Love and Rockets "Love and Rockets" (1989)

Love and Rockets
release date: Sep. 4, 1989
format: vinyl (PL 90344) / digital
[album rate: 4 / 5] [3,86]
producer: John Fryer, Love and Rockets
label: RCA / Beggars Banquet - nationality: England, UK

Track highlights: 1. "**** (Jungle Law)" - 2. "No Big Deal" - 3. "The Purest Blue" - 4. "Motorcycle" (4 / 5) - 8. "So Alive" (4 / 5) - 9. "Rock and Roll Babylon" - 10. "No Words No More"

4th studio album by Love and Rockets originally released by Beggars Banquet. The band has teamed up with the more 'pop-tuned' producer, John Fryer. The album is a move away from the psychedelic style they have worked deeper into from a chronological perspective, but here they incorporate glam rock and post-punk elements and basically come out with an album closer to the Bauhaus sound than anything else they have made since they began 6 years and 3 albums earlier. The track "So Alive" became a (surprisingly) rather big hit as it went as high as number #3 on the Billboard 100 in the US, and the album reached number #14 in the US (the highest charting album by L&R). In 2002 the album was re-issued as a double disc album with 13 bonus tracks. I remember, when I bought the album, how I used to play "Motorcycle" at maximum volume. "So Alive" was without doubt the big hit of the album, but I simply loved the hard rockin' mc song. To me, this was clearly a shift of style in the right direction, however, the band would not release a follow-up until 5 years later, as both Daniel Ash and David J focused more on solo projects and by the time they again came together as a band, the music was not around this one. Love and Rockets fifth studio album Hot Trip to Heaven from '94, I never understood - I hand it 2 / 5 stars and the 6th album Sweet F.A. from '96 is likewise not an album, I would recommend. I think, they kind of lost their drive and lust for music, or drifted apart in the 1990s - the band's 7th and final album is Lift from '98. I haven't come across the album but I've read an interview with Daniel Ash talking about their lack of musical drive. The critics also became less enthusiastic and in 1999 the band officially disbanded. The band reunited in 2007 to play a concert in tribute of Joe Strummer, toured and played several concerts in 2008 before finally disbanding.
[ allmusic.com 3 / 5 stars ]

Thunderbitch "Thunderbitch" (2015)

Thunderbitch [debut]
release date: Aug. 25, 2015
format: digital (10 x File, MP3)
[album rate: 3,5 / 5] [3,32]
producer: Thunderbitch
label: self-released - nationality: USA

Studio album debut by Thunderbitch - an American music-project, or super-group led by Alabama Shakes' front-artist, Brittany Howard and three members from the band Clear Plastic Masks and two from Fly Golden Eagle. The band members here are credited as Thunderbitch [aka Brittany Howard] on vocals and guitar, A Man [aka Andrew Katz] on vocals and tambourine, Matt Man [aka Matt Menold] on guitar, B Bone [aka Boone aka Ben Trimble] on bass, Andy Ferro on backing vocals [track #1 only], Char Man [aka Charles Garmendia] on drums, and Thundermitch [aka Mitch Jones] credited for recording and for mixing the album. So, Howard is credited as Thunderbitch and at the same time partof the band-project also credited as Thunderbitch... Well, it's quite obvious a Howard-led project, but it's still difficult to call it a mere solo album. That said, the music isn't far from that by Alabama Shakes, although, this contains a much looser approach on blues rock with some electrified experimentation.
It's not a strong coherent release and it basically sounds like elaborated jam-session that turned out in such positive ways, they felt like making an album out of it. I'm not all excited here but it has that Brittany Howard quality to it that makes it more than just an interesting collection of songs.
[ allmusic.com, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]

Dire Straits "Alchemy: Dire Straits Live" (1984) (live)

Alchemy: Dire Straits Live (live)
release date: Mar. 1984
format: vinyl 2 lp (818 243-1) / digital
[album rate: 3,5 / 5] [3,63]
producer: Mark Knopfler
label: Vertigo Records - nationality: England, UK

