iPod Shuffle Playlist 14.4.26

Yes, I have (for now at least) a working 30 Gb iPod, filled with music. Put it in shuffle mode for the first time, that means songs are played in random order. I usually play playlists. Currently there’s 3167 songs on the iPod. What will we hear? Here is my first playlist based on my collection on iPod, but put together totally in random order, by chance. These are the first 25 cuts in random order. För närvarande har jag en fungerande 30 Gb iPod, fylld med musik, 3167 sånger för att vara exakt. Så vad hör vi? Här är min första spellista som satts ihop helt slumpvis, med shuttle funktionen, en automatisk blandning av låtar. Här är en spellista för 14.4 med 25 slumpvis utvalda låtar. Let’s Go!

IPOD SHUFFLE PLAYLIST 14.4.26

Lucille(Live)/Hurriganes

Die Hard/Die Ärzte

Escuta Aqui/Biquini Cavadao

Auf Einmal Warst Du Da/Nena

Man Tut Was Man Kann/Waving The Guns Feat. Fatoni & DJ Joaf

Suddenly Everything Has Changed (Live)/The Flaming Lips

Antinazibund/Sportfreunde Stiller

Victor Jara (Live)/Mikael Wiehe

Där Elden Falnar (Men Fortfarande Glöder)/Lars Winnerbäck

Cowboys/Kent

Knallbonbon/Deichkind

Yoshimi Battles The Pink Robots (Live on KEXP 2002)/The Flaming Lips

A New England ( John Peel Session1984)/Billy Bragg

Der Picknicker/Die Fantastischen Vier

Vårdag I November/Lars Winnerbäck

Monsterteorin/Lars Winnerbäck

Hard Times/John Legend

Populär (Live)/Die Fantastischen Vier

Nowhere Fast/The Smiths

Die Stadt Die Es Nicht Gibt (Live)/Die Fantastischen Vier

The Prisoner/Paul Oxley’s Unit

Keine Antwort/Nena

Manhattan Skyline (Live)/A-Ha

Jag Är Hos Dig Igen/Lars Winnerbäck

My Song 9/Nova Heart

Det våras för C-kasetten? del 2

I mitt förra MC-inlägg nämnde jag både vintage- och nyproducerade C-kasetter, så här blir det lite prov på både och. Here are some fine examples and reviews of both vintage- and newly produced tapes:

Hurriganes: 16 Golden Greats. Exempel på riskerna med beg kasetter. Ställvis burkigt sound på grund av avmagnetisering. Spelar hyfsat bra, men början på Say Mama och sista sekunderna av Do You Wanna Dance och Get On från mitten ungefär är lo-fi och blir ännu mera burkigt sound innan det igen är ok just innan slutet. I An Awful Crime är soundet så svagt ställvis att det knappt hörs.  Ok, ni fattar. Betalade 9 euro för originalkasetten från Love records. 16 Golden Greats är en samling av i huvudsak singelspår som inte gavs ut på albumen. Några av Hurriganes bästa låtar, dessutom, så ett måste i samlingen. Just den här kasetten är speciell såtillvida att informationslapparna på själva kasetten är förväxlade så att låtlistan för sida A finns på sida B, och vice versa. Ljudkvaliteten är lite bättre på B-sidan men på min favoritversion  av Blue Suede Shoes sjunker soundet ställvis till lo-fi. Singelspåren Blue Suede Shoes, I Saw Her Standing There, Do You Wanna Dance och Good Morning Little Schoolgirl är bland det bästa Hurriganes gjorde. Magnifika, fräscha och unika versioner av gamla klassiker. Det frenetiskt pumpande drivet i originalet Oh Baby Doll behöver också nämnas. Suveränt. Tungt svängande Keep On Movin’ avslutar albumet. Det finns en senare CD-version som lägger till nio spår (25 Golden Greats), men förlorar samtidigt en hel del av originalets dynamik och balans, som känns mycket väl genomtänkt. Men på just den här kasetten sviktar tyvärr soundet lite på ett par ställen. Det här kasett-exemplaret är lyssningsbart, med vissa lo-fi brister. Kanske var det lite beaktat i priset, men det är ett album jag gärna har i olika format. Nu också på C-kassett. Ett mint exemplar skulle sannolikt ingå i de (sex) album som skulle tas med till en öde ö (se del 1).

Rugged Mind: Session Vol. 1 - No TV Raps.

Great beats, recorded on four turntables in Hamburg 2022. Mixed live in a hiphop underground radioshow. Some great stuff on this MC. Only 100 produced and of course sold out. Relentless drive, no wonder the price for this MC mix is already around 20-30 euro. My copy is number 83/100. This mixed party tape starts with Maintain’s Steady Schemin’ and without losing any momentum on side A include, among others, fine cuts from AMP Boogie (Bluntly Speaking) and Maja Guard (Guard U Now). Side B begins equally relentlessly with Rollin’ Over You (RM Edit) by Street Connect. It’s another side of tight and strictly underground hiphop grooves and beats. Another fine mix on the fly for the radio show by Rugged Mind, combining interesting cuts. MC package includes both digital download link and a sticker. Legacy raps fat rhymes on That’s How I Live and Camouflage Large Click is well represented by a groovin’ Heavy Hitters. Yes, I really wanna hear these dudes mixing on the air. This Session really show their skills for finding and mixing great underground hiphop, hardcore, gangsta and more. There’s constantly more highlights, like Shazam X’s Respect Costs More Than Money (RM Edit). Good point. And Lin Que brings some badly needed female hiphop into the mix with Let It Fall (RM Edit). Hood Thang by Thachamba is more fine hardcore reality messages from the underground. The mixtape ends on a high note with cuts by Sounds Of Rage (Superfly), Rubbabandz (Purple Rain) and, lastly, a faded down Hate Runs Deep by Saukrates. Yes, these are raps we most likely won’t hear on TV. Excellent stuff. Excellent and exceptional tape. 

The Originals 1 (Various Artists). Inköpt ny för tio euro i en cool skivbutik i en perifer Stuttgart-förort. Gavs också ut på LP 2021, men jag valde MC med digital download. Lite best of both worlds, alltså, analog-digital. Det här är nusoul, inga gamla inspelningar, utan högaktuella soul- och funkband. Gizelle Smith inleder snyggt med ett tungt soulgroove i Jonny och sedan rullar det bara på. Spänn fast säkerhetsbältet, här gungar det vilt. Instrumentala Asphalt Homeland med Ghost Funk Orchestra bjuder på en helt oemotståndlig basgång, följd av Hot Border Specials dansanta svettiga discosoul i Fresher Under Pressure. Supertungt drivande funkrytmer på Rocket Ship av Shawn Lee’s Ping Pong Orchestra före The Supertights avslutar med smooth soul i Sweet Extasy. Utmärkt.

