14 November 2015

Lou Reed "Magic and Loss" (1992)

Magic and Loss
release date: Jan. 14, 1992
format: vinyl / cd
[album rate: 4 / 5] [3,82]
producer: Lou Reed, Mike Rathke
label: Sire / Warner Bros. - nationality: USA

Track highlights: 1. "Dorita (The Spirit)" - 2. "What's Good (The Thesis)" (4 / 5) (live on Letterman) - 3. "Power & Glory (The Situation)" (live) - 5. "Sword of Damocles (Externally)" (4 / 5) (live) - 7. "Cremation (Ashes to Ashes)" - 8. "Dreamin' (Escape)" - 9. "No Chance (Regret)" - 11. "Harry's Circumcision (Reverie Gone Astray)" - 14. "Magic and Loss (The Summation)"

16th studio album by Lou Reed is in many ways like a fine conglomerate of his best album in almost 20 years, New York (1989) and his collaboration album with John Cale: Songs for Drella (1990). This is almost as great as the '89 album, and in some ways I like it better, although, it may not be as consistently great throughout. Guitarist Mike Rathke, who also participated on New York is again Lou's right hand, now as co-producer, and also co-writer of five of the album's 14 compositions. Legendary vocalist Jimmy Scott sings backing vocals on "Power & Glory", and around this time he often perfomed live with Reed.
Thematically, the album is also a blend of the two previous albums, but without being just a copy.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5, NME 5 / 5 stars ]

13 November 2015

Lush "Gala" (1990)

Gala (compilation)
release date: Nov. 13, 1990
format: cd
[album rate: 3,5 / 5]
producer: Tim Friese-Greene; John Fryer & Lush; Robin Guthrie
label: 4AD / Reprise Records - nationality: England, UK

Compilation album by Lush originally released by 4AD Records and produced by various producers: Tim Friese-Greene (tracks #1-3); John Fryer & Lush (#8-13); Robin Guthrie (#4-7, 14-15).
Tracks #1-3 have previously been released as the single "Sweetness and Light" (Oct. '90), produced by Tim Friese-Greene; tracks #4-7 are identical to the ep Mad Love (Feb. '90), produced by Robin Guthrie; tracks #8-13 were previously released as the Mini-album debut Scar (Oct. '89), produced by John Fryer; track #14 is a previously unreleased cover song, originally made by ABBA, and track #15 has previously only been released on the compilation album Gigantic! 2 - Nineteen for the Nineties featuring various artists and sold with an issue of the music magazine Melody Maker - these two tracks were also produced by Guthrie.
Imo, I've also found this particular album a strange and incoherent listen but knowing that these songs stem from various releases with individual (strong) producers, it's no really wonder it's such a varied release. It functions more as that of a musicial documentation.

Grant Hart "Ecce Homo" (1995)

Ecce Homo
(live)
release date: Nov. 13, 1995
format: digital
[album rate: 3,5 / 5] [3,58]
producer: Mark Minkler
label: World Service - nationality: USA

Acoustic live album by Grant Hart is the recording of a solo concert held Oct. 13, 1994 at the Crocodile Cafe in Seattle shortly after the disbandment of Nova Mob following a tour succeeding the band's eponymous album (released May '94).
Ecce Homo (the title referencing the perception of the flagellation of Jesus in Western Christianity) is with Hart at the centre of torment, once more left on his own - left with a presumed bitter taste - and it suitably only features Hart on vocal and acoustic guitar on 14 compositions. He performs his own songs written for Hüsker Dü, Nova Mob and for his solo releases, and despite only adding his strumming of the guitar, the performance well-documents his charismatic vocal and evident songwriter skills. From another perspective, the album is of course quite narrow with no traces of obvious post-production in the making, and it's the simple recording of a completely stripped-down-to-the-bone performance, which is what it is. It's no hi-fi state-of-the-art experience, and you need to address the story of Hüsker Dü, Nova Mob and Grant Hart, who has without doubt gone down in American music history as one its greats. And for that alone, Ecce Homo serves as a fine document.
[ allmusic.com 3 / 5 stars ]

12 November 2015

U2 "The Best of 1980-1990 & B-Sides" (1998)