Double live album by Dire Straits recorded over two nights at the Hammersmith Odeon, London, Jul. '83. The album showcases the band at the height of its career playing familiar tracks in extended live versions in front of an enthusiastic crowd. The album is a fine document - in fact it's a live album above average, only, I think, I was fed up with the band at this point. I used to really enjoy Mark Knopfler, his signature guitar and laid-back singing voice, but I basically connected Dire Straits with the 1970s and I was occupied by the many new original styles of contemporary music. This is progressive rock and that was part of another decade - dead and gone, but I also felt that the presence of Knopfler had become too dominating. I mean, Bruce Springsteen wasn't even taking such a role being a solo artist when playing live. Dire Straits IS / WAS Mark Knopfler, and you really have to accept that. The songs are more than good, the performance likewise showing extremely skilled instrumentalists, but you just have to love a sound, and style on repeat to fully embrace this.
[ allmusic.com 3 / 5 stars ]

Greene "Minor Sun" (1996)

Minor Sun

release date: Feb. 1996

format: cd (RAIN 017CD)

[album rate: 3,5 / 5] [3,52]

producer: Kim Hyttel

label: Cloudland - nationality: Denmark

Track highlights: 1. "Reason to Carry On" - 2. "Here Comes April" (4 / 5) - 6. "Son Ray" - 7. "She's Radiant" - 9. "The Goodnight Song"

3rd and final studio album by Danish post-punk band Greene follows two years after Lovers' Lingo (Apr. 1994). The band has been reduced to a quintet consisting of the two brothers Olesen, vocalist Peter H. and guitarist Henrik together with lead guitarist Marco de Andreis, bassist John Krog Hansen, and with drummer Flemming Borby. New producer Kim Hyttel is also credited keyboards, as recording enginner and mixer of the album. All nine songs are credited Peter H. and Henrik Olesen.

Stylewise, they continue from the predecessor with their own blend of post-punk, indie pop and jangle pop, where the band appears as standing with one foot in a primarily British rock-soil echoing bands like Joy Division, Echo and the Bunnymen, and especially The Sound / Adrian Borland with strong bonds to early post-punk, and on the other hand, they also seem inspired by Velvet Underground / Lou Reed, The Go-Betweens, Nick Cave and the Bad Seeds. The album stands as the boldest rock-oriented of their three albums.

I really enjoyed this one when it came out but also soon tired from the simplistic melodies and especially from what I found was too obvious sources. Still, I never quite understood why they didn't find their way to a broader crowd 'cause this was almost like listening to my international idols, and when was it ever forbidden to copy international stars? That's how music evolves! Perhaps, they came too close to original artists, or they simply were too un-Danish? I loved a song like "She's Radiant" but also found it almost like an indiscreet cover of something by Borland.

Anyway, Minor Sun is this band's best album, but without attracting national interest the band split later in '96 and the brothers Olesen initiated their longer-lasting duo-project Olesen-Olesen, and Borby, Krog Hansen, and de Andreis later formed the band Labrador, which along the road ended up as Borby's solo project.

Kate Bush "Rocket Man" (1991) (single)

Rocket Man, 7'' single
release date: Nov. 22, 1991
format: vinyl
[single rate: 3,5 / 5] [3,38]
producer: Kate Bush
label: Mercury Records - nationality: England, UK

Tracklist: A) "Rocket Man (I Think It's Going to Be a Long, Long Time)" - - B) 1. "Candle in the Wind" (2,5 / 5) - 2. "Candle in the Wind (instr.)" (2 / 5)

Single release by Kate Bush, which was part of the Elton John / Bernie Taupin tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin (1991). I don't recall why or when I purchased this single, and I have never played it much.