Leevi And The Leavings: Turkmenilainen Tyttöystävä. Leevi & Co:s sista studioalbum. Stark start med titelspåret följt av Toteemipaalu. Leavings höll fast vid sitt vinnande koncept, sympatiskt svepande melankoliska melodier och stämningsfull sång och körer. Inte deras bästa album, men ändå en utmärkt svanesång för ett djupt älskat band som superbt förstod sig på och tolkade den finska folksjälen i ord och toner. Vackra Yön Tuoksut skulle bara kunna skrivas av Gösta Sundqvist. Leavings-magia.

Ett vemodigt och stämningsfullt instrumentalparti (Muurahaisen Munat) ingår på B-sidan, före den maskulint rytmiska groove som utmärker Miesten Kesken. I serien finländskt folksjäls-mörkt och moll-fyllt vemod passar titeln Kuudentoista Vuoden Yhtäjaksoinen Sade väl, på en finstämd ballad, före den vackra hiten Kyyhkynen Ja Kyykäärme, vars vackra och lugnt vaggande melodi avslappnar och avväpnar lyssnaren till ro, förstärkt av en sångtext som vädrar vardagsrealism. Utmärkt avslut på ett utmärkt album.

Albert Järvinen: Ride On. Gitarrvirtuosen Albert Järvinens första soloalbum, 1974, efter att han första gången lämnat Hurriganes. Många framstående gästmusiker på ett rockigt album med stort utrymme för Abes gitarrspel. Flera instrumentala spår och gästsångare på de övriga. Abe river av rock’n’roll, blues, boogie. A-sidan avslutas lite överraskande med en förtjusande Don’t Be Cruel, i långsam och lätt boogietakt. Goin’ To Louisiana är istället en tung bluesboogie, där Abes gitarrspel flyter flinkt och sångmicken sköts förträffligt av Isokynä Lindholm. Järvinen-originalet Patchy Moss är en annan höjdpunkt, som dessutom har namngett en fin senare samling Abe-inspelningar. Här visar Järvinen igen prov på sin enorma spelskicklighet. Ändå tycker jag att Abes solon kom allra bäst till sin rätt i de mera tidsbegränsade och sylvassa soloinsatserna med Hurriganes. Species Quattour erbjuder en svängig och, förstås, gitarrintensiv avslutning på albumet. Utmärkt.

Albert Järvinen: Ride On. First solo album by Finnish guitarist legend Albert Järvinen. Many great guest musicians and wide playroom for Abe’s exceptional licks and solos. 

Leevi And The Leavings: Turkmenialainen Tyttöystävä. Last studio album for this legendary Finnish poprock group, with a strong signature melancolic and nostalgic Finnish soundscape. Another fine (and final) album.

The Originals 1 (Various Artists). Great compilation of new soul and funk. Great cuts of heavy deep funk and sweaty discosoul, flavored with some smooth soul and dancefloor-grooves. Excellent.

Rugged Mind: Session Vol. 1 - No TV Raps. Blandband som mixats live på fyra skivspelare i Hamburg under en radioshow underground hiphop. Superbt urval artister och spår, en mix som både är samhällskommentarer från underground-scenen och ett riktigt bra party-blandband med attityd. Superbt.

Hurriganes: 16 Golden Greats. Wonderful collection of single-cuts and a few remarkable album cuts from Hurriganes’ early Love Record-period. A later version included nine more cuts, 25 Golden Greats, but lost the great dynamic and balance of the original album. Marvellous.

Musikskribenten Andres Lokko regerar

Andres Lokko är kanske den viktigaste och bästa musikskribenten och -kolumnisten på svenska. Ja, i alla fall en av de allra bästa.

If you only read one music columnist in Swedish, Andres Lokko is a great choice. His columns and reviews and comments on popular culture, society and politics have been republished, thus far, in four book compilations. Highly recommended (I have read the first three and currently wait for a copy of the fourth, 2020-2024).

Som en av fyra giganter ingick Andres Lokko i det magnifika Feber-gänget, som gav ut den kanske bästa bok som getts ut med musikrecensioner och -krönikor. Jag tror ingen bok har blivit så dyr för mig. Nej, den häftade boken var ju inte dyr i sig, men alla album och boxar som jag köpte efter att ha läst om dem i boken Feber blev sammanlagt väldigt dyrt.

Feber började som en uppskattad blogg och det bästa kom sedan ut i bokform. Och Feber, boken, är en klassiker, minst sagt. En låtfixerad Feber 2 utkom senare, och var också bra, men ändå inte lika omtumlande för mig.

Andres Lokko stod också bakom musiktidningen Pop, som ska ha haft Per Gessle som första prenumerant. Tyvärr finns den inte längre kvar. Och han gav senare ut sina kolumner i tre tjocka verk, det tredje med kolumner fram till 2019. Den fjärde och senaste krönikesamlingen, 2020-2024, har jag faktiskt, tyvärr, inte läst ännu, men den finns på beställningslistan. Och väntas inkomma i dagarna  (och lite senare blir det recension här, förstås).

Först berördes jag mest av band ett och två, kanske för att jag relaterade lite tydligare till banden och låtarna där. Men nu, när jag igen läste om det fristående band tre, börjar jag omvärdera. Det tredje bandet var kanske det viktigaste av de tre.

Inte så att jag omvärderat musiken eller banden eller artisterna han skriver om. Ok, i något fall, kanske. Inte heller för att jag omvärderat Band 1-2. De är fortfarande sagolikt bra. Måste-läsning för musikskribenter och seriösa musikfans. Men del tre är kanske särskilt viktig för allt vad han skriver om vårt samhälle, om fascismens återkomst och om kultujournalistikens nedgång och om varför populärmusiken är viktig. Insiktsfullt, provokativt, öppenhjärtligt, bitskt och ibland raljerande. Och så j-a rakt på sak, ärligt, och välformulerat.

Det är alltså lite mera samhälle och politik än tidigare, mera om musikens samhällsrelevans. Populärmusikens, uttryckligen. Sedd och uppfattad i ett både allmänbildat och sakkunnigt perspektiv. 

Andres Lokko är kanske en pop- och rocknörd, men han är långt mera mångfacetterad och kulturellt bildad än att kunna avfärdas som så. Och varför skulle det egentligen ens vara något negativt, eller mindre värt, än att vara konstkritiker (konstnörd) eller symfoniorkesters-nörd? Get it?

