John Mayer "Continuum" (2006)

Continuum
release date: Oct. 16, 2006
format: cd
[album rate: 4 / 5] [3,77]
producer: John Mayer and Steve Jordan
label: Aware / Columbia - nationality: USA

Track highlights: 1. "Waiting on the World to Change" - 2. "I Don't Trust Myself (With Loving You)" - 3. "Belief" - 4. "Gravity" (live) - 5. "The Heart of Life" - 6. "Vultures" (live) - 7. "Stop This Train" - 9. "Bold as Love" (love) - 12. "I'm Gonna Find Another You"

3th studio album by John Mayer released 3 years since his most recent studio album Heavier Things is co-produced by Mayer and studio musician (drummer and bassist) Steve Jordan, who has produced and worked with primarily artist of singer / songwriter, r&b and folk rock.
The album marks a bit of a new start for Mayer, who has been seen as someone walking in the footsteps of legendary artists of blues rock but so far hasn't been able to make that album that wraps it all up and instead found himself in the spotlight of a huge fan base of primarily young white pop / rock enthusiasts. what I mean by 'new start' is an evident attempt to go full in on folk, r&b, blues rock - spread his wings as a full-blown singer / songwriter.
To my liking, the songs here are completely produced without slick horn sections, heavy violin arrangements and soft and honey-dripping keys. instead it comes out as a fine blend of traditional genres and styles building on the best of the 1960s, 70s and 80s combined. There are hints from jazz, traditional rhythm & blues, folk and roots rock. And pop / rock is there as well, 'cause you can't take that away from someone singing that coarse and yet clean, but the end result is overwhelmingly compact with a clear message of chosen direction and homogeneous style. The album contain one cover song: "Bold as Love" by Hendrix, and it's really so fitting.
The only malice, if any, is that several songs display Mayer's many sources. Without 1960s Hendrix, and Clapton, 1970s and 80s Ray Vaughan and Andy Summers [listen to "Belief"] it's really hard to imagine someone like John Mayer, and some songs simply sound as paraphrases built on his idols.
Anyhow, in selecting the album's highlights it's quite a difficult job, as the album is basically without fillers.
The album was generally met by positive reviews - it was nominated and won in the category Best Pop Vocal Album at the 2007 Grammy Awards.
It's simply my favourite John Mayer studio release. From all his fine attempts this stand as the one album where he manages to keep focus through and through.
Highly recommended.
[ allmusic.com 4,5 / 5, Rolling Stone, Mojo 4 / 5, Blender 3,5 / 5 stars ]

Elvis Costello & The Attractions "Blood & Chocolate" (1986)

2015 Remaster

Blood & Chocolate

release date: Sep. 15, 1986

format: vinyl (X FIEND 80) / digital (2015 remaster)

[album rate: 4 / 5] [3,98]

producer: Nick Lowe and Colin Fairley

label: F-Beat Records / Mobile Fidelity Sound Lab - nationality: England, UK

Tracklist: 1. "Uncomplicated" (live) - 2. "I Hope You're Happy Now" (4,5 / 5) - 3. "Tokyo Storm Warning" - 4. "Home Is Anywhere You Hang Your Head" - 5. "I Want You" (4 / 5) (studio session) - 6. "Honey Are You Straight or Are You Blind?" - 7. "Blue Chair" - 8. "Battered Old Bird" - 9. "Crimes of Paris" (4 / 5) - 10. "Poor Napoleon" - 11. "Next Time Round" (4,5 / 5)

11th studio album by Elvis Costello and his second fine studio album in the same year. King of America (Feb. '86) was Costello's quiet solo singer / songwriter clone of country folk and acoustic ballads, which stands as yet another fine accomplishment by one of Britain's strongest songwriters, and then he rocks away with The Attractions on this one fuelled with energy and great songs.

Costello had already established himself as a bit of an artistic chameleon - you would always be a bit curious of what style he would dig into next. His first albums were all energetic new wave-oriented albums, but then he went on to make ballads, singer / songwriter material and country-fused songs. And then he made more sophisticated pop / rock songs in a pop soul-style - he did just what he wanted, regardless his fans.

With this, he sort steps back for a while, but also, he doesn't really. Yes, there are many new wave elements on this, but it feels more like s new combo than a step back to what he did. Here, he combines the energy of new wave with his more 'serious' singer / songwriter contributions, and then the production sound both leaves room for the roughness as well as the more polished and softer sides. I recall my initial thoughts about it as generally positive, but with a slight unfulfilled sensation that it could be more in terms with his earlier material. His musical progress was so fast that it was hard to follow. Fans wanted the angry and sharp Costello but he was so much more, and it has taken me decades to understand his tremendous repertoire.

The album is enlisted in "1001 Albums You Must Hear Before You Die".