Ramblin' Jeffrey Lee & Cypress Grove with Willie Love "Ramblin' Jeffrey Lee & Cypress Grove with Willie Love" (1992)

2006 remaster

Ramblin' Jeffrey Lee & Cypress Grove with Willie Love
release date: 1992
format: cd (2006 remaster)
[album rate: 3,5 / 5] [3,32]
producer: Jeffrey Lee Pierce
label: Flow Records - nationality: USA

Studio album by The Gun Club frontman Jeffrey Lee Pierce released as Ramblin' Jeffrey Lee & Cypress Grove with Willie Love. Jeffrey Lee plays guitar and sings together with guitarist Cypress Love and drummer Willie Love. Carl La Fong isn't credited as primary artist but he plays bass. The majority of the tracks are cover versions of classic 'blues' songs written by various artists (including Don Nix, Willie Brown, and Chester Burnett). The songs are all well-played and cleverly arranged, and despite the fact that the 'blues' isn't really my kinda style, this is quite originally sounding with a lot of genuine heartfelt craftsmanship to it, so to ignore it would be a shame. I like it, It's gooood.

org. cover

Bruce Springsteen "The Ghost of Tom Joad" (1995)

The Ghost of Tom Joad
release date: Nov. 21, 1995
format: cd (2005 reissue)
[album rate: 3,5 / 5] [3,32]
producer: Bruce Springsteen, Chuck Plotkin
label: Sony Music Direct, Japan - nationality: USA

11th studio album by Bruce Springsteen originally released by Columbia Records. The album follows another live album by Springsteen, this time the obligatory live album for an MTV crowd, although, Bruce had it his way changing the channel's unplugged sessions to an "MTV Plugged" album.
This is a critically acclaimed move into his acoustic singer / songwriter tradition initiated on Nebraska (1982), and this is often mentioned as his natural follow-up to that album.
I didn't listen to it at all in the 90s and only came across the album in the new millennium, but it is a mighty fine collection of songs proving what a great songwriter Springsteen truly is, and it's easily an improvement to his two 92 studio releases.
[ allmusic.com, Rolling Stone 3 / 5 stars ]

Talk Talk "Spirit of Eden" (1988)

1988 cd

Spirit of Eden
release date: Sep. 16, 1988
format: cd (2003 remaster) / vinyl + dvd (2012 reissue)
[album rate: 4,5 / 5] [4,28]
producer: Tim Friese-Greene
label: Parlophone (EMI) - nationality: England, UK

Tracklist: 1. "The Rainbow / Eden / Desire" (4 / 5) - 2. "Inheritance" - 3. "I Believe in You" (4 / 5) - 4. "Wealth" (4 / 5)
[ in memoriam: rehearsal tape ]

4th studio album by Talk Talk following 2½ years after The Colour of Spring (Feb. 1986) is the band's final studio release of new material on EMI, and it's literally 'something else'. In the aftermath of the '86 album Talk Talk had experienced a stronger popularity but at the same time frontman Mark Hollis had no desire of the implications of stardom - actually he found out that he didn't want to tour anymore - a decision which ultimately had deep consequences for the band that basically ended up being a Hollis and Friese-Greene project with the latter only taking part as co-composer and never officially entering the projct. All tracks are co-written by Mark Hollis and Tim Friese-Greene as was the case on the predecessor, but the style has evolved to something completely new. The first track is divided into three parts, which have been merged into one composition on the 2003 remastered version where it has a running time of more than 23 min - originally the entire A-side on the vinyl issue. Comparing the debut to this, is like listening to two completely different bands, but by following the band's stylistic progression through its second and third albums it makes much more sense. The style is like a natural development of what they were looking at on The Colour of Spring, and what they have produced here is music in a style that wasn't given a term until a decade later: post-rock, although, that specific term and style may lead to another discussion. There are slow progressive art rock and jazz rock elements, but that's far from telling the whole story. It's a play with composition from a new perspective, and both Hollis and Friese-Greene took inspiration from jazz and classical music. And that was not what fans and music lovers expected from a band, who had recently released an album of international interest.
By music critics, the album was met by lukewarm reviews and an almost total rejection from record buyers. The label, EMI, felt that the band neglected its contractual obligations by recording something 'so anti-commercial' and even tried a law-suit against the band at court but [thankfully] the label lost the case. However, as a consequence, the band's contract with EMI was terminated. By the end of the year, bassist Paul Webb left the band.
I recall, I also felt 'betrayed' by a band that I had other hopes for. I actually purchased the vinyl album shortly after its release, but never really listened to it - or: I tried, but I never came even close to thinking anything positive about it - that is, back then. About another three years later, I actually resold the album in a pile with other gems, in trade for quick cash, so I could afford one or two new albums [gosh, what stupidity!]. I guess, the sound and style of this was way ahead of its time - not many were prepared for it, and neither was I.
From a modern perspective, the band, and Mark Hollis in particular, are now praised for the ground-breaking musical content, which has inspired post-rock artists like Sigur Rós, Mogwai, and Godspeed You! Black Emperor a whole decade later, but surely without Talk Talk and without Spirit of Eden and the successor, the music by these later artists seems rather unlikely. As much as I hate to admit it, I would perhaps have rated this 2 / 5 stars back in '88. Today, I find it a 4,5 album, and yes! I eventually got myself a new 2012 reissue on vinyl. And I have to add, the 2012 pressing is better than the original 'cause EMI made some poor vinyl pressings in the late 80s, which also is the case with the band's final album.
A highly recommended album!
[ allmusic.com 5 / 5, Sound 4,5 / 5, Q Magazine 4 / 5 stars ]