Andres Lokko sätter fokuset på känsliga fenomen och samhällsfrågor och attityder i vår slätstruket genomkommersialiserade lagom-samtid där minsta gemensamma skval-nämnare blivit kung och AI-producerad muzak toppar poplistor. Och där kulturjounalistiken i allt högre grad, liksom samhällsjournalistiken, nervöst följer trenderna och nogsamt aktar sig för att sticka ut. Musikkritiken, kulturkritiken, liknar alltmer ett följajohn-spektakel i kommersialiseringens tecken. Det är väl därför främst  gubbarna och gummorna gör relevant samhällskommenterande rock- och popmusik, Bruce, Neil Young mfl, medan många yngre drar sig för att tycka nåt, och riskera skrämma bort Maga- eller andra ytterhöger-lyssnare. I en sådan tid behöver vi också en Andres Lokko, och röster som hans, mera än någonsin. 

Låt mig bara ta tre korta citat från den här krönike-samlingen:

”Den romantiska komedin är Hollywoods svar på sopkompressorn i Stjärnornas krig. Det finns ingen möjlighet att fly när rummet bara krymper och krymper. Få saker i konsten öppnar fler möjligheter än exakta mallar och deadlines.” (s. 208).

”Så är vi där igen: dinosaurier i gul slips som ser kommunistjävlar överallt. Själv läser jag Livingstone och om Corbyn. Jag tycker verkligen om vad de säger, vad de vill. Det känns oerhört modernt. Precis som Bernie Sanders. Tänk om de inte alls är kommunister? Eller om de inte ens bryr sig om att de kallas för det? Tänk om de bara anser att solidaritet är ett trevligare post-ideologiskt fundament för framtiden än egoism och nationalism?” (s. 354).

”På sociala medier fnissade personer - som i vanliga fall verkar både smarta och bildade - rått åt spontana minnesord över den oefterliknelige Scott Walker, eftersom de inte visste vem han var… Den svenska kultursynen har aldrig, i alla fall under min livstid, varit så provinsiell, så demonstrativt skygglappsförsedd, som just nu. Men det riktigt obegripliga är hur den dessutom verkar vara stolt över det.” (s. 567).

Och ännu ett sista citat:

”Över trettio år har flytt sedan Claudia Fontaine körade bakom The Special A.K.A. på singeln ”Racist Friend”. När jag hör den nu klingar refrängen med än starkare emfas år 2018: So if you have a racist friend/Now is the time/Now is the time for your friendship to end.” (s. 481).

Ni fattar. Andres Lokko sätter tummen på vår tid och trycker till. Det kanske irriterar, upprör, gör ont, men också helar och ger hopp. Hans röst har kanske aldrig varit viktigare än just nu, i vår  trumpistiskt toxiska och ondskefulla samtid. Andres Lokko behövs. Kan varmt rekommendera de tre första krönikesamlingarna, och ser fram emot att mycket snart läsa den fjärde och nyaste (från åren 2020-24).

Andres Lokkos krönikor är insiktsfulla, de är betraktelser och recensioner av musik (främst) och annan populärkultur, ofta också kopplade till samhällsfenomen och samhällsutveckling. Populärkultur, samhälle och politik hör ju ihop. Populärkulturen har också en politisk dimension. Sedan får till exempel Eurovisionsfestivalen fortsätta hyckla och påstå något annat (varför gäller då andra regler för krigförande Israel än för Ryssland?).

Velvets, Bruce, Elephant9, Damn The Band, Ganes

Five more interesting albums to check out. Again, nice listening through these again. And again, music from different genres, rock, jazz, hiphop.

The Velvet Underground: VU.

First, VU is not a regular album, and not a proper Velvets album, but a collection of previously unreleased recordings. Released in 1984, it came out long after Velvet Underground had left the world stage as a working band. Recorded between February 1968 and September 1969, it includes 10 tracks from Velvets prime time. And it is a lot of interesting, prior unreleased material here. In short, VU is a very rewarding complement to the proper Velvets album. A must for serious Velvets fans. 

A-side include two more Velvets songs titled after a woman saying… This time Stephanie Says, a smooth ballad that easily is another says-highlight. Lisa Says is another fine song, if not fully in the same class as Stephanie. Overall, the two songs from 1968, including Stephanie, with the original four Velvets are, not surprisingly, the best cuts here. The other eight are from 1969 with the later Doug Yule-quartet, after he had replaced John Cale. They are generally very good too, in some cases excellent.

VU is a welcome and fine addition to the Velvet Underground song treasure. It is a compilation of moments and cuts prior missed and unheard. But it is not a Velvets album proper, and it is not on par with the albums that the active group The Velvet Underground released. That’s vital to remember, and therefore it is better to start there and later complement with this fine album.

Bruce Springsteen: BossInEastBerlin - Anatolia (3LP).

Classic Radio broadcast from East Germany, presenting The Boss live in East Berlin on July 19th 1988, over 3 LP:s. Great setlist and great concert. According to Discogs there is also a 3 CD version available that includes the whole concert, with four cuts that are said to be from audience sources. I bought this 3 LP album in a record store in Helsinki, not in Germany.

Wonderful concert opener Badlands is unfortunately interrupted in the middle by a short radio broadcast announcement. It increases the authenticity of course, this really is The Boss in East Berlin, but sadly disturbs a great version of Badlands. Bruce and The E Street Band then continue with The River and Promised Land. Hard to imagine a greater start. Deeper cut Spare Parts ends a wonderful side A.

On Side B Bruce takes a strong political stand with War, followed by Born In The USA and cover Chimes Of Freedom. The audience go wild and loudly sings the chorus in an amazing version of Born In The USA. A definitive highlight, perhaps the highlight on this album. Unfortunately the short speech Bruce gave before Chimes Of Freedom is not included on this recording, but the song itself is magnificent and can’t be underestimated. This landmark concert has been referred to as a significant moment for raising freedom sentiments that contributed to the development that later lead to the fall of the Berlin Wall in 1989. An interview with Bruce is included (and simultaneously translated to German), where he explains how overwhelmed he is by the audience and their knowledge of the songs. Fine instrumental Paradise By The C with saxophonist Clarence Clemons in the driver seat closes this wonderful and significant side. 

The second record brings in both classic hits and deeper cuts on side C. I’m On Fire and Dancing In The Dark as well as I’m A Coward and Light Of The Day. The audience gives a roaring response. Side D is on paper perhaps the most formidable side, packed with classics Born To Run, Hungry Heart and Glory Days. 

Side E starts and finish with wonderful covers of I Can’t Help Falling In Love and Sweet Soul Music respectively, and three fine Bruce originals in-between, before Side F brings closure to a superb concert experience with Raise Your Hand and a pumpin’ Twist And Shout. The sound quality is quite fine throughout, some smaller dips of muddiness in sound, but overall good technical quality, not excellent or exceptional. The concert, alas, is excellent. Bruce and the Band are in superb form and they really give their all here. An exceptional performance. 

