This Danish supergroup was a result of collaboration between Ole Prehn and Hans Lauridsen from Day Of The Phoenix with Nils Henriksen and Ken Gudman from Culpeper's Orchard. "Loners & Lovers" is a beautiful mainstream folk-rock versus rock'n'roll album and is unusually sophisticated. Vibes and strings are used here and there, augmenting the three-part vocal harmonies and various guitars (acoustic, bottleneck or leads treated through a Leslie cabinet and/or other studio effects). Nils Henriksen wrote a great number of the songs. Comparisons could be drawn to The Band, the Grateful Dead, Crosby, Stills & Nash and Neil Young, although the music is played with the perfectionist approach of Steely Dan.
Cardboard sleeve, digitally remastered re-release of Big Star's last album featuring all of their original members. Cardboard sleeve (mini LP) replicates original LP artwork with obi strip, printed inner and lyric sheet in Japanese & English. After Big Star released Radio City, they fell apart, leaving Alex Chilton to record in 1975 what was later released as 3rd (aka Sister Lovers). The album is strikingly different from everything Chilton created before or after. With pained outpourings such as the haunting "Holocaust," it holds its own against rock's greatest monuments to existential angst, from Tonight's the Night to Bryter Layter. It also ranks alongside the Beach Boys' SMiLE as perhaps the only "classic" album with no set sequence. (Chilton never bothered to sequence it because, upon its completion, no label wanted to release it.) It finally came out four years later, and since then, while it has appeared on several labels, no two have used the same track order.
For a band that's been compared to Joy Division, Leonard Cohen, Wilco, and Nick Cave & the Bad Seeds, the National sure sounds a lot more like the Czars or Uncle Tupelo on this sophomore album Sad Songs for Dirty Lovers. Where the band might lack Joy Division's angular fury, Cohen's existentialism, and Cave's vampiric attack, vocalist Matt Berninger and company whip up a murky alt country meets chamber pop vibe that's quite potent. The five-piece mostly keeps things on the country side of the fence during the album's first half, as slide guitars and fiddles overpower just about any hint of rock styling except the drumbeat, occasional feedback, and some screeching guitar freak-outs.