This is truly one of his finest moments, and it may just turn out as one of his artistic cornerstones.

The 2015 remaster is released by Mobile Fidelity Sound Lab.

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

Fun Boy Three "The More I See (The Less I Believe)" (1982) (single)

The More I See (The Less I Believe), 7'' single
release date: 1982
format: vinyl (CHS 2664)
[single rate: 3,5 / 5] [3,32]
producer: Fun Boy Three
label: Chrysalis Records - nationality: England, UK

Tracklist: A) "The More I See (The Less I Believe)" - - B) "?"

Single release by the trio Fun Boy Three taken from the band's forthcoming second album Waiting (1983). The trio consists of the three former vocalists of The Specials, Terry Hall, Lynval Golding and Neville Staple.

Julian Cope "The Skellington Chronicles" (1993)

The Skellington Chronicles

release date: Jun. 1993

format: digital

[album rate: 3,5 / 5] [3,26]

producer: Julian Cope

label: Ma-Gog - nationality: England, UK

Track highlights: [see Skellington 1] [from Skellington 2] 13. "Electrical Stormgirl" - 16. "I've Got My T.V. & My Pills" - 25. "London Underground"

9th studio album by Julian Cope chronologically following Jehovakill (Oct. '92) with certain reservations, as the album here contains the entire original lo-fi album Skellington from '89 in its original version and in addition to that, the continuation Skellington 2 or: Skellington 2: He's Back... and This Time It's Personal! All 25 tracks are contained on a single CD with a total playing time of just over 71 minutes. As the first part, Skellington 2 was also recorded over just two days and here released on Cope's own company Ma-Gog. However, the most recent release with Cope is the album Rite (Feb. '93), credited Cope & Donald Ross Skinner.

Musically, it's 'just' more of the same - mainly Cope alone accompanied by acoustic guitar and with contributions from Donald Ross Skinner and Mark 'Rooster' Cosby in a mix of folk rock and psychedelic folk with tracks of varying length - however, half of the songs are just under two minutes.

The album was re-released in '99 on Cope's label, the former Ma-Gog Records, now Head Heritage, under the name Ye Skellington Chronicles [except one track of more than 8 minutes with a slightly different style containing more distinct krautrock and space rock, and instead added a newer live track and an uncredited version of "Trampolene"]. In 2018, Skellington 3 followed ('only' with twelve new tracks) with the subtitle "The All-New 21st Century Adventures of Skellington" as the provisional end of the Skellington series.

The album serves as an example of Cope's idea of creating music in the moment as flowing ideas and musical improvs - which you will also find on Rite - but it is rather far from contemporary albums like Jehovakill (1992) and Autogeddon (1994). The second part of the "Skellington" series is, albeit recorded in the same spirit, an even more experimental continuation, which probably appeals more to hardcore fans.

This album can't be recommended as a start, but it contains quite fine moments.

Skellington 2: He's Back...

LCD Soundsystem "Introns" (2006)

Introns
release date: Mar. 13, 2006
format: digital (10 x File, MP3)
[album rate: 3,5 / 5] [3,32]
producer: The DFA [Tim Goldsworthy & James Murphy]
label: DFA - nationality: USA

Track highlights: 1. "Yr City's a Sucker" - 2. "Daft Punk Is Playing at My House (Soulwax Shibuya Mix)" - 5. "Slowdive (XFM Session)" - 10. "Too Much Love (Rub 'n' Tug Mix)"

Remix album by LCD Soundsystem released as a digital download album only. The album compiles a number of B-sides and remixes from the band's eponymous debut album and associated singles. Apparently, the front cover shows [band leader] James Murphy's (vinyl) record collection. Three of the tracks are from a session recorded for the London radio station XFM. The session version of "Slowdive", a Siouxsie and the Banshees cover, was originally on the "Disco Infiltrator" single. The album consists of 10 tracks with an extensive playing time above the hour.
It's quite fine collection of dance-oriented tracks, also because some of the remix tracks are quite original - without being truly groundbreaking, but it may be seen as a kind of a positive gesture from this creative band. Both "Disco infiltrator" and "Tribulations" comes in quite different remix versions, and "Slowdive" is a rather original cover that falls completely within this band's sound.

Bauhaus "Go Away White" (2008)

Go Away White
release date: Mar. 10, 2008
format: digital
[album rate: 2,5 / 5] [2,64]
producer: Bauhaus
label: Cooking Vinyl - nationality: England, UK

5th and final studio album by Bauhaus released 25 years following Burning From the Inside (1983).