1988 Favourite releases: 1. Chet Baker Memories: Chet Baker in Tokyo - 2. R.E.M. Green - 3. Talk Talk Spirit of Eden

     

org. vinyl cover
(same as 2012 reissue)

2003 remaster

The Undertones "All Wrapped Up" (1983)

abridged issue

All Wrapped Up (compilation)
release date: Nov. 1983
format: vinyl (abridged issue) / 2 lp vinyl (ARD 1654283) / digital
[album rate: 4 / 5]
producer: various
label: Ardeck - nationality: Northern Ireland, UK

1st compilation album by The Undertones originally released on EMI sub-label Ardeck is issued after the disbandment that followed the release of the band's fourth album The Sin of Pride (Mar. 1983). The original UK album is a double vinyl album containing 30 tracks. The abridged version of the album is the most common, which was issued in North America, Japan, and for the European market. The abridged version contains many great songs as it's a compilation of the band's A-side singles, but it's really the C- and D-sides of the double album, which also happens to be the B-side singles that makes the issue a must-have. Songs like "True Confessions", "Smarter Than You", "Emergency Cases", "Mars Bars" all have that extra wit and bit that defined this great band of the North, and which ultimately reveals what a great band they were to produce such great material as their B-sides.

org. double album

Michael Falch "De vildeste fugle" (1988)

De vildeste fugle

release date: 1988

format: cd (1994 reissue)

[album rate: 3,5 / 5] [3,42]

producer: Michael Falch

label: Medley Records - nationality: Denmark

Track highlights: 1. "Nu brænder sommeren af" - 2. "Piger - piger" - 3. "Venter på vind" - 4. "De vildeste fugle" - 10. "Det bedste jeg har"

3rd studio album by Michael Falch following Det andet land (1986) sees a return to the familiar sound and style of Malurt. The debut album had been something entirely different, an attempt with contemporary synthesizer pop, which had been harshly rejected by music critics, and with his '86-follow-up, he tried a different approach on which he commented on his own status as a songwriter and with subdued folk rock and singer / songwriter attitude - an album I have always found even of lesser value than his mediocre solo debut.

De vildeste fugle sees Falch back with what had previously worked best for him: his safe-place with songs built on a Danish-versioned Springsteen-formula, and to ensure that, he has engaged some of his former band mates, including guitarist Christian Arendt, keyboardist Pete Repete, and guitarist Peter Viskinde. On "Kinddans (Altid parat til en)" you also find ex-Malurt bassist Dia Nielsen and drummer Peter Mors. To help finding the genuine Springsteen sound, the album is cut in New York and Little Steven is thanked for his assistance. The end result is mostly American pop / rock songs transformed with Danish lyrics, which only works because of the large language gap since it would have been too close to his biggest source of inspiration, had the song been in English.