The Best of 1980-1990 & B-Sides
(comp.)
release date: Nov. 2, 1998
format: 2 cd (Deluxe Edition)
[album rate: 3,5 / 5]
producer: various
label: Island Records - nationality: Ireland

First official best of compilation by U2 covering the band's first decade. Astutely, the band released a limited 2-disc version, which was announced to be withdrawn and replaced by a standard 1-disc version after the first week. The standard being practically identical with disc 1 on the 2-disc version did come out, but the limited edition was later sold as a non-numbered Deluxe Edition - the album both comes in The Best of 1980-1990, and as The Best of 1980-1990 & B-Sides, and then some of the 2-disc issues has been released under the standard title. Anyway, the compilation rightfully covers a 10-year period, although, only three songs are from 1980 to 1983 and two of these stem from their '83 album. This basically overlooks the initial stage when the band made three full-length albums and made it from upcoming new name to an acclaimed and established brand - you could say: their most important period. Instead, focus is clearly on the band's new-found ground and especially the sound they have come up with on the albums The Joshua Tree (1987) and Rattle and Hum (1988). And speaking of sound, compilations are always a tricky matter, and in the case of U2, sound and style is a fleeting and highly temporary thing, so by putting songs from one stage together with songs from another period isn't without a distinct loss in coherency, which could be another reason for selecting most material from their most recent albums.
Then 2-discs could actually have served to have had an early period on say disc 1 and the later half of the decade on disc 2, but that probably sounds to easy. But nevertheless, that would have been a logic choice, and something that would do justice to their career. Instead we have these late 80s songs put together with B-side material, which on the other hand is far from complete. From a commmercial perspective they should have made clear and distinct choices - and frankly, I would have embraced a more fully coverage of their A-side singles on a best of album, AND a B-sides release covering their more obscure material - instead what we do have is a bit of this and that. U2 have made so many great tunes that it's a no brainer to compile a best of album, but instead we have strange songs like "Bass Trap", "A Room at the Heartbreak Hotel", "Trash Trampoline and the Party Girl", and covers like "Dancing Barefoot", "Everlasting Love", and "Unchained Melody" in place of strong B-sides like "Out of Control", "Gloria", "The Electric Co", "I Threw a Brick Through a Window", etc., etc.
Bottom line is, I think this is a bit of a mess. You cannot deny their potential, and that's basically what this represents - a band who has been all over the place, and no matter what you pick, there's an rather big audience. Of course, what you need is their full discography - at least up until 1990 after which you will do with a selection of A-side singles, but that's a whole different story.
U2 "The Best of 1980-1990 & B-Sides" is not essential - some songs are nice to know of, but ultimately, you're way better off with five to six studio albums covering this period so much better. I rate the album 3,5 / 5, acknowledging the great tunes but I would rate the selection 2 / 5.
[ 👎allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

Jan Garbarek "Star" (1991)

Star
release date: Jan. 1991
format: cd
[album rate: 4 / 5]

Tracklist: 1. "Star" (5 / 5) - 2. "Jumper" - 3. "Lamenting" - 4. "Anthem" (4 / 5) - 5. "Roses for You" (4 / 5) - 6. "Clouds in the Mountain" (4 / 5) - 7. "Snowman" (3 / 5) - 8. "The Music of My People" (3 / 5)

Released as 'Jan Garbarek - Miroslav Vitous - Peter Erskine' (Vitous: bass, Erskine: drums). The album is unmistakably Jan Garbarek BUT although I'm quite fond of this release, it's also very different from his most recent releases before, and after this one. The style is still jazz fusion but it's a much more traditional jazz album than his other releases and it has a touch of jazz bop and in that, a stroke of Mingus. Of course this has to do with the fact that the majority of the album's tracks has the signature of the bass player Miroslav Vitous in composer credits. Garbarek "only" takes credit for the title track and the co-writing of "Snowman", and collaborator, and drummer, Erskine takes the credits for "Anthem", "The Music of My People", and co-writer of "Snowman". The style is narrowed down to the more "pure" jazz styles and the usual element of traditional folk is completely absent here. The release also shows how Garbarek is an excellent band player and interpreter.