Elephant9: The Greatest Show On Earth (LP + CD).

This Norwegian jazz album starts slowly in a mellow rhythmic mode. Almost eerie soundscapes in mesmerizing Way Of Return. The Norwegian trio was among the best things that happened on the jazz scene in the 2010’s. After the slow and meditative start on the album, Actionpack 1 certainly do credit to its title, directly increasing speed and intensity from the go, before settling for a groovier and tempo-varied beat. It’s hard to overstate the brilliance of these three musicians as they vary the soundscape and each impresses with both respective solos and as parts of the common full band soundscape. Farmer’s Secret has a multifaceted soundscape that draws you in and creates a puzzling listening experience. It is a feeling of surprised emptiness when, suddenly, the last tone ends. So far side A.

Dancing With Mr. E gives us an enjoyable jazz-funky bass-driven beat. It is a highlight among highlights. Bass features overall soundwise much more center-stage on side B. Slowing down the tempo significantly, mellow Mystery Blend puts bass prominently in the center of the soundscape. Freaks also starts slowly and with a prominent bass rhythm. Hammond solo and pumping drums puts all three members center-stage here. And they complement each other exceptionally well. This is a masterclass of three highly talented musicians creating a truly great show on Earth. I only dislike the faded ending, which is far inferior to the strong, direct ending on side A. But otherwise, hey, this is a superb album.

Damn The Band: Damn The Band.

Damn The Band were founded already in 1987 and pioneers on the Finnish hiphop-scene. This debut album from 1991 is the very first Finnish hiphop-album in English. An important early landmark album. At that time it was also controversial, for example front figure J.A.K. said in an MTV interview 2015 that they were threatened with violence only for releasing such an album. Sounds unbelievable today, but hiphop was truly underground in Finland 1991. And luckily Damn The Band released this album. Today we can enjoy a true classic.

The tone is set right away with the pumpin’ beat and sirens on opener Violence. An earlier release on 12” (Radical World/J.A.K. Is On The Mic) preceded the album in 1990 and both those cuts are also found here. J.A.K. Is On The Mic is a definite highlight on side A. I Am The Prince & I Am Proud continue the same vibe before Remember ends side A on a slightly slower and heavier funky beat.

J.A.K. Is Back opens side B and, yes, it is more of the same great same. J.A.K. Is Back is another essential highlight and Damn The Band presents catching grooves, one after another, on this debut album. Wonderful that the strong and rare 12” Radical World is included too, as is a fun and supershort ”hood” cut, South-Haaga. Sexism that is just too often present in hiphop is here represented by Kinky Women. Another strong and mesmerizing driving beat, but why not a hood-reflecting South-Haaga lyric instead? You could put that same kind of question forward to most hiphop-artists. And really should. That aside, this is superb Finnish old school hiphop. A classic album.

Hurriganes: Roadrunner (50th Anniversary Edition, 2LP).

And talking about classics, Roadrunner by Hurriganes is the classic Finnish rock album. The cornerstone of Finnish rock, by the most legendary of all rock band. The album itself is a mammoth, a review must be 5/5, especially when considering it’s importance and influence. But put that aside and you still have a superb rock album. Recorded in great studio in Stockholm and performed well by a very tight and talented trio. Albert Järvinen is the greatest guitarist ever in Finnish rock and we get many fine examples of his superb guitar licks and solo technique here. Get On is of course the most well known blockbuster, perhaps the best Finnish rock song ever produced. The rhythm section is extremely tight and guitar god Abe is just unearthly amazing. But also for example covers Tallahassee Lassie and Slippin’ And Slidin’ or original Oowee-Oohla leaves you breathless when Abe solos on his Stratocaster. I Will Stay is a sweet ballad moment among the rockers. Title track, cover Roadrunner, is another strong cut, and amazing finale. 

The proper album is truly ace and needs no more introduction. The selling point for another version, 50th Anniversary, then, would be the bonus disc. And here lies the problem. It is really a meager bonus-LP with only about 12 mins of sound. What you get is just five cuts, in total much shorter than one normal LP-side. And of the five cuts three are jams. Albert’s Boogie comes in two versions, one previously released and another (the better one) unreleased. Plus an alternative Roadrunner intro. Not the song, though, just the intro, unfortunately. Side C is in turn less than five minutes music and include unreleased songs Somebody Help Me (interesting but not exceptional, and not the one from 10/80) and Boogie Boogie Morning (fierce rocker, the best bonus cut). The bonus cuts are in themselves fine, but it is just a little too little, too short. Some unreleased live versions from the period would really have helped and made the bonus disc  worthwhile - and are there really no second takes to include of the original album songs? Or are they cynically saved for next anniversary album? If you already have the mother album, it is expensive to buy it again just for the bonuses. I bought mine in a second-hand record store, and I am happy I did. Seems like the record company acted like fat cats and didn’t bother to give fans and listeners a really full-worthy 50th Anniversary Edition. Devoted Hurriganes fans deserve more. It is too easy to compare this edition to the Anniversary editions of Rock And Roll All Night Long (which included a bonus LP with rare released songs, newly remastered single cuts from the period, and two great unreleased gems) or Crazy Days (that included a bonus album with live cuts of the album tracks, some released earlier in box sets and others unreleased gems). For those albums the record company released fine Anniversary packages, and the bonus albums definitely were worth the cost, but unfortunately not for this, the most legendary of Hurriganes’ album. Completists will still want this edition too, not least for the bonus cuts, but will most likely feel somewhat cheated to only get about 12 mins bonus sounds. A wonderful opportunity missed by the record company.

There you have it. Five more reasons to own a record player in 2026. I love most formats, but vinyl is closest to my heart.

Det våras för C-kasetten?

Trodde aldrig jag skulle skriva den där rubriken 2026.

Det våras för C-kasetten?

Frågetecknet på sin plats, förstås, men ändå.

Det har varit lite retro-nostalgi på gång, puttrat lite svagt, särskilt i hiphop-kretsar, där blandband och hemgjorda mixar tillhör old school-historiens originalutgåvor.

Avgörande i större skala var nog ändå Marvels tre filmer, och alldeles särskilt den första, om Guardians Of The Galaxy. Om de udda och utstötta som bildar sin egen udda men kärleksfulla familj, till tonerna av ett verkligt, äkta blandband. På kasett. I rymden. Det perfekta blandbandet dessutom. En hel ny generation Marvel-fans fick lära sig vad en kasett är, vad ett blandband är, och viltigare än så, varför det är coolt. I dessa tider, då olika uttryck för en mättnad på det ogripbart digitala har skapat olika retrofenomen i marginalen, är det här ett av de mera sympatiska.