I had completely neglected his sophomore solo after having heard some its songs on national radio, but I purchased this one when it was released mostly because the promotion single "Venter på vind" signaled a musical U-turn that I found much more in sync with what I had previously enjoyed about Malurt. In retrospect, it's far from original but on the other hand, no other Danish artists made attempts with this type of music and it felt more like a better version than the final studio album by his former band.

Despite coming really close to the style of his American idol, De vildeste fugle is imo one of Falch's best solo albums.

Grant-Lee Phillips "Strangelet" (2007)

Strangelet
release date: Mar. 27, 2007
format: cd
[album rate: 3,5 / 5] [3,66]
producer: Grant-Lee Phillips
label: Zoë Records / Cooking Vinyl (reissue) - nationality: USA

Track highlights: 1. "Runaway" - 2. "Soft Asylum (No Way Out)" (4 / 5) - 3. "Fountain of Youth" (4 / 5) (live) - 5. "Dream in Color" - 7. "Raise the Spirit" - 9. "Killing a Dead Man" - 11. "Return to Love"

5th solo studio album by Grant-Lee Phillips follows only nine months after Nineteeneighties (Jun. 2006). Here, he's back again with his own material, and this is really not like any of his former solo albums being much lighter but also more uptempo than usual. As much as I enjoy his slow melancholic alt. folk songs, I think, he also shines when he's more energetic and pop-minded, although, it's hard to conclude that it necessarily makes it better. The tracks here are composed more as the music with Grant Lee Buffalo, although, this hasn't much alt. rock to it, but more of a pop / rock and alt. folk sound with nice glimpses of Marc Bolan glam rock about it. Strangelet is a strong album and recommended.
[ allmusic.com 4 / 5 stars ]

Cornershop "Hold on It Hurts" (1993)

Hold on It Hurts [debut]
release date: Dec.? 1993
format: cd (1995 reissue)
[album rate: 3 / 5] [3,18]
producer: John Wills; Tjinder Singh
label: Merge Records - nationality: England, UK

Track highlights: 3. "Readers Wives" - 5. "Inside Rani (Long Version)" - 4. "Change" - 6. "Born Disco, Died Heavy Metal" - 8. "Where D'u Get Your Information" - *11. "England's Dreaming"
*Bonus track on '95 US-issue

Studio album debut by Cornershop originally released on Wiiija Records. Cornershop consists of songwriter Tjinder Singh on vocals and bass, his brother Avtar and Ben Ayres (aka Benedict Ayres), both on guitar and vocals, Saffs (aka Anthony Saffery) on sitar, Wallis Healey on guitar, and with David Chambers on drums. All music is credited the band, although, Tjinder and Ben are at the centre of the band with Tjinder as primary songwriter as the natural leader. The album was released exclusively in the UK in '93.
The style is rather hard to narrow in - alt. rock, indie rock, and raga rock are definitely embracing it but those terms may not suffice. Several tracks are definitely punk rock, noise rock, or grunge rock-styled, whereas others share traits from post-punk, gothic rock, dream pop and alt. dance as a new kind of fusion rock embracing elements from funk, soul and South Asian folk. This huge melting pot of styles is not entirely mediocre as it contains much originality, although, it may be a difficult first listen.
The '95 US-edition released on Merge also contains an additional 5-tracks taken from the ep Lock Stock & Double-Barrel included as bonus tracks at the end.
[ allmusic.com 4 / 5 stars ]

Editors "In Dream" (2015)

In Dream
release date: Oct. 2, 2015
format: digital
[album rate: 3,5 / 5 ] [3,43]
producer: Editors
label: Play It Again Sam - nationality: England, UK

Track highlights: 1. "No Harm" - 2. "Ocean Of Night" (4 / 5) (radio broadcast) - 5. "Life Is A Fear" (3 / 5) - 10. "Marching Orders" (3 / 5)

