." is also commonly known as "Waltzing Mathilda" - and as the unofficial Australian national anthem.

A lot has happened since his debut, and that only really is revealed on this, where his vocal has become a more original instrument, and which in a way marks a first distancing from his first three albums. Waits was pretty good on his first albums, but here he no longer sounds like another clone based on Bob Dylan or Tim Buckley - this is where the 'real' Waits really awakens.

I don't think the man made anything resembling a bad album during the 70s. His lyrics and music are almost constantly at a very high level.

Highest recommendation.

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

Skunk Anansie "Wonderlustre" (2010)

Skunk Anansie
Wonderlustre (2010)

"Over the Love" (4 / 5)

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