Ok, det fanns ju en orsak till att vi valde vinyl och sedan CD istället för C-kasett. Den kan avmagnetiseras, bandet brista, gå av eller töja ut ljudvågorna. Man vet sällan vad man får om man köper begagnat och olyssnat, men nu finns också en del nyutgivet att tillgå. Köpte en ny ghettoblaster i höstas, så jag har dessutom en bra grej att lyssna på band på. Och så stereokasettdecket förstås. Fick ett infall och köpte under påsken en drös, tio, kasettband på loppis, från klassiker till ok album. Här de fem första och några ord om vart och ett, vartefter de rullat på ghettoblastern. I sommar kommer de bästa kanske med ut på picknic. Det är nåt oerhört sympatiskt och romantiskt med förgängliga c-kasetter som plötsligt kan sluta fungera.

The Bodyguard - The Soundtrack. Mest känt för den där Whitney Houston-klassikern. A-sidan är helt tillägnad Whitney Houston, som här gör ett mycket fint, halvt album med magiska I Will Always Love You som ingång och höjdpunkt. B-sidan är en blandad kompott med allt från Kenny G and Aaron Neville till Lisa Stansfield och The S.O.U.L. S.Y.S.T.E.M.:s härligt soulfunkiga It’s Gonna Be A Lovely Day. Jag bytte sida med tanken, ursäkta mig, att B-sidan ska vara lite av utfyllnad för Whitney Houston-låtarna. Den är emellertid mycket bättre än så. Kenny G’s och Aaron Nevilles långa, mjuka duett Even If My Heart Would Break sätter genast ribban högt. Kenny G’s andra spår på kasetten, Waiting For You, är en bonus som inte ingår på albumets amerikanska version. Ingen större förlust för dem, dock. En rätt banal instrumental låt med en ljudbild som omedelbart och fullständigt förpassar lyssnaren tillbaka till sent 1980-tal. På slutet tappar albumet kanske lite styrfart, även om slutet faktiskt överraskar. Ingen klassiker, men en fullt godkänd helhet, med beröm.

Graham Central Station: Now Do U Wanna Dance. Funkiga combon Graham Central Station startar i klassisk finstämd soul-terräng med Stomped Beat-Up And Whooped. Titelspåret är däremot funk, and nuthin’ but da funk. Basvirtuosen Larry Graham leder Central Station genom ett dans-svängigt tungt beat. Men jag saknar ändå ett riktigt lyft här, en final. Love And Happiness brummar på starkare och intensivare och i Earthquake spänner Graham slutligen funkbasen till bristningsgränsen. En grym, genomsvettig final på A-sidan. Det låter som en given stenhård konsertavslutning, men på ett studioalbum. Suverän mästarklass. Hur kan B-sidan toppa det här?

En blandning av tyngre funk och lättsammare soul fortsätter även på B-sidan och utmynnar i den soulindränkta och kärlekskranka utdragna finalen Have Faith In Me. Vackert så. Även om B-sidan inte toppar A-sidans tunga Earthquake är helhetsintrycket gott. Larry Graham visar att hans Central Station förmår kombinera tunga funkrytmer med smäktande soul på ett underhållande album.

Hurriganes: Hot Wheels. Ett otroligt tajt och avskalat album. Hot Wheels spelades in i den asketiska Microvox-studion i Lahtis och avsikten var ett avskalat ”no nonsense”-album med rotnära rock’n’roll. Och det lyckades. Remu, Cisse och Ile river av ett tungt album. Allra tyngst är groovet i Elephant’s Boogie, en av albumets absoluta höjdpunkter. Ile Kallio är framförallt en strålande boogie-drivande rytmgitarrist, vilket också får stort utrymme här, större än på något annat album. Det gungar, svänger, rockar hårt när trion kör igång, låt efter låt. En obeveklig och tungt manglande rockmaskin. Woo-oo-oo-oo-o lättar lite på trycket och bjuder sedan plats för halvsnabba balladen Judy som tillfälligt bryter öset, och utgör en fin brygga till b-sidan.

Tripper’s Story inleder andra sidan som fortsätter där A-sidan slutat. Kenny At The Corner med Iles frenetiska svängande gitarrdriv är en höjdpunkt likaså titelspåret med sitt klassiska rock’n’roll-ös. En fin hyllning till Bo Diddley finns också med, Hey Bo Diddley, och en sådan försvarar väl sin plats här. 

Hot Wheels var ett album som jag länge var litet delad till, det var en helhet av no nonsense-rock utan ljudmässiga krusiduller. Skitig rakt-på-sak rock utan finesser. Det är albumet fortfarande, men det är just där charmen ligger här, det är en egen mikrovärld i Ganes produktion. Efter det lyckade experimentet i Microvox återvände Hurriganes till mera professionellt utrustade studior. Men det minimalistiska, avskalade och nästan burkiga underground-soundet klär Hot Wheels. Albumet låter som det låter för att det just spelades in på rätt plats vid rätt tid. Remu Aaltonens envishet fick rätt. Just så här ska Hot Wheels låta. Utmärkt i sin avskalade minimalism.

Leevi And The Leavings: Raparperitaivas. Kampela är en melankolisk, mjuk ingång till ett album som andas vemod, nostalgi, drömmar bort från en bitter vardag och finländsk moll-stämning, ett soundtrack för en tid av svår ekonomisk lågkonjunktur (1991). Och tyvärr just därför så aktuellt igen år 2026.  Ljuva Vaaleanpunainen Asuntovauno är som en tröstande yllefilt i samhällskylan om en sol som ler och problem som lämnas bakom när man lägger sig i sanden. Längtan och en förtröstan om bättre tider skymtar mer eller mindre tydligt i varje låttext och i de melankoliska och mjukt vaggande melodier som geniet Gösta Sundqvist tonsatt och skrivit.