5th studio album by Editors is very much like a sequel to The Weight of Your Love from 2013 with synth elements from the lesser third album, In This Light and on This Evening from 2009. It contains one great track and then a few fine compositions, but I don't find that it's up there among the 3 best from the band - it's close, though - but... basically it's the second least interesting studio release from Editors without being anywhere near just a mediocre album. I think, what I miss on this is something 'new' - a sign of being in a process where the band is reaching for an artistic development of some sort... and that's hardly recognizable as it sounds so familiar - perhaps too familiar.
Music critics also seem divided on this.
[ allmusic.com, Mojo 4 / 5, Uncut 2,5 / 5, Q Magazine 2 / 5 stars ]

The Gun Club "Pastoral Hide & Seek" (1990)

Pastoral Hide & Seek
release date: Oct. 1990
format: vinyl (ROSE 220 CD) / cd
[album rate: 4 / 5] [3,88]
producer: Jeffrey Lee Pierce
label: New Rose Records - nationality: USA

Track highlights: 1. "Humanesque" - 2. "The Straights of Love and Hate" - 3. "Emily's Changed" - 4. "I Hear Your Heart Singing" (4,5 / 5) - 5. "St. John's Divine" - 7. "Another Country's Young" - 8. "Flowing"
[ full album ]

5th studio album by The Gun Club follows three years after Mother Juno (Oct. 1987) and it was originally released on Fire Records. The album is the second in the new formation of the band after Jeffrey Lee Pierce had put an end to the band and initiated a solo career. As usual, Pierce is sole composer of the majority of the tracks, and this time he has put himself in the producer seat as well. The sound may not be impressive but the style is almost certified The Gun Club - a style connected so much to Jeffrey Lee Pierce, his poignant singing voice, his characteristic guitar-sound that no matter who he invites to play with him sounds crystallised as The Gun Club, and that is more than just sufficient. I've all ways linked The Gun Club with the music of Nick Cave and The Bad Seeds and all days found The Gun Club the more interesting band - or: showcasing a greater potential. In a contemporary perspective I didn't put this band among my favourites - I liked it, though, but may have neglected its qualities because of the lo-fi production, and the ever-present component of country. I think I might have put he band alongside artists like Adrian Borland, Bob Mould, R.E.M. etc [without comparison whatsoever!] had I acknowledged it as much as I do now. Fact is, I just listened to much else back then, and The Gun Club was somewhere in the background: interesting and fine, but not really 'it'. Today, I find that Jeffrey Lee Pierce definitely had 'it', and that he proved it over and over again. I have come to understand why he became a favourite of other artists and also a music critics' icon. This album doesn't contain obvious fillers, and in my mind and in a close race with The Las Vegas Story (1984), I find this to be the band's best.
[ allmusic.com 4 / 5 stars ]

[ collectors' item ]

Blondie "Blonde and Beyond" (1993)

Blonde and Beyond (compilation)
release date: Nov. 16, 1993
format: digital
[album rate: 3,5 / 5]
producer: various
label: Chrysalis Records - nationality: USA

Track highlights: 3. "Sunday Girl (French Version)" (UK 12" single "Sunday Girl", 1978) - 12. "Once I Had a Love" (Early Version of 'Heart of Glass', 1976) - 15. "Call Me (Spanish Version)" (org. version appears on 'The Hunter', 1982) - 16. "Heart of Glass (Disco Version)" (org. version appears on 'Parallel Lines', 1978) - 17. "Ring of Fire" (Live) (from the soundtrack 'Roadie', 1980) - 18. "Bang a Gong (Get It On)" (Live) (rec. at The Paradise Club, Boston, Nov. 4, 1978) - 19. "Heroes" (Live) (rec. at The Hammersmith Odeon, Jan. 12, 1980. Taken from the UK 12" single 'Atomic', 1980)

19 track compilation by Blondie. In some ways this is justified by putting together rarities, B-sides, alternate tracks and live versions, but that is all scattered as it also contains several ordinary album versions of familiar songs, just to fill out the album, or what? Anyway, among the good things are a French version of "Sunday Girl", a Spanish version of "Call Me", two demo tracks, "Once I Had a Love" (an early version of "Heart of Glass"), "Heart of Glass (Disco version)", and three live covers, which makes it nine tracks worth the lot.

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 ]

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 ]

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.