Goldfrapp [2005] Supernature

[01] Ooh La La
[02] Lovely 2 C U
[03] Ride A White Horse
[04] You Never Know
[05] Let It Take You
[06] Fly Me Away
[07] Slide In
[08] Koko
[09] Satin Chic
[10] Time Out From The World
[11] Number 1



amg: It's something of a mystery why Mute Records waited until early 2006 to release Goldfrapp's third album, Supernature, in the U.S. After all, when it came out in the U.K. the previous summer, it made the duo into a bona fide chart success, to the point where the album's terrific lead single, "Ooh La La" — on which Allison Goldfrapp channels Marc Bolan's dippy-cool vocals and lyrics over a shuffling, glam-tastic beat — drew comparisons to former S Club 7 star Rachel Stevens' similarly glam-inspired hit "Some Girls." While Goldfrapp might balk at being called (or compared to) a pop act, it's undeniable that the duo has streamlined and simplified its sound since the baroque Felt Mountain days. It's also undeniable that Supernature is some of Goldfrapp's most accessible work. Coming across like the missing link between Black Cherry's sexy, sharp-edged dancefloor experiments and Felt Mountain's luxe soundscapes, Supernature sometimes combines the best elements from those two albums into something great, and at other times renders them into something surprisingly bland. Along with the aforementioned "Ooh La La," the upbeat tracks find Goldfrapp becoming the robo-glam-disco gods that Black Cherry suggested they might: the starkly catchy "Lovely 2 CU," the fabulously blasé "Ride a White Horse," and "Satin Chic," which could single-handedly make honky tonk pianos fashionable again, all use the duo's inherently theatrical style to very catchy, immediate ends. Interestingly, though, the sweeping ballads that used to be Goldfrapp's forte are the most uneven tracks on Supernature. It's not that tracks like "Time Out from the World" and "Koko" aren't pretty and ethereal enough, but they're just not that distinctive. Likewise, "Fly Me Away" is pleasant, but maybe a little too pleasant — it almost sounds like it was commissioned for a travel commercial. However, "Let It Take You" shows that Goldfrapp can still craft gorgeous, weightless ballads, and "Number 1" nails the laid-back sexiness that many of the other slower songs attempt. It's surprisingly heartfelt, too — is there a sweeter compliment than "you're my Saturday"? It would be unfair to say that Supernature's stripped-down pop is a dumbed-down version of what Goldfrapp has accomplished in the past, since it takes a certain kind of smarts to hone songs into instantly catchy essences like the album's best tracks. Yet, as delightfully stylish and immediate as Supernature is, it's still hard to escape the nagging feeling that Goldfrapp could make its ethereal sensuality and pop leanings into something even more compelling. [Supernature was released in the U.S. with the bonus track "Beautiful," which originally appeared on the U.K. Number 1
(amg 8/10)

Institute [2005] Distort Yourself

[01] Bullet-Proof Skin
[02] When Animals Attack
[03] Come On Over
[04] Information Age
[05] Wasteland
[06] Boom Box
[07] Seventh Wave
[08] The Heat Of Your Love
[09] Ambulances
[10] Secrets And Lies
[11] Mountains
[12] Save The Robots