The style is not a return to the heydays of the 1980s but more of a combination of the styles Peter Murphy and Love and Rockets have been involved with in recent years, thus making it an alt. rock, neo-psychedelia release with gothic rock references. The album became a reality after several years with attempts of reuniting the band. The first reunion period took place in 1998 when they put together a "Resurrection Tour" and a new best of album Crackle was released by Beggars Banquet - the band also recorded a new song, included in the film soundtrack for the animated sci-fi movie "Heavy Metal 2000" (a follow-up sequel to the iconic "Heavy Metal" from 1981). However, both Murphy and Love and Rockets continued to concentrate on their separate projects, and it wasn't until late 2005 that they once again found time for new concerts, and a new unification came about. They had played several concerts together over a longer period of time, and in 2006 the quartet went as far as to begin writing new songs again with the intent to release a new album. But the monkey was back and what had split the band 25 years earlier, once again led to a final disbandment allegedly even before releasing the new album.
Go Away White isn't all bad, I just don't find it of great interest, and just think that Love and Rockets and Peter Murphy respectively both have made better and more interesting albums than this.
[ allmusic.com 4 / 5, Mojo, Rolling Stone, Uncut 3 / 5 stars ]

The Church "Priest = Aura" (1992)

Priest = Aura
release date: Mar. 10, 1992
format: cd
[album rate: 4 / 5] [3,78]
producer: The Church & Gavin MacKillop
label: Arista Records - nationality: Australia

Track highlights: 1. "Aura" - 2. "Ripple" - 3. "Paradox" - 4. "Lustre" - 5. "Swan Lake" - 6. "Feel" - 8. "Kings" - 11. "The Disillusionist" - 13. "Chaos" - 14. "Film"

7th studio album by The Church following two years after Gold Afternoon Fix (Feb. 1990) and after some time spent rethinking the band's musical direction is a reasonably long affair with fourteen tracks and a total running length of 65 minutes. Drummer Richard Ploog had left the band after the 1990 album and Jay Dee Daugherty, of the Patti Smith Group, had been a substitute on the subsequent tour, and he has now officially become a member of a band who faced another problem as the band's guitarist, Peter Koppes decided to leave The Church just as the album had been finished. However, Koppes agreed to stick around long enough for the end of the band's subsequent tour. Apparently, Koppes had long felt redundant in the creative process, with Steve Kilbey and Marty Wilson-Piper mostly taking control of all relevant decisions.

With the album, we are talking about a decidedly stylistic U-turn, a significant denial of the mainstream appeal the group previously felt pushed into and that's something which clearly separates this one from all of the band's most recent three albums. In relation to the longer-lasting musical quartet called The Church, this album actually marks the end to just that.

With clear neo-psychedelic and experimental tendencies with ambient elements, the release was met with lukewarm reviews and a commercial success that was the appropriate echo. Over time, however, the album has gained a completely different status as something of a game-changer and nothing less than a significant cornerstone in the band's entire discography.

Admittedly, I also dismissed the album myself at the time, just as the majority of critics did in the immediate aftermath of its release, but over the past decades I've bowed in the dust and finally realized the qualities it truly contains. Despite being formed in a time when the band's primary songwriter, Steve Kilbey, found solace in heroin, at a time when he and Marty Wilson-Piper's compositions were heavily inspired by free association and studio improvs - something that must also be seen in contrast to the label's earlier interference in the musical process - in that light, the album actually sounds much of a unified whole, containing many fine compositions. The song "Chaos" (with a length of more than 9 mins.) - reportedly with reference to Kilbey's life situation at the time - may be seen as an example of the new initiatives in relation to songwriting.

Imho, this album is no less than the band's best since the compilation Remote Luxury (1984) - and since Seance (Jun. 1983) when speaking pure studio albums.

Fine recommendation.

[ allmusic.com, Rolling Stone Album Guide 4 / 5, Entertainment Weekly 4,5 / 5, Rolling Stone 2 / 5 stars ]

Robbie Robertson "Contact From the Underworld of Redboy" (1998)

Contact From the Underworld of Redboy
release date: Mar. 10, 1998
format: cd
[album rate: 4 / 5] [3,86]
producer: Howard Bernstein
label: Capitol Records - nationality: USA

Track highlights: 1. "The Sound Is Fading" - 3. "Making a Noise" - 4. "Unbound" (4 / 5) - 5. "Sacrifice" - 6. "Rattlebone" (4 / 5) - 9 "Stomp Dance (Unity)"

4th studio album by Robbie Robertson when also including his soundtrack album Music for the Native Americans (1994). The sound of his former colleagues of The Band and its great and vast musical legacy still lives on a bunch of albums, and if you don't really know The Band, you should at least check out one of the most legendary live albums, The Last Waltz (1978), either on DVD or as a music album.