09 November 2015

Paul Weller "Heliocentric" (2000)

Heliocentric
release date: May 9, 2000
format: cd
[album rate: 3,5 / 5] [3,38]
producer: Paul Weller, Brendan Lynch
label: Island Records - nationality: England, UK

Track highlights: 1. "He's the Keeper" - 2. "Frightened" - 3. "Sweet Pea, My Sweet Pea" - 6. "Dust and Rocks" - 7. "There's No Drinking, After You're Dead" (live)

5th studio album by Paul Weller is his fifth consecutive album but also final to be co-produced with Brendan Lynch. Weller sticks to a formula he found useful when making the fine Wild Wood (1993) using a familiar bunch of musicians who has been selected for studio and live recordings ever since. 
Heliocentric is a bit more polished without that clear direction, and also without the same immediate energy and originality as found on the '93 album. Weller is a fine songwriter, a skilled craftsman, a that's basically what hold this together and just prevents it from being a lesser release. It may not contain obvious great standouts, although, on the other hand, it doesn't present anything mediocre. It's like Weller looking in his pockets, dragging up... pocket wool, a mixed bag of something familiar sounding, perhaps a few second hand hooks, but still establishing himself with his latest product. Despite being slightly better than the predecessor Heavy Soul (1997), I'm not fully entertained with this and would not recommend it as a starting point if you're unfamiliar with the music by Paul Weller. The album is Weller's most recent studio release after divorcing Dee C. Lee in 1998 - the two married in 1987, at the heights of The Style Council, and rumours suggest that Lee found his drinking habits incompatible with their family-hood of raising two kids.
[ allmusic.com 4,5 / 5, NME 4 / 5 stars ]

The Gun Club "Mother Juno" (1987)

Mother Juno
release date: Oct. 19, 1987
format: cd (2006 remaster)
[album rate: 3,5 / 5] [3,56]
producer: Robin Guthrie
label: Flow Records (Remaster) - nationality: USA

Track highlights: 1. "Bill Bailey" - 3. "Lupita Screams" - 4. "Yellow Eyes" - 5. "The Breaking Hands" (4,5/ 5) - 6. "Araby" - 7. "Hearts" - 8. "My Cousin Kim"

4th studio album by The Gun Club originally released on Red Rhino is the band's first release after its reformation and it follows more than three years after The Las Vegas Story (1984). Between these two, Jeffrey Lee Pierce released his solo album debut, but for this he has reformed the band together with guitarist Kid Congo Powers, bassist Romi Mori (lead guitar on #4), and with drummer Nick Sanderson. Pierce has written and composed all tracks and they really sound like no one else - also here. Blixa Bargeld of The Bad Seeds play guitar on "Yellow Eyes". It's quite amazing how the band seems to just continue where the 1984 album ended, considering that one half of the band wasn't taking part in the making of that album. I never got hold of any of their original albums at the time of their release, but Mother Juno was an album that I found at the local library but didn't quite appreciate back then. The only album that I really liked was The Las Vegas Story from 1984. The version, I have of Mother Juno is a remastered edition including the bonus disc titled "The Berlin Tapes", which is a very nice find. "The Breaking Hands" is a marvelous track - fans of the band would probably call it over-produced, and it IS a strange cocktail to have Robin Guthrie as album producer. Stylewise, The Gun Club and Cocteau Twins are nowhere near each other, or with regards to genre for that matter, but I really like this album as it has a fine delicate feel of garage rock, the ever-present hesitating energy of Pierce, and a productional side that tries to catch up and embrace it all, but still leaves room for all the quirkiness.
[ allmusic.com 4,5 / 5 stars ]

Alanis Morissette "MTV Unplugged" (1999) (live)

MTV Unplugged (live)
release date: Nov. 9, 1999
format: cd
[album rate: 3 / 5]

An in between albums release, and a very typical '90's MTV unplugged live session that all big stars just had to do. The album really displays her singing ability but the songs are very familiar and it just seems like an economical strategic release.