amg: It should come as no great surprise that Institute, Gavin Rossdale's first band since breaking up Bush, sounds a whole lot like Bush. Rossdale wasn't just the frontman, he was the songwriter and architect of their sound, an Englishman enthralled with American grunge who was at first taken for a musical carpetbagger, but as the '90s rolled on, it became apparent that he was one of the few post-grunge rockers to really, truly believe in this stuff. As all the American grungesters abandoned the sound, Rossdale stuck with it, sometimes bringing in fashionable electronic beats as he did on Bush's final album, 2001's Golden State, but pretty much sticking to the same sound that he developed on Sixteen Stone. Although he'd been away for about five years — during which time such odious neo-grunge bands as Nickelback and Puddle of Mudd appeared, both proving that Bush, like their American commercial grunge counterparts Stone Temple Pilots, were dealt with far too harshly at the peak of their success — Rossdale didn't change much in his time out of the spotlight, and in a way he benefits from not being in the glare of the spotlight, since Institute's debut album, Distort Yourself, feels fresher than the last Bush album. It does help that Rossdale has joined forces with fellow '90s alt-metal survivor Page Hamilton, who sharpens the production with the precision he brought to Helmet, even if Institute never sounds as tightly wound or brutal as that fairly cerebral art-metal band. Nevertheless, Hamilton's approach to recording means that Distort Yourself is heavier and harder than any Bush album, even the Steve Albini-produced Razorblade Suitcase, yet it's also cleaner and sleeker; it cuts like a scalpel, not a dull knife. While Rossdale still falls prey to some embarrassing lyrical turns here and there — the very title of "When Animals Attack" dredges up unfortunate memories of Fox's schlock nature exploitation TV special of the same name, while the sincerely crooned chorus of "this boombox needs batteries" is just mildly bewildering — his songs are not only sturdy, it's his most consistent set of tunes since the heyday of Bush. And try as you may, it's hard not to compare Institute to Bush, since it's not only from the same writer/guitarist/singer, but because Rossdale's aesthetic has not changed over the last ten years; he remains doggedly faithful to grunge-inspired hard rock. He may not have changed his perspective, but changing his band and hiring a new, sympathetic producer has indeed slapped a fresh coat of paint on his signature sound, so Distort Yourself sounds livelier than anything he's done since Razorblade Suitcase. Not that it sounds hip, or even particularly relevant to the sound of 2005, but that doesn't matter — Rossdale is carrying along as if nothing has changed, staying true to his vision, and those who have stuck with him will find Institute a nice revitalization for the ever-earnest post-grunge icon.
(amg 6/10)

Hughes-Turner Project [2002] Live In Tokyo

[01] Devil's Road
[02] You Can't Stop Rock 'n' Roll
[03] Death Alley Driver
[04] I Surrender
[05] Stormbringer
[06] Dark Days
[07] Mistreated
[08] Can't Stop The Flood
[09] Better Man
[10] Ride The Storm
[11] King Of Dreams
[12] Street Of Dreams
[13] Spotlight Kid
Bonus Track
[14] Against The Wall



amg: As two artists who have worked with Ritchie Blackmore in the past — Glenn Hughes (with Deep Purple) and Joe Lynn Turner (with Rainbow and for a short blip, Deep Purple, as well) — it made sense for these two "Blackmore veterans" to unite, which they did as the Hughes-Turner Project. And with demand in Japan for all things Purple continuing for decades, what better locale than to record a Hughes/Turner live album than the Land of the Rising Sun? Expectedly, the track list for 2002's Live in Tokyo is split evenly between Hughes' Purple daze (a fine reading of "Stormbringer," "Mistreated"), Turner's Rainbow radio-friendlies ("Street of Dreams," "Spotlight Kid"), plus a few Hughes/Turner compositions (such as the album-opening "Devil's Road"). With Blackmore himself not having performed many of these nuggets in years, Live in Tokyo will provide some much needed post-Ian Gillan Deep Purple/post-Ronnie James Dio Rainbow nourishment for starved fans.
(amg 7/10)

Ismael Lo [1996] Jammu Africa

[01] Jammu Africa
[02] Nafanta
[03] Sofia
[04] Tajabone
[05] Raciste
[06] Nabou
[07] Without Blame
[08] Dibi Dibi Rek
[09] Lotte Lo
[10] Souleymane
[11] Samba Et Leuk
[12] Takou Deneu
[13] Khar



amg: Headlined by "Without Blame," a duet with Marianne Faithfull, Jammu Africa includes five new tracks along with eight songs either offered in their original versions or remixed.
(amg 6/10)