A-sidan är superb, men det blir faktiskt ännu bättre än så. B-sidan inleds med titelspåret, den underbara, längtansfulla och melankoliska Raparperitaivas, som är en av de finaste och mest välkända finska poplåtar som skrivits och som dessutom är aktuell i detta nu. Inte minst med sin textstrof ”Raparperitaivas/Missä se lie?”, som mången finländare längtansfullt kan rikta blickarna mot i ett iskallt och bittert sönderslitande samhällsklimat som ytterhögerregeringen Orpo-Purra har utsatt landet för medan de kollapsat både den ekonomiska utvecklingen och välfärdssamhället. Leevis melankoliska melodier och bitterljuvt vackra och vardagsbeskrivande texter från 1990-talet känns igen oerhört aktuella för det hårt prövade finska folket 2026. Sateisena Päivänä och Köyhän Miehen Danny och Jos Itken Illalla fortsätter med dystopiska titlar ett sympatiskt ljudlandskap, som förstår den svagare befolkningsdelens umbäranden. Kanske ingen överraskning att albumet utkom 1991, det vill säga då den ekonomiska kollapsen, laman, drabbat Finland efter ett upphaussat 1980-tal. Nu befinner vi oss i en laman 2, kanske ännu värre än den förra lågkonjunkturen och med en regering som förenar svaghetsförakt och rasism till en ytterst osund hopplös brygd. Hade gärna hört nya Leevi-texter om vår nutid.  Giganten Gösta Sundqvist (”Leevi”) var en känslig och genial uttolkare av den finska folksjälen och Raparperitaivas var ett av bandets främsta album och låt. Finsk folksjälspop, och populärkultur av högsta klass. Magnifik klassiker.

A-Ha: Hunting High And Low. Norges bästa och mest berömda popband genom tiderna. Första hiten, inledningsspåret Take On Me är en renodlad synthpop-klassiker och en gigantisk 1980-talshit. Och den har inte förlorat något av sin glans på vägen, tvärtom. Ifjol kom en RSD-utgåva med åtta olika versioner av Take On Me. En låt som faktiskt är suverän i alla former. Originalet är en fantastisk poplåt med ikonisk och oförglömlig musikvideo. Men också som långsam unplugged-version är Take On Me oemotståndlig, då som djupt gripande och naket närvarande. Jag har kört bildspel till tonerna av den på en begravning, och det fungerade otroligt väl, känslomässig och bedårande vackert. Bara för den är det värt att skaffa Hunting High And Low. Och samtidigt får man en drös andra högklassiga poplåtar på ett utmärkt album. A-sidan inleds med Take On Me och B-sidan med den lika magiska The Sun Always Shines On T.V. Frågan är om något annat popband har lika starka inledningsspår på både A och B. Titelspåret är en tredje stark hit, och sedan har vi resten, som till exempel pigga Love Is Reason. Det förekommer en hel del väder i A-Ha’s sånger och titlar, avslutande Here I Stand And Face The Rain är en typisk A-Ha titel. Hunting High And Low är välgjord och bra pop över hela linjen, ställvis, men inte alltid, exceptionellt bra.

Det finns en trevlig tankelek och spel som handlar om att försöka svara på frågan Vad skulle du ta med dig om du blev strandsatt på en öde ö?

Jag inser att om frågan handlar om musik kunde jag klara mig rätt långt med en bergssprängare och en påse av mins bästa C-kasetter. Av de ovan nämnda vore åtminstone Raparperitaivas självskriven, kanske någon/några fler. Beror kanske på hur många som skulle få tas med. Fundera på det, vilka sex album kommer med om du bara kan välja sex?

14 CD:s + 1 DVD Easter Holiday

Some 14 CD albums more or less randomly chosen from the collection, based on being interesting albums that I haven’t heard for a while - and a DVD I bought for one euro at a flea market just before Easter. Well worth the euro too. Enjoy the last red day before the working week.

Eurythmics: We Too Are One (a last highmark before breakdown, it would take 10 years to the next Eurythmics album. Decent album, here with five bonuses. The theme in King And Queen of America is still current, and it is also the best track here, actually in both album and bonus 12” versions. Not a favorite album by Eurythmics, but still good, especially in this remastered version with bonuses.

Laakso: My Gods (After Laskso we don’t need any more Swedish bands, according to  the entertainment newspaper Nöjesguiden. Well, not really. Laakso sure have talent and attitude and there is much to like on My Gods, a great indiepop album, no doubt. High Drama, for example, impresses. Would like to hear it’s driving beat and desperation live. Same goes for Never Satisfied, and so on. And with a song titled Hamburg Night, how could you ever go wrong?).

Freundeskreis: FK10 1997-2007 (CD+DVD) (10 year anniversary compilation by the gifted Stuttgart hiphop crew. New songs, anniversary FK 10, and political Das Prinzip Hoffnung, are among the highlights, but greatest of all is the wonderful history-themed Leg Dein Ohr Auf Die Schiene Der Geschichte, pure magic. Reggae-song Halt Dich An Deiner Liebe Fest moves nicely and the cool vibes continues on You Can’t Run Away, where FK are guest artists on a groovy Udo Lindenberg cut. Esperanto, Exklusivinterview, Erste Schritte/Retroperspektive, Mit Dir. All Pure Ace too. And then we have the DVD too. A fine 56 mins band documentary. This is an awesome way to celebrate 10 years.

Marian Valinta: Maagiset Kirjaimet (DIY EP-album with eight songs, white label, truly homemade. The black disc is hand-sprayed or -coloured black, but underneath you still see, and can read, that it’s an ordinary, recordable computer-CD. Actually rather cool, Marian Valinta has made a hand-written cover too. They show attitude and it looks alt indie or punk, and definitely is cool - if the music lives up to expectations. Recorded in Kajaani 2002, we are informed. Not a clean and beautiful voice, but there is something appealing in the mellow soundscapes and sweet performances. It brings an amateurish Leevi and The Leavings to mind, without Göstas beautiful singing voice, his brilliant lyrics, and the harmonic well-performed melodies. However, this is an album with some nice, mellow and appealing performances, and with a vibe and atmosphere reminding of Leevi & co. And that alone is valuable. Ending Herää Jo is also a beautiful, short instrumental. This is not bad, not bad at all, Marian Valinta.

Hurriganes: Rock And Roll All Night Long - 50th Anniversary Edition (Classic debut album by the most legendary Finnish rock band Hurriganes. This is pure rock’n’roll, and with such performative power by the trio Remu, Cisse and Albert. It is especially a showpiece of the virtuoso guitar god of Finnish rock, Albert Järvinen, with the wonderfully tight rhythm section of Remu (Drums) and Cisse (Bass). The latter is on this album named Rock Häkkinen, and he certainly was the live concert wild man on stage. Half the album was recorded live, the other half in studio, and it’s especially the live cuts that shines. This anniversary version has eight bonus songs, six before released and two previously unreleased. The latter two are the real pearls here, both are great bonuses. The album is remastered, and especially the bonus songs sounds fresher than ever, the album proper was already well remastered before and don’t sound that much better now. All in all, a stunning album, and better than ever.