08 November 2015

Lars H.U.G. "10 sekunders stilhed" (2014)

10 sekunders stilhed
release date: Nov. 3, 2014
format: cd
[album rate: 3,5 / 5] [3,28]
producer: Povl Kristian & Lars H.U.G.
label: Genlyd / Sony Music - nationality: Denmark

Track highlights: 1. "10 sekunders stilhed" - 2. "En skønne dag" (4 / 5) - 3. "Elsk dig selv" (4 / 5) - 6. "New York"

7th studio album by Lars H.U.G. is his first studio album in 11 years. This is a nice return to form, which means primarily uptempo pop / rock with hints of art pop and a style that is closer to his best albums of the late 1980s and early 90s. It's quite impressive how tight it sounds and the way it updates his repertoire without having taken part of the whole music industry for more than a decade. His voice still has its charm and strengths on an album that includes a long list of featuring musicians including old associates like Finn Verwohlt, Flemming Muus, Nanna Lüders, and Johannes E. Møller (aka Johnny Voss from their former band Kliché). The first half of the album is clearly the strongest. The second half reminds me more of his two previous albums; however, it's still a fine and somewhat surprising return of one of the finest voices of Danish music of the 1980s
The front covert art is again made by Lars H.U.G.

07 November 2015

Bo Kaspers Orkester "Du borde tycka om mig" (2012)

Du borde tycka om mig
release date: Oct. 31, 2012
format: digital
[album rate: 3,5 / 5] [3,58]
producer: Christian Walz (1-4, 7, 8, 10); Bo Kaspers Orkester (5, 6, 9)
label: Columbia / Sony Music Entertainment - nationality: Sweden

Track highlights: 1. "Festen" - 2. "Världens ände" (4 / 5) (live) - 3. "Längre upp i bergen" (4 / 5) - 5. "Utan dig" (4 / 5) - 7. "Vilket år" - 8. "Jag är vacker ikväll" - 9. "Mitt rätta jag" - 10. "Kom" (4 / 5)

10th studio album by Bo Kaspers Orkester is the 10th studio album in 20 years. The album has generally been met with positive reviews, and it appears to be one of the band's stylistic changes. I still find it a bit difficult to digest as a Bo Kaspers Orkester release but the production is pretty fine just like the total picture. Some tracks are mere jazz pop compositions but the majority of tracks are smooth, laid back music, which has references to lounge but not in the way the band has played with that style before and on its earliest albums. Instead, this is a modern version of lounge, which is more in family with synth-pop - a genre BKO never has excelled in. Without coping they play in a way that makes me think of The Killers on their most recent albums and two other great Scandinavian bands, the Danish band Love Shop and the greatest band in Sweden as well as all Nordic countries: Kent. It's not bad, not at all. I'm just not really ready to embrace it as great, but it seems like one of the band's better studio releases.

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Sigur Rós "Inni" (2011) (live)

Inni (live)
release date: Nov. 7, 2011
format: 2 cd
[album rate: 4 / 5] [3,82]
recorded by Birgir Jón Birgisson
label: XL Recordings - nationality: Iceland

Track highlights, disc 1): 4. "Fljótavík" - - disc 2): 1. "Sæglópur"

An official double live album by Sigur Rós released three years after the great Með suð í eyrum við spilum endalaust (June 2008). Hvarf - Heim (2007) was the band's first official live album, which also consisted of previously unreleased material, but Inni is their first full live album. The 2008 album was followed by an extensive world-tour, and by 2010 a new album had been rumoured on its way, but instead the band announced to be on a hiatus, while the band members spent time on other projects.
The compositions here stem from most of the band's studio releases but exclude the debut. With two songs from both Ágætis byrjun (1999) and ( ) (2002), four from Takk... (2005), one from the compilation Hvarf / Heim (2007), and five from the 2008 album, Inni naturally focusses on the band's most recent material. One track has not previously been released but would later be included on the 2012 album, Valtari in a different version. Inni has been released in various issues, but both the 3 lp vinyl issue, the 2-disc cd, and the digital version all consist of the same 15 tracks with a total playing time just below 1 hour and 45 minutes. Extended DVD and Blue-ray issues vary with an additional 9-14 tracks film footage, and then an Icelandic limited issue contains even more.
It's truly an amazing performance and a brilliant production. Both the original vinyl issue and the cd issue released on the band's own label Krunk, contain a DVD with live concert footage directed by Vincent Morisset filmed over two nights at the Alexandra Palace, London, Nov. 20-21, 2008 from where all 15 tracks were recorded. Only the issue released on XL was released without DVD or Blue-ray material.
Sigur Rós is without doubt the biggest band from Iceland, and with this, they do it again - only, their music is really not that different played live, so despite the fact that they play absolutely magnificently, and despite that I really enjoy all of it, it's not the most original album of the year. But my gosh, do they perform well.
Highly recommended.
[ allmusic.com, Drowned in Sound, Clash, Consequence of Sound 4 / 5 stars ]