Howard Jones [1993] The Best Of Howard Jones

[101] What Is Love
[102] New Song
[103] Pearl In The Shell
[104] Always Asking Questions
[105] Things Can Only Get Better
[106] Like To Get To Know You Well
[107] Life In One Day
[108] You Know I Love You, Don't You
[109] Hide And Seek
[110] No One Is To Blame
[211] Look Mama
[212] The Prisoner
[213] Everlasting Love
[214] Lift Me Up
[215] Tears To Tell
[216] Two Souls
[217] I.G.Y. (What A Beautiful World)
[218] City Song



amg: The Best of Howard Jones compiles all the necessary material ever put forth by this pop synthesizer master and is overabundant with a hearty 18 tracks. Jones had a remarkable eight Top 40 singles throughout the course of the mid-1980s, churning out keyboard laden dance/pop songs that were bright and lively. His debut album, Human's Lib, was a blend of new wave shine and friendly pop, which harbored the uppity "New Song" and the Duran Duran sound-alike ballad "What Is Love?" Worthy of its number four mark on Billboard is the beautiful "No One Is to Blame," which was one of the prettiest songs from the era. His flair for catchy melodies comes alive on both "Things Can Only Get Better" and the synth spicy "Life in One Day." Other highlights include the rich textured "Everlasting Love" from 1989 and the vibrant elevated chorus of "Lift Me Up." illuminating Jones' surprising vocal range. Sounding similar to the British trio the Thompson Twins, who were popular at the same time, Howard Jones' music reflected the synth driven sound of the decade. This compilation gathers all of his hits and then some, making for a perfect one stop album.
(amg 9/10)

Heaven 17 [1981] Penthouse And Pavement

PAVEMENT
[01] (We Don't Need This) Fascist Groove Thang
[02] Penthouse And Pavement
[03] Play To Win
[04] Soul Warfare
PENTHOUSE
[05] Geisha Boys And Temple Girls
[06] Let's All Make A Bomb
[07] The Height Of The Fighting
[08] Song With No Name
[09] We're Going To Live For A Very Long Time



amg: When synthesists Ian Craig Marsh and Martyn Ware left the Human League in 1980, the decision seemed iffy; after all, the League appeared on the way up and would achieve global fame the very next year with Dare!. The first album from Heaven 17, Marsh and Ware's new trio with singer Glenn Gregory, wasn't greeted with quite the same commercial kudos when released in 1981, but it turned out to be an important outing nevertheless. Picking up where Kraftwerk had left off with The Man Machine, the group created glistening electro-pop that didn't skimp on danceable grooves or memorable melodies. What set Heaven 17 apart was the well-deep vocals of Gregory, who managed the difficult trick of sounding dramatic without seeming pretentious, and an overtly left-wing political outlook best expressed on the debut single "(We Don't Need This) Fascist Groove Thang." Other standout combinations of witty lyrics and whiplash electro-grooves include "The Height of the Fighting" and "Play to Win," while the funky title track draws on American R&B for its popping bassline. Despite the catchy material, chart success proved somewhat elusive; the group didn't score a major hit until their next album, 1983's The Luxury Gap. Nevertheless, Penthouse and Pavement stands as one of the most accomplished debuts of the '80s. [Note: as part of the apparent effort to clear up some of the confusion between the band's British and American releases, the 1997 Caroline reissue adds a pair of bonus tracks.]
(amg 8/10)

Human League [1981] Dare!

[01] The Things That Dreams Are Made Of
[02] Open Your Heart
[03] The Sound Of The Crowd
[04] Darkness
[05] Do Or Die
[06] Get Carter
[07] I Am The Law
[08] Seconds
[09] Love Action (I Believe In Love)
[10] Don't You Want Me



amg: Dare! captures a moment in time perfectly — the moment post-punk's robotic fascination with synthesizers met a clinical Bowiesque infatuation with fashion and modern art, including pop culture, plus a healthy love of songcraft. The Human League had shown much of this on their early singles, such as "The Lebanon," but on Dare! they simply gelled, as their style was supported by music and songs with emotional substance. That doesn't mean that the album isn't arty, since it certainly is, but that's part of its power — the self-conscious detachment enhances the postmodern sense of emotional isolation, obsession with form over content, and love of modernity for its own sake. That's why Dare! struck a chord with listeners who didn't like synth pop or the new romantics in 1981, and why it still sounds startlingly original decades after its original release — the technology may have dated, synths and drum machines may have become more advanced, but few have manipulated technology in such an emotionally effective way. Of course, that all wouldn't matter if the songs themselves didn't work smashingly, whether it's a mood piece as eerie as "Seconds," an anti-anthem like "The Things That Dreams Are Made Of," the danceclub glow of "Love Action (I Believe in Love)," or the utter genius of "Don't You Want Me," a devastating chronicle of a frayed romance wrapped in the greatest pop hooks and production of its year. The latter was a huge hit, so much so that it overshadowed the album in the minds of most listeners, yet, for all of its shining brilliance, it wasn't a pop supernova — it's simply the brightest star on this record, one of the defining records of its time.
(amg 10/10)