Nieminen & Litmanen: Third (Had almost forgot how great N&L are, so great to listen through the record collection occasionally. Beautiful Hammond sounds and stable swingin’ drumming, and Paleface does a fantastic guest rap on groovin’ highlight Vaalirahakynnytys, not forgetting guest vocals by Jonna Tervomaa on the great and jazzy Marraskuu. Wonderful record of pure stadin jaska (Helsinki jazz), with inspirations from rocksteady, tango, swing, twist and more.

Funf Sterne Deluxe: Alles Muss Raus (cool compilation but very wide and unruly in content. Aimed strictly at fans of FSD. Schund (Apollo Lovemachine RMX) is a first funky highlight. Followed by some joke-like wordplay in 49 sec and then another cool tune, Discotizer 100 bpm remix. The Apollo Lovemachine remixes is where it really is at here. Ja ja… Deine Mutter! (Hamburg Deadline Sebus Rmx) is another highlight. Prof. Professor feels like experimental time-waste before the beat of Silliun (Arj Snoek Rmx) relentlessly starts pumpin’.. Always interesting and occasionally wonderful compilation by this fine Hamburg crew. Fan club-CD limited to 500 copies and originally released with a skateboard. Mixed compilation Just sit back, for 77+ mins and enjoy the flow.

Tocotronic: Golden Years (Tocotronic made the greatest song of 2024 and a superb album. Golden Years follow suit, another sign of strength by this great Hamburg crew. Der Tod Ist Nur Ein Traum is a powerful start on an album that also includes life-affirming songs like Bleib Am Leben, wistful title track Golden Years, strongly political Denn Sie Wissen, Was Sie Tun and other highlights, like Bye Bye Berlin. Almost as good as their prime album and prime cut from 2024. And that doesn’t say little. This is a great album by a band still in their absolute  prime. Cool.

2Pac: The Best Of - Part 1: Thug (The best of is in two parts, forming the 2Pac line Thug Life. There was room for more than 11 cuts on the first, CD-version, but what 11. After 2 Of Amerikaz Most Wanted (with Snoop Dogg) and California Love (original mix feat Dr. Dre and Roger Troutman) you already know you’re in the presence of genius. ”Thug Life” mentioned, on his chest, in strongly personal tale So Many Tears. And among all conscious ghetto life-cuts also the sweet and honest declaration of love to Dear Mama. No fillers, only killers and thrillers on this compilation. Superb depictions from a reality and spatial place middle-class America never comes across in established media. Truly ”Black CNN”. Stunning.

2Pac: The Best Of - Part 2: Life (The second part of The Best Of 2Pac. Sequencing could be questioned, like why is Definition of a thug nigga here and not on the Thug part, or why is Dear Mama not here on Life. Anyway, the parts need to be heard together and you need them both. Early classic Brenda’s Got A Baby is here, together with another 10 great cuts. I think the Thug part is the better album, but both are essential.

Christian Falk: Hosts Swedish Open - Dirty Dancing (worth noticing that there is s different album from 1999 that is plainly titled Swedish Open. This one takes us further into electronica/dance territory, and the styles of house, future jazz and deep house. Hiphop vibes too, in highlight Men, Women, Boys, Girls. I’m In Love is a fine funky dance cut while Gypsy King features a distinct Latin soundscape before heavier percussion-drums characterize Oriental Wind. A rather varied and club-intense album on theme dirty dance moves. Party on!

Rio Reiser: Familienalbum - Eine Hommage (Various Artists) (Sehr schön, great tribute to rock and songwriting legend Rio Reiser. 15 cuts including one bonus and one by Rio himself. Hard to pick any favorites here, but already the start - with Söhne Mannheims, Fettes Brot, Ferris MC, and Rio himself superb on Herzverloren - is outstanding. And it certainly doesn’t end there and then. Internationally the perhaps  most well-known artist here, Nena, presents a fine cover of Schritt Fur Schritt Ins Paradies. Wonderful vibe throughout on this Familienalbum. This is an hommage album to return to.

Rio Reiser: Familienalbum, Band 2 (Various Artists) (Another hommage to Rio Reiser with 18 cuts reminding of his songwriting skills. His own live recording from 1988 of Fur Immer Und Dich is one of the highlights here, as is a sensitive B Seite by Annett Louisan, followed by an intense Bis Ans Ende Der Welt. Klee’s vulnerable Lass Uns Ein Wunder Sein, the great bass-drive in Komm Schlaf Bei Mir by Clueso feat. Stefan Kerth and catching Mensch Meier by Keimzeit are other highlights on this second strong hommage album to Rio Reiser. 

Scorpions: Tokyo Tapes  (One of the great legendary hardrock/heavy metal live albums from the late 1970’s - early 1980’s. This live album from 1978 was also Ulrich Roth’s farewell album and tour with Scorpions. The band is in prime, superb, form and deliver ultimate versions of some tracks, perhaps especially favorite Steamrock Fever and Speedy’s Coming. This version was without Polar Night, as it is a remastered one-CD version from 2001. Still brilliant. A stunning live album.

The Real Group: Live At Stockholm Concert Hall (DVD) (Wonderful a cappella performance  from 2005 by highly praised Swedish quintet vocal ensemble The Real Group. Strong stage presence and beautiful voices that elegantly fit together in chorus. Highly skilled performers that mesmerized the concert hall audience with their voices. Five great singers perform a strong repertoire. At just 56 mins, it is a tad short, including two sets and three encores. First part is brighter, and the sets differ in mood, like a daytime set and a late night set. The sets end with a impressive Count Basie Medley. The absolutely brilliant and enjoyable encores are all in Swedish, including a stunning version of Den Makalösa Manicken, and ends with Underbart Är Kort (Wonderful Is Short), which feels like a very fun and fitting end to this superb 56 mins concert DVD. 

Easter eggs: Skull Snaps, Bowie, Kela, Depeche & The Roots

Some funk, some Finnish, some hiphop, some synth and some rock godness. A batch of five more interesting albums, this time in the Easter holiday. It is a long weekend, Friday-Monday, so there is reasonable time for some popular culture. Here are some vinyl albums to digest with Easter eggs, Finnish speciality mämmiä (memma) or sima (mjöd). Delicious, actually. Or whatever you happen to eat and drink during the weekend and whether you celebrate Easter or not. Anyway, you can check out and perhaps enjoy some music. These were on my deck last weekend.

Skull Snaps: Skull Snaps.