Robbie released his solo debut Robbie Robertson (1987) and once again fascinated the world of popular music. Everyone wanted to work with him after that and "we" all yearned for a follow-up that never seemed to come. Storyville (1991) proved to be a bit of the difficult sophomore album. After creating a fine blend of styles he fell for the music of too many others and was so inspired by the sound and music of the Scottish band, The Blue Nile that he simply had to copy and paste on his second album and basically just forgot to make his own music. After that he then made the album of his heart and blood: Music for the Native Americans (1994), which was very well-received in the US but quite frankly is to say it politely: a difficult listen. Not that it's bad, it's just very 'native American' and with little sign of traditional popular music to it... And then - BOOM - he releases this fantastic inspiring album on which he (again) makes his own brew of all his music influences and reveals at least a new one: 'electronica'. 

Had it not been for its inconsistency, I'd rate it higher - it really contains some great tunes that stay with you. This has become one of my favourite albums by this great Indian blooded everlasting old-timer who needs to make more music, or: release more often.

1998 Favorite releases: 1. Grant Lee Buffalo Jubilee - 2. Mark Hollis Mark Hollis - 3. Robbie Robertson Contact From the Underworld of Redboy

U2 "No Line on the Horizon" (2009)

No Line on the Horizon
release date: Mar. 9, 2009
format: digital
[album rate: 3,5 / 5] [3,36]
producer: Brian Eno & Daniel Lanois, Steve Lillywhite
label: Island Records - nationality: Ireland

Track highlights: 1. "No Line on the Horizon" - 5. "I'll Go Crazy If I Don't Go Crazy Tonight" (4 / 5) - 9. "White as Snow"

12th studio album by U2 follows 4½ years after How to Dismantle an Atomic Bomb (Nov. 2004). The album is released on Island and this time they bring together a collaboration work by their best known producers: Brian Eno, Daniel Lanois, and Steve Lillywhite.
The album was met by luke-warm reviews, but for the first time in a long period, I actually think they manage quite Okay in creating what comes out as a true cohesive work, as opposed to putting a few single hits together with half-finished and / or lesser works of art. Another thing that strikes me is that the album doesn't contain the usual two to three hit singles - there's only one! - but then the lows are considerably stronger making it a generally better album compared to their last four albums. Since Achtung Baby (1991) the band could easily have cut down on the album flow and released eps or singles only, but for once they prove that they still know how to make music.
[ allmusic.com 3 / 5, Blender, Rolling Stone, 👎Q Magazine 5 / 5 stars ]

Mazzy Star "She Hangs Brightly" (1990)

She Hangs Brightly
release date: May 21, 1990
format: cd
[album rate: 3,5 / 5] [3,68]
producer: David Roback
label: Rough Trade Records - nationality: USA

Track highlights: 1. "Halah" - 2. "Blue Flower" (live on Later) - 3. "Ride It On" - 6. "Give You My Lovin' " - 7. "Be My Angel" - 10. "Free"

Studio album debut by American indie rock band Mazzy Star, which basically is the continued project of the band Opal (initially named Clay Allison) - a band with Kendra Smith (of The Dream Syndicate) on vocals and bass, and after her departure, the remaining members changed name to Mazzy Star, which here is made up by songwriter and main musical composer David Roback (former member of The Rain Parade), who is credited as guitarist, keyboardist and pianist, Hope Sandoval on acoustic guitar, organ, harmonica, xylophone, and drummer Keith Mitchell. Allegedly, Sandoval replaced Smith in Opal for the live tour after the band's debut album, and after some time touring as that unit, and as they were still contractually bound to a follow-up to the debut with songs composed and written by Smith / Roback ready to be recorded, but Sandoval had also initiated a composer partnership with Roback, and the decision was then made to trade the Opal follow-up contract with Rough Trade for the debut release with a bunch of new songs by Mazzy Star.

Stylistically, the band stands out as one of the prominent artists of what became known as the style of Shoegaze / Dream Pop with strong bonds and influence from 'noise rock' and the sound of Jesus and Mary Chain and My Bloody Valentine. The sound is stripped from the element of noise rock and instead Mazzy Star focusses on the moody side, which also connects them with Cocteau Twins, who on the other hand played with a more layered wall-of-sound to create their visceral sound. Mazzy Star may start as a band but is primarily held together by its two songwriters, Sandoval and Roback, and the music is related to the Paisley Underground movement with bands like The Dream Syndicate, Rain Parade, Green on Red, and Thin White Rope amongst others. Hope Sandoval has her very own singing style and melancholic sound with bonds to Nico, Marianne Faithfull and Leonard Cohen, and followers like Cat Power and Lana Del Rey is mentioned as singers who owe much of their singing style to Sandoval.

I really enjoy the songs by Sandoval and Roback, who support each other quite nicely. Sandoval's almost mourning vocal is a fine balanced blend of periods and styles, but all with focus on a certain melancholy, and Roback's swirling guitar is another fine blend with reminiscence of Velvet Underground, The Byrds, Stooges, and then also contemporaries like Robin Guthrie (Cocteau Twins), Jim & William Reid (The Jesus & Mary Chain) and Kevin Shields (My Bloody Valentine), and the production sound of She Hangs Brightly is somewhere in the neighbourhood of the same bands with strong spacious feedback on both vocal and guitars helps creating that "dreamy" atmosphere, which paved way for the style of dream pop.