Thin Lizzy "Bad Reputation" (1977)

Bad Reputation
release date: Sep. 2, 1977
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Tony Visconti
label:Vertigo Records - nationality: Ireland

Track highlights: 1. "Soldier of Fortune" (3,5 / 5) - 3. "Opium Trail" (3 / 5) - 4. "Southbound" (5 / 5) - 5. "Dancing in the Moonlight (It's Caught Me in Its Spotlight)" (4 / 5) - 6. "Killer Without a Cause" (3 / 5) - 7. "Downtown Sundown" - 8. "That Woman's Gonna Break Your Heart"

8th studio album by Thin Lizzy following  the uneven Johnny the Fox. The album is the last to feature guitarist Brian Robertson who is only credited on three tracks (#3, #6, #8 due to conflicts within the band about musical direction) - at the time of the release Robertson was no longer an official member, which is suggested by the album cover. It's the first collaboration work with already legendary producer Tony Visconti, which I think, may be felt as there's a fine instrumental balance throughout the album. Apparently, the band had been through a phase disputing about musical directions, which seems quite natural as Lynott and Downey and been through some stylistic changes, and with Gorham and Robertson the band had pursued a more 'hard rock' style compared to their early albums. Also, some of Lynott's best songwriting is seen in his slower and more ballad-like compositions, which was a bit of a contrast to much of the band's new style.
The album may not be as strong or consistent as Jailbreak, but it contains some really fine songs, including "Southbound", a song I consider the band's best song ever, and it's certainly a improvement compared to Johnny the Fox.
[ allmusic.com 4,5 / 5 stars ]

05 November 2015

John Frusciante "Niandra Lades and Usually Just a T-Shirt" (1994)

Niandra Lades and Usually Just a T-Shirt [debut]
release date: Mar. 8, 1994
format: digital
[album rate: 1,5 / 5]

Some tracks: 2. "My Smile Is a Rifle" - 3. "Head (Beach Arab)" - 4. "Big Takeover" - 8. "Been Insane" - 10. "Your Pussy's Glued to a Building on Fire" - 14. "Untitled #2" - 21. "Untitled #9" - 24. "Untitled #12"

Studio debut album by John Frusciante released on American Recordings. The album shows a completely different side to the guitarist of Red Hot Chili Peppers whom he left in 1992. Stylistically, it's a most evident example of Frusciante's interest in expressions of creativity made in "streams of consciousness". The first half of the album Tracks 1-12 are labelled "Niandra LaDes", and they were written shortly after the completion of Red Hot Chili Peppers' break-through album Blood Sugar Sex Magic (Sep. 1991), and the other half, tracks 13-25, labelled "Usually Just a T-Shirt" (commonly referred to as "Untitled #1-13") were recorded while touring with RHCP i.e. before breaking with the band but at a time when he had become a serious drug addict of heroin and cocaine. The music is said to reflect Frusciante's spirituality and an unbalanced emotional state, and also his drug abuse during the recording sessions, which took place in his own house from 1991-93. Anyway, it's apparent how the second part seems much more improvised. I have come to know of the music of Frusciante much later, and have only come across this album a few months ago, and I must agree to Christian Hoard of Rolling Stone Magazine that it mostly just appears to be 'ramblings' and what sound as rough demos. These takes may be avant-garde and / or experimental neo-psychedelic rock and instant expressiveness of a genius, but nevertheless, it ain't good.
[ allmusic.com 4 / 5, Rolling Stone 2 / 5 stars ]