Ultra-rare soul/funk album, at least before it was re-released. The original is still very rare. Famous mainly for the stunning beat in killer cut It’s A New Day. That cut figures in many different deep funk- and rare funk-compilations and made the interest for the mother album skyrocket. Yes, it’s insanely funky, super in any way you want. But it is not, unfortunately, representative for the album, rather it stands out. It’s the only really funky cut on side A, what you mostly get is soul and even some hints of proto-disco. Having You Around is mellow and very fine, and My Hang Up Is You is soul to the ears. It’s an album made in 1973, with a skull cover you certainly would have noticed back then, and now. Whether it is a great or good album is currently debated, but almost all agree that It’s A New Day is a stunner. My vinyl ex is a reprint and not the expensive original version, but it is a nice red-colored version. 

Side B starts funky with I’m Your Pimp. This three-piece band does a fine job, and are for example here strengthened by both horns and strings, so the soundscape is far from thin. I Turn My Back On Love is another funky cut with a full sound, including prominent horns and cool drum fills. Skull Snaps move between soul and funk and while this album is including far more fine moments than only It’s A New Day, it is still fair to say that It’s A New Day is in its own league. If you accept that the superb heavy, dirty, minimalist feel on It’s A New Day is not reprised otherwise on the album, but that it mainly moves smoothly in soulful territories, with funk- and proto-disco influences, then you will like the Skull Snaps album, and not just one thrilling killer cut.

David Bowie: Blackstar.

Rolling Stone called Blackstar his ”best anti-pop masterpiece since the Seventies” and rewarded it 4/5. 

It’s jazzy and experimental, eerie and even haunted soundscapes at times. This was Bowie’s farewell album before his death. A strong last statement of creativity, and certainly with a feeling of doom and darkness. You really can’t find a darker, blacker really, lyric booklet or album cover. And of course the title is, well, Blackstar.

It is a tremendous loss to the world of popular music to lose such a genius and gifted giant as David Bowie. ”Look up here I’m in Heaven” he sings in the wonderfully sad and majestic third track Lazarus, with beautiful crying saxophones high in the soundscape. 

Released so closely before Bowie’s death, it probably somewhat affected the stellar reviews and prices that it received, a last highmark for one of the truly exceptional giants of popular music. Listening to the album now, and looking back, it is perhaps fair to say in hindsight that it was perhaps slightly overrated at the time, due to circumstances. However, that said, Darkstar is definitely a very good album, an impressive last stand and truly interesting. Never less than very good, it’s highlights are superb, especially the magnificent Lazarus.

On the B-side I love Girl Loves Me, with its fine percussion from James Murphy.

A passionate and swinging I Can’t Give Everything Away ends the album, again with saxophone prominently present in the soundscape, as well as swingin’ high-hat drum fills.

It leaves an empty feeling when the last song slowly fades out. It is over. But the memories remain.

One moment I personally cherish with Bowie is his short speech on Live Aid, before the controversial and heart-breaking first showing of the Ethiopia Famine video, to the sound of Drive by The Cars. It moved a world.

I was also fortunate to see Bowie live, at Provinssirock festival 2004, his very last live performance in Finland, as part of the A Reality Tour. A stunning performance. And it proved to be historic. His last of a total of five live performances in Finland. RIP.

Anssi Kela: Parasta Aikaa (2 LP).

I was very sad to have missed Anssi Kela’s concert at classic rock club Tavastia just a few weeks ago. But this summer he will make a tour celebrating his wonderful debut album Nummela. And that really is a must.

Parasta Aikaa is Kela live on album, from 2016. He is a great live artist, with an equally great band behind him. I have seen him live a few times, and always liked what I saw, great shows. 

Miten Sydämet Toimii? (How Does Hearts Work?) is a very strong start on this set, followed by equally fine fan favorite Jennifer Aniston. Last on side A is my old favorite Puistossa, but I must admit that this later new arrangement is not really to my liking, as I love the original driving bass beat, that also works better live than this re-arranged version. It is not at all bad, a rather fine version, but it’s not as good as the superb original. Hope Kela choose the original arrangements for the Nummela tour. 

Side B begins strongly with impressive film hit Milla and includes the superb hiphop-inspired and groovy Petri Ruusunen, honest self-examination rocker Nostalgiaa, and a touching love gone wrong story, Palava Silta (Burning Bridge). It’s effective, considering the topic, that it ends the side without applause, just with the very last tone. 

Side C brings us Levoton Tyttö (Restless Girl), a great instrumental and unforgettable hit 1972. I have heard Anssi Kela present Kuoleen Miehen Kitara (Dead Man’s Guitar) with such a moving story that it strengthened the enjoyment of this song. No introduction is included here, but it’s still a very fine tune.

Side D is mostly reserved for the long and tender classic Nummela, a major highlight in Anssi Kela’s career, which is presented here in a very intense version, and D-side then ends with the title track Parasta Aikaa (The best times), which is a very fitting end. Anssi & Band gives the listeners a frenetic and very inspired finale live.

Overall, then, a very strong live album, fine highlights, and a clear reminder why you should check out Anssi Kela live. There is of course not room for all great songs on a double album, but perhaps one of the fragile and beautifully delicate Älä Mene Pois or Kipinöitä could have been added, or the catchy Mikan Faijan BMW?

Fine as his songs are on a live album, they are even better when delivered live on stage. A great Finnish artist.

Depeche Mode: Global Spirit Tour - Live At Volt Festival, Sopron, Hungary, 26.6.2018 (2 LP).

Perhaps the greatest of Depeche Mode tours as a three-piece band. And the last to feature founding member Andrew Fletcher. On later tour(s) they have unfortunately scrapped the two major songs from the Spirit album, Going Backwards and Where’s The Revolution. But: When have they been more relevant and contemporary than right now? Perhaps they became too contemporary for DM? .Both surviving members Martin Gore and Dave Gahan lives in Trump-led America nowadays. Or perhaps they think they already have had their say, and now leaves that stage to other artists. That would of course be a choice and stand they are free to take. But on this tour they were very much in the setlist and Going Backwards sets the vibe from start at Volt in Hungary. Interestingly, in a show in Hungary, that also has taken many steps backwards, under Orban’s autocratic leadership.

Going Backwards, then, is a heavy start, serious and adult, more statement than party, and a very fine tune. It’s also brave to start with a tune which repeatedly states ”We feel nothing inside”, but the Hungarian fans shout their approval, and darkness is always part of the mature DM sound. It’s No Good then puts the concert in hit mode and is followed by A Pain That I’m Used To and Useless, more dark moods alright. Pain has transformed into a live blockbuster with a superb fat bassline and the bass stays heavy on Useless.

Side B starts great with World In My Eyes, before Cover Me. It’s a fine piece too, but really a disappointment that it is included instead of Where’s The Revolution. The latter was a milestone on this tour and one of the highlights when I saw Depeche live in Helsinki on the same tour. Of course there is not room for a whole show on two LP:s, but, really, Revolution is a better and