Recommended.

[ allmusic.com 3 / 5, NME, Rolling Stone, Q Magazine 4 / 5, Select 5 / 5 stars ]

Dolores O'Riordan "Are You Listening?" (2007)

Are You Listening? [debut]
release date: May 8, 2007
format: cd
[album rate: 3,5 / 5] [3,32]
producer: Dolores O'Riordan and Dan Brodbeck
label: Cooking Vinyl - nationality: Ireland

Track highlights: 1. "Ordinary Day" - 2. "When We Were Young" (4 / 5) - 3. "In the Garden" - 7. "Apple of My Eye" - 12. "Ecstasy"

Solo debut album by Dolores O'Riordan after some years without releasing studio albums with her primary band The Cranberries who's most recent album Wake Up and Smell the Coffee from 2001, which didn't receive the best reviews, and after a time working on new material the band then announced (2003) that they would take a hiatus as The Cranberries leaving room for individual projects. During this time O'Riordan found herself involved in various projects, e.g. together with Zucchero on his album Zucchero & Co. (2004), with Angelo Badalamenti on two songs for a soundtrack and various other projects until she started working on her first solo album.
The album features a collection of songs, all written by O'Riordan, which have only little in common with the best selling songs by The Cranberries but which ultimately are not far from what the band released on its 2 most recent studio albums before 2007. The focus is on mainstream pop / rock combined with celtic rock and some alt. rock elements scattered around the album. The clearly best track "When We Were Young" is perhaps closest in style with the more traditional material by her band, and could easily have been included on either of the first two albums by The Cranberries.
Generally, I find it a bit difficult to digest as a whole - the songs simply point in all kinds of directions, but it's not just a mediocre release. There are simply too many fine traits and songs here.
[ allmusic.com 3,5 / 5 stars ]

Blondie "At the BBC" (2010) (live)

At the BBC (live)
release date: Oct. 4, 2010
format: digital
[album rate: 3,5 / 5] [3,68]
producer: ?
label: Chrysalis Records - nationality: USA

[ concert extract ]

Live album by Blondie released more than 30 years following the recordings. The album is from one concert arranged by BBC Radio 1 at The Apollo Theatre, Glasgow on Dec. 31, 1979. Although, the concert was held at a relatively early point of its career, the band still manages to put together a fine collection of strong tunes.
The album was released as a double disc containing a dvd with most tracks from the concert and a few sessions from Top of The Pops, which makes it a fine bargain. Soundwise: well, it's from a period where punk rock had pointed very strictly that it should be authentic / garage-like, so this is not over-produced - actually it leaves out the producer credits, and it may just likely have been recorded as is without any major editing - and refreshingly far from modern times' X-factor productions, and in a way more than adequate.
It's a fine release showcasing the special new wave and mainstream pop / rock blend that Blondie represented without ever being pure art rock, dirty enough to be punk or new wave but they really understood how to appeal to more than a minor set of fans incorporating inspiration from a huge variety of styles and genres, and actually producing highly original music.

PowerSolo "It's Raceday ... and Your Pussy Is GUT!!!" (2004)

It's Raceday... and Your Pussy Is GUT!!!
release date: Mar. 8, 2004
format: vinyl (FROG 036-1) / cd
[album rate: 3,5 / 5] [3,42]
producer: The Great Nalna, Jesper Reginal, PowerSolo
label: Crunchy Frog - nationality: Denmark

Track highlights: 1. "Baby You Ain't Looking Right" - 2. "Kat Nazer (Powersoul)" (4 / 5) - 4. "Juanito" (4 / 5) - 5. "Oak Tree Girl"

2nd studio album by PowerSolo is much better than the debut from 2001. The brothers Petersen (Jesper Reginal and Ulrik, "The Great Nalna"), co-founders of Crunchy Frog and former drummer of Thau, have both helped producing the album, and that really lifts the music to another level. The band members credited here are: Atomic Child (aka Bo Hjort Jeppesen) on guitars, bass, lap steel, and backing vocals, JCBenz (aka Jens Søndergaard) on drums and percussion, and with Kim Kix (Kim Hjort Jeppesen) on lead vocal, guitars and 'dawghouse' bass.
"Kat Nazer", which was included on the debut really sounds much better on this album. The music of PowerSolo is still a blend of all kinds of styles and influences. Compared to the debut, this has less country rock and psychedelic rock elements and is instead pulled in new directions of more melodic indie pop with inspiration from surf rock and Mexican traditional folk. The first half of the album is clearly the best, and it points to an album at 3,5 or even 4 stars. However, the second half tend to reproduce what sounds like mere improvisations and are like silly songs, which probably was a lot of fun recording in the recording studio, but the result is not really brilliant. I think, not only band and record label but also most critics had expected the band to go a lot further with this album. They really deserved (and still do deserve) much more credit than paid, but that's part of the business. The album didn't bring the success, but luckily PowerSolo kept making music.