John Frusciante

~ ~ ~
John Frusciante took part in the initial heydays of the Red Hot Chili Peppers (1988-92), especially in co-creating the great Blood Sugar Sex Magik double album (1991). As he left the band in '92, everyone saw how incapable the remainders of the band were in created anything of interest while he was gone, which he was in more than one sense. His drug abuse almost sent him to an early grave but luckily he stayed around. After years with heavy drug abuse, he resurrected, and then rejoined the Peppers in '98. He helped them back on track as they soon released Californication (1999), By the Way (2002), and later the double cd Stadium Arcadium (2006) before he left again in 2009, however, the Chilis were very fortunate this time in finding a highly capable substitute in Josh Klinghoffer, Frusciante's close friend. Meanwhile Frusciante's productive creativity also made room for a strong solo career of much more experimental rock nature and singer / songwriter style. Frusciante's music often deals with the more philosophical parts of life: life and death issues, and the conception of contact with a spiritual world. On his most recent albums he has continued the experimental side of rock with electronic and primarily instrumental compositions.
~ ~ ~

04 November 2015

The Radio Dept. "Freddie and the Trojan Horse" (2008) (single)

Freddie and the Trojan Horse, single
release date: Jun. 4, 2008
format: digital
[single rate: 3,5 / 5] [3,38]
producer: Johan Duncanson and Martin Carlberg
label: Labrador Records - nationality: Sweden

Tracklist: 1. "Freddie and the Trojan Horse" - 2. "Closing Scene" - 3. "The Room, Tarzana" - 4. "Closing Scene pt. 2"

Single release by The Radio Dept. originally released on vinyl in Japan only but also issued on cd in Sweden. According to the band's official site, the single may be seen as a new direction of style with influences from German krautrock and bands like NEU!, Faust and Kraftwerk.
I really don't hear much of the German sources here, but think it's more noise pop-founded than both their previous and forthcoming albums. None of the tracks are ordinary album tracks, but tracks #1 and #2 are included on the fine compilation album Passive Aggressive: Singles 2002-2010 from 2011.

Morrissey "Live at Earls Court" (2005) (live)

Live at Earls Court (live)
release date: Apr. 4, 2005
format: cd
[album rate: 4 / 5]
producer: Peter Asher
label: Attack Records - nationality: England, UK

Track highlights: 2. "First of the Gang to Die" - 3. "November Spawned a Monster" - 5. "Bigmouth Strikes Again" - 6. "I Like You" - 8. "Let Me Kiss You" - 10. "There Is a Light That Never Goes Out" - 11. "The More You Ignore Me, the Closer I Get" - 13. "I Have Forgiven Jesus" - 15. "Shoplifters of the World Unite" - 18. "Last Night I Dreamt That Somebody Loved Me"

2nd live album by Morrissey released on Attack and recorded at Earls Court, London on Dec. 18, 2004. The album is exclusively reserved to his material since the last live album, Beethoven Was Deaf (1993), or at least the majority of the tracks, and those that are not recent compositions are five tracks written together with Johnny Marr for The Smiths and one track taken from Kill Uncle (1991). The entire album consists of 18 tracks with a total running time of about 75 minutes. Like the front cover, the album tells the story of how Morrissey has succeeded in turning himself into a contemporary 'crooner', and what's specifically enjoyable about it is how it only adds new dimensions to his live repertoire without repeating what worked on his first live album.
Highly recommendable.
[ allmusic.com 4,5 / 5, Rolling Stone 3 / 5 stars ]

02 November 2015

Love and Rockets "Earth · Sun · Moon" (1987)

Earth · Sun · Moon
release date: Sep. 9, 1987
format: vinyl (BEGA 84) / digital
[album rate: 3,5 / 5] [3,46]
producer: Derek 'Guru' Tompkins, Love and Rockets
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Mirror People" (4 / 5) - 2. "The Light" - 3. "Welcome Tomorrow" - 4. "No New Tale to Tell" - 12. "Youth"

3rd studio album by Love and Rockets this time with a new producer and a bold alt. rock album in neo-psychedelia style. In the early and mid-1980s the label alt. rock wasn't really a style or genre yet, and really, this band has been one of the pioneering efforts in directing music onto new pastures. This album and the two previous by Love and Rockets has helped define a new playground for popular music if it doesn't fall within 'mainstream' genres. The album has been lauded by many critics, and I guess, because of its clear psychedelic qualities. I just don't really enjoy it as much as its predecessors.
[ allmusic.com 4,5 / 5 stars ]

01 November 2015

Madness "Wonderful" (1999)