Gerry Rafferty [1977] City To City

[01] The Ark
[02] Baker Street
[03] Right Down The Line
[04] City To City
[05] Stealin' Time
[06] Mattie's Rag
[07] Whatever's Written In Your Heart
[08] Home And Dry
[09] Island
[10] Waiting For The Day



amg: Gerry Rafferty is a huge talent, but a reluctant star. Management struggles and sundry other hindrances limited his output, but couldn't avert the Scot from releasing two legendary singles — the Tarantino-ized "Stuck in the Middle With You" and the unforgettable "Baker Street," the latter included on this record. Just a glimpse of John Patrick Byrne's cool cover art lets the listener know City to City houses Rafferty's day in the sun as he conquers the world one metropolis at a time, his guitar and amp in tow. Setting out in his apocalyptic "Ark," each song radiates the confidence of a master craftsman cruising in his prime, constructing brilliant pop confections with top-flight support while awaiting the crunch of civilization. The dreamy reality check "Baker Street" rightfully remains one of the greatest cuts in pop history. Forever-lost B-side "Big Change in Weather" further demonstrates Rafferty was on a rare roll. Domestic valentine "Right Down the Line" snugly followed to the height of the charts, and third release, "Home and Dry," while not of an immortal status, stands as a quality song. He even stomps out a smooth hoedown on the title track. Rafferty's turns of phrase and tight composition skills create a fresh sound and perspective all his own. Any diverse style (and he attempts many) filters through his unique mindset, resulting in a classic platter buoyed by many moments of sheer genius. "Whatever's written in your heart, that's all that matters."
(amg 9/10)

Grateful Dead [1975] Blues For Allah

[01] Help On The Way - Slipknot!
[02] Franklin's Tower
[03] King Solomon's Marbles
Part I Stronger Than Dirt
Part II Milkin' The Turkey
[04] The Music Never Stopped
[05] Crazy Fingers
[06] Sage & Spirit
[07] Blues For Allah
Part I Sand Castles & Glass Camels
Part II Unusual Occurrences In The Desert



amg: The Grateful Dead went into a state of latent activity in the fall of 1974 that lasted until the spring of the following year when the band reconvened at guitarist/vocalist Bob Weir's Ace Studios to record Blues for Allah. The disc was likewise the third to be issued on their own Grateful Dead Records label. When the LP hit shelves in September of 1975, the Dead were still not back on the road — although they had played a few gigs throughout San Francisco. Obviously, the time off had done the band worlds of good, as Blues for Allah — more than any past or future studio album — captures the Dead at their most natural and inspired. The opening combo of "Help on the Way," "Slipknot!," and "Franklin's Tower" is a multifaceted suite, owing as much to Miles Davis circa the E.S.P. album as to anything the Grateful Dead had been associated with. "Slipknot!" contains chord changes, progressions, and time signatures which become musical riddles for the band to solve — which they do in the form of "Franklin's Tower." Another highly evolved piece is the rarely performed "King Solomon's Marbles," an instrumental that spotlights, among other things, Keith Godchaux's tastefully unrestrained Fender Rhodes finger work displaying more than just a tinge of Herbie Hancock inspiration. These more aggressive works contrast the delicate musical and lyrical haiku on "Crazy Fingers" containing some of lyricist Robert Hunter's finest and most beautifully arranged verbal images for the band. Weir's guitar solo in "Sage & Spirit" is based on one of his warm-up fingering exercises. Without a doubt, this is one of Weir's finest moments. The light acoustic melody is tinged with an equally beautiful arrangement. While there is definite merit in Blues for Allah's title suite, the subdued chant-like vocals and meandering melody seems incongruous when compared to the remainder of this thoroughly solid effort.
(amg 9/10)