The track "Juanito" was used in a French commercial for SNCF (Société Nationale des Chemins de fer Français) [National French Rail company], and the track "Baby You Ain't Looking Right" found its way to a Ford commercial, AND "Kat Nazer" was used in a Heineken commercial.

Arcade Fire "Neon Bible" (2007)

Neon Bible
release date: Mar. 3, 2007
format: cd
[album rate: 3,5 / 5] [3,33]
producer: Arcade Fire
label: Merge Records - nationality: Canada

Track highlights: 2. "Keep the Car Running" (4 / 5) - 3. "Neon Bible" - 6. "Ocean of Noise" - 7. "The Well and the Lighthouse" - 9. "Windowsill" - 10. "No Cars Go" (4 / 5)
[ full album ]

2nd studio album release by Arcade Fire. The band has been expanded by drummer Jeremy Gara, and violinist Sarah Neufeld. Stylistically, the band has moved towards a more wholesome rock-sound, with Funeral being more wild this sees the band take on a more traditional approach.
Yes, it's nicely produced - at times I find it too mainstream-sounding. It probably contain fine lyrics but my initial feelings about it are bland, as I had set my expectations higher.
And of course the album could only disappoint with the meteor-like approach by the debut. It comes out 2½ years after the fabulous debut, and no, it does not live up to that, alas. Frankly, I find it a bit of a difficult listen. I soon tire of Butler's vocal, which I find stay much in the same performance, and the arrangements don't stir up anything - nor my interest. Still, there are some fine songs here, but overall, it fails as to hand me substantial evidence as to why I should consider this band the new big thing - but they were!
[ allmusic.com 4 / 5, Rolling Stone 3,5 / 5, NME 4,5 / 5 stars ]

David McAlmont "A Little Communication" (1998)

A Little Communication
release date: Oct. 12, 1998
format: cd
[album rate: 4 / 5] [3,85]
producer: Tommy D
label: Hut Recordings - nationality: England, UK

Track highlights: 2. "A Little Communication" - 4. "Honey" - 5. "Who Loves You?" - 6. "The Train" - 7. "Love & Madness" - 8. "It's Enough" - 9. "Sorry"

2nd solo album by David McAlmont released four years following his fine debut album McAlmont - here produced by Tommy D (aka Tom Asher Danvers). Since the debut, McAlmont released the acclaimed McAlmont & Butler collaboration album The Sound of... McAlmont & Butler (1995), which may have influenced McAlmont to record an album of slower and more jazz-influenced material than one will find on his dance-pop debut. This is quite different from his first solo release, and if he hadn't made the album with Bernard Butler, many would find it hard to tell this is the same guy, who gave us uptempo pop-songs like "Either" and "It's Always This Way".
Stylistically, it's slow pop soul ballads with a strong vocal jazz tone, and the songs are almost the opposite of the multi-layered compositions you'll associate with his first album out but which also characterises his McAlmont & Butler collaboration material.
As was the case with the debut where McAlmont worked with Saul Freeman, McAlmont has written the songs in collaboration with various musical composers featuring especially Graham Kearns who is co-writer on four songs and who plays guitar on three compositions. Gary Clark and Peter Gordeno are both credited for musical score on two songs each, and also Guy Davies contributes as composer of one song and is credited as keyboardist on half of the album's ten tracks. Aside from producing the album, Tommy D is credited for keyboards and programming as well as for mixing an album, which shows us a new side to McAlmont's talent. I remember listening to the album at a local record store back in '98 or '99 and my rejection of the album as I found it too soft and for lyrically displaying too much Christian appraisal - in other words, my preconception stood so much in the way that I just couldn't appreciate it for what it is... Another decade later I returned to the album after having heard his fine 2005 album, and I was surprised how I could have rejected it then.
The album is a very delicate but beautiful collection of slow ballad-like pop soul and modern vocal-jazz compositions that once again demonstrate what a gifted vocalist, David McAlmont truly is. It's also an album where the highs are more than ordinarily hard to pin out 'cause McAlmont shines here, there - practically all over the album. To me, this outshines both of his collaboration albums with Bernard Butler (the second followed this album in 2002) but unfortunately, it's nearly an unknown release to the public.
Highly recommended.