Wonderful
release date: Nov. 1, 1999
format: digital
[album rate: 3 / 5] [2,94]
producer: Clive Langer, Alan Winstanley
label: Virgin Records - nationality: England, UK

Track highlights: 1. "Lovestruck" - 3. "The Communicator" - 5. "The Wizard" - 6. "Drip Fed Fred" - 9. "Saturday Night Sunday Morning"

8th studio album by Madness is the band's first studio album in 11 years, and once again it features the producer-duo Langer-Winstanley. More importantly the album is the band's first in its classic septet line-up since its 5th album Keep Moving from 1984, which means Suggs, Chas Smash, Foreman, Bedford, Barson, Woodgate and Thompson are united as Madness.
The new set of songs has been written like in the 'old days' with all members contributing on various tracks and an attempt has been made to reconsolidate the band's image as a group playing ska revival instead of the more polished pop / rock as heard on The Madness from 1988. Ian Dury features with "guest vocals" on track #6 - a decent attempt to add some of the familiar humor.
The album is not the great comeback album many had hoped it would be, but it's clearly bettering the band's previous two attempts without coming close to former heydays. Langer-Winstanley have produced a nicely sounding album, and my guess is (from listening to the songs) that the band aimed for something that would follow in the footsteps of Keep Moving. Yes, they incorporate elements from ska revival but it's very much mere associations of that style where the dominating style clearly is pop / rock - and a sound that was wide-spread in the mid-80s. In essence, the album sounds as if released in '86 and not '99.
All in all, it's no near great. Just above average and an album that really doesn't add songs to a new best of album.
[ allmusic.com 4 / 5 stars ]

Kings of Leon "Aha Shake Heartbreak" (2004)

EU cover
Aha Shake Heartbreak

release date: Nov. 1, 2004
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Ethan Johns and Angelo Petraglia
label: Handmedown Records - nationality: USA

Track highlights: 1. "Slow Night, So Long" - 3. "Taper Jean Girl" - 6. "The Bucket" - 7. "Soft"

2nd studio album by Kings of Leon, once again produced by Ethan Johns and Angelo Petraglia (only credited as Angelo) shows a different approach. The band has moved away from what I recognised as 1960s (primarily British) blues rock insofar that the style has become more contemporary indie rock-oriented, which I find is an improvement making the album a better release. There's a tighter aggressiveness and controlled withheld energy - a complementary sound of hard and soft, which balances the compositions nicely. The album only lacks truly noteworthy songs, but it's obvious that they are great instrumentalists and as a whole I find this clearly bettering the debut.
[ allmusic.com, Rolling Stone 3,5 / 5, NME, Q Magazine, Blender 4 / 5 stars ]


US cover

Astrud Gilberto "Look to the Rainbow" (1966)

Look to the Rainbow
release date: 1966
format: cd
[album rate: 4 / 5]

Tracklist: 1. "Berimbau" - 2. "Once Upon a Summertime" - 3. "Felicidade" - 4. "I Will Wait for You (Love Theme From Umbrellas of Cherbourg)" - 5. "Frevo" - 6. "Maria Quiet (Maria Moita)" - 7. "Look to the Rainbow" - 8. "Bim Bom" - 9. "Lugar bonito (Pretty Place)" - 10. "E preciso aprender a ser so (Learn to Live Alone)" - 11. "She's a Carioca"

4th studio album by Astrud Gilberto (including the collaboration album Astrud Gilberto & Walter Wanderley, also 1966). This is my favorite Astrud Gilberto album. The highly praised debut is in my mind more of an expansion of her vocal jazz and bossa nova music with Getz / Gilberto (1963), but this is more herself. She has turned back to her speciality: the Brazilian bossa nova styled compositions with her quiet fragile vocal guiding the listener through the tracks. There's still a few standards on this album but not the vocal demanding ones as she tried on her second album. She doesn't have the big singing voice but she has a fine jazz understanding which really comes through on this.
[ allmusic.com 4,5 / 5 stars ]

1966 Favourite releases: 1. Otis Redding Complete & Unbelievable: The Otis Redding Dictionary of Soul - 2. Dexter Gordon Gettin' Around' - 3. Astrud Gilberto Look to the Rainbow