The Blues Brothers "The Definitive Collection" (1992)

The Definitive Collection (compilation)
release date: 1992
format: digital
[album rate: 3,5 / 5]
producer: Bob Tischler, Paul Shaffer
label: Atlantic - nationality: USA

Compilation album by The Blues Brothers mainly produced by Tischler and compiled by Michael A. Mazzareila.
The album comprises many of the duo's better tracks and despite containing 20 tracks, I simply find that too many essential tracks are missing out, and it's also a bit strange to include two tracks from the original motion picture soundtrack The Blues Brothers - one (great track) by Ray Charles and another (fine song) by Aretha Franklin, when Aykroyd and Belushi do not feature on those tracks. The album simply doesn't match its title.

Bryan Ferry "As Time Goes By" (1999)

As Time Goes By
release date: Oct. 25, 1999
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Bryan Ferry, Rhett Davies
label: Virgin Records - nationality: England, UK

Track highlights: 1. "As Time Goes By" - 2. "The Way You Look Tonight" (4,5 / 5) (live version from Paris) - 4. "I'm in the Mood for Love" - 8. "Miss Otis Regrets (She's Unable to Lunch Today)" (4 / 5) - 10. "Lover, Come Back to Me" - 11. "Falling in Love Again" - 13. "You Do Something to Me" (live) - 15. "September Song"

10th solo studio album by Bryan Ferry is a collection of re-arranged oldies completely without the sophisti-pop traits one has come to associate the name of Bryan Ferry with. These 15 tracks are popular standards, traditional swing and vocal jazz songs that have been carefully updated without compromising their integrity as they have all been arranged with strings and brass and (seemingly) no electrical instrumentation.
I used to really enjoy Roxy Music and Ferry's solo releases, although the late 1980s and early 90s didn't justify his talent. Roxy Music officially disbanded in the early 80s at the height of its career, actually - Avalon (1982), a beloved classic pop album, was the last real Roxy Music release as the members apparently were more interested in solo and collaboration projects, or just got tired of each others company. Ferry relaunched a fine solo career and he was on everyone's lips when he released the polished sophisti-pop album Boys & Girls (1985), an album that took off pretty much from where Avalon finished. The following releases didn't really make it as good, and for every new album he just seemed to be on a descent until As Time Goes By. Throughout his career he has taken the part as a distinguished British upper-class gentleman, and maybe therefore it suits him so well to cover old classics of the 1930s and 40s, interpreting Cole Porter, Rogers & Hart, Oscar Hammerstein, Kurt Weill, among others, and the result is a fine atmospheric and almost anachronistic tribute to other heydays. I simply adore his versions of these classics because he lifts the songs without too much superfluity. The arrangements with horns and strings are in the spirit of the old songs. Maybe this is also at the core of his potential - his ability to interpret other people's songs, and very often with a better result than the original version. He has always been a great interpreter (he has hardly ever released an album written entirely by himself) whether it's Bob Dylan (whom he manages to make more tolerable), Neil Young, Rod Stewart, Screamin' Jay Hawkins, Lou Reed, and the great songwriters of the 1930s, 40s, and 50s as well as rearrangements of old traditionals. I only wish he would do more of this old stuff - it's really like hand in glove, and it suits him like... a fine Italian jacket.

Kent "The Hjärta & smärta EP" (2005) (ep)

The Hjärta & smärta EP, ep
release date: Oct. 28, 2005
format: cd
[album rate: 4 / 5] [4,08]
producer: Nille Perned, Kent and Stefan Boman
label: RCA / Sony BMG - nationality: Sweden

Tracklist: 1. "Vi mot världen" - 2. "Dom som försvann" - 3. "Ansgar & Evelyne" (5 / 5) - 4. "Flen / Paris" (4,5 / 5) - 5. "Månadens erbjudande"

Ep release by Kent welcomes back Nille Perned as producer, as he had been on the band's first two albums. Together with Kent and most recent co-producer Stefan Boman, the three have created a sound and style that both points back in time and also contains elements of the band's succeeding releases. The most poignant characteristic here is the guitar-driven roots associating the band in the soft lane of garage rock. The end result is an ep in-between, or: perhaps more at the centre of what Kent has come to represent - depending on what perspective you choose. In either case, this album is not just extra material or a small collection of leftovers from Du och jag döden from March earlier this year - it's something... nearby, and that's its biggest asset.
Perhaps, the ep also serves to demonstrate what Kent could have done had they not made the choice to go with a tighter sound that would eventually have them embrace a synthpop version of alt. rock instead of going with a bolder traditional guitar-rock sound and style.
The Hjärta & smärta EP is a great diversion if you happen to be a Kent fan. If not, you may feel misled or even disappointed about this, or you would perhaps dislike the 'new' Kent, and the way they turned out but in return think of this as something great.
I simply love this one - initially, it wasn't an absolute favourite of mine, because it's so different but with Kent things (always) grow on you, and this one certainly did just that, and I have come to consider it a splendid testimony. By gosh, they are so talented, and you end up thinking: what if they chose another genre, just for the fun of it... How could that not turn out as something more than just fine?!
What really proves difficult here is to pin out the best tracks 'cause it's really much of a whole and at such a high quality level. Forced to pick one, I go with "Ansgar & Evelyne".
Needles say, the ep peaked at number #1 on the Swedish singles chart and of course I find it highly recommended.

<  show lyrics >

~ ~ ~

"Ansgar & Evelyne"

"Ur en klar himmel faller bomben ner
Vi ligger tysta i en krater, ler
När vi ser vår samtid brinna ner

Och jag ska skydda dig med kroppen min
Luften svider när vi andas in
Har alltid sett oss som Ansgar och Evelyne

Vi ska fylla vår stulna bil
med dyra klockor och Dexedrine
Souvernirer från den tid då vi var svin

Och du har tagit mig från kylan in
Från tysk hårdrock till Charles Valentin
I min bok är du för evigt Evelyne

Och som jag önskar att du var här nu
Jag vill bara höra dina hjärtslag
Och som jag önskar att vårt krig tog slut
Jag har lärt av mina misstag
Och du är lika ensam som jag"

~ ~ ~

"Flen/Paris"

"Det är långt mellan Flen och Paris
men nära en trettioårskris
Du slängde med håret och log
Du skrev våra namn under bron

:Jag önskar jag var där nu
:Jag önskar jag var där nu

Allt är så skört i din värld
Schhh… jag bara säger som det är
Du gav mig en bomb under bron
Tänk att det bara krävs ord

Låt mig behålla det här
Det kan väl jag vara värd
Kom och slå sönder min värld
Det är allt jag begär

::Jag önskar jag var där nu
::Jag önskar jag var där nu
:Jag önskar jag var där

Det var inte mitt namn som du skrev
Jag önskar jag var där nu
Under bron i en stad
Jag önskar jag var där nu
Och jag minns inte var
Jag önskar jag var där nu
Under bron i en stad
Där du och jag blev kvar"

~ ~ ~

Cornershop "Cornershop & the Double 'O' Groove Of" (2011)

Cornershop & the Double 'O' Groove Of Featuring Bubbley Kaur
release date: Mar. 14, 2011
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Tjinder Singh
label: Ample Play Records - nationality: England, UK

Track highlights: 1. "United Provinces of India" (4 / 5) - 2. "Topknot" - 3. "The 911 Curry" - 4. "Natch" - 5. "Double Decker Eyelashes" - 6. "The Biro Pen" - 10. "Don't Shake It"

6th studio album by Cornershop released as 'Cornershop Featuring Bubbley Kaur' follows two years after Cornershop's Judy Sucks a Lemon for Breakfast.

Where the band's previous albums have had its roots grounded in indie pop and Western popular music this one reflects a stronger move towards Indian folk and South Asian music, although, the music by Cornershop (Tjinder Singh) always reflects a huge fusion of styles with traces of neo-psychedelia. All compositions here are credited Singh and Bubbley Kaur with the latter singing in Punjabi. Apparently, Singh was introduced to Kaur, as someone without connection to the music industry but just had a beautiful singing voice. And the name 'Bubbley Kaur' was invented by Singh to protect her privacy.
Cornershop & the Double 'O' Groove Of is a fine and quite original wrap, both paying hommage to traditional Indian folk music and simultaneously producing a new fresh sound.
[ allmusic.com, Rolling Stone 3,5 / 5 stars ]

Mark Kozelek "What's Next to the Moon" (2001)

What's Next to the Moon [debut]
release date: Feb. 27, 2001
format: digital
[album rate: 3,5 / 5] [3,38]
producer: Mark Kozelek
label: Badman Recording Co. - nationality: USA

Tracklist: 1. "Up to My Neck in You" - 2. "Love at First Feel" - 3. "Love Hungry Man" - 4. "Bad Boy Boogie" - 5. "What's Next to the Moon" - 6. "Walk All Over You" - 7. "You Ain't Got a Hold on Me" (4 / 5) - 8. "If You Want Blood" - 9. "Riff Raff" - 10. "Rock 'n' Roll Singer"

Full-length solo album debut by Mark Kozelek released on Badman Recording Co. His ep-debut Rock 'n' Roll Singer from 2000 contained three of his own songs alongside three AC/DC covers (tracks #4, #7, #10) found on this, but this entire collection of songs are ALL originally credited Australian heavy rock band AC/DC. Undoubtedly, Kozelek has managed to re-arrange and to transform these covers into a completely different stylistic setting, and he manages to make these his own, and some are simply wonderful re-arranged compositions. It's fine and good, and not really great.
[ allmusic.com 4 / 5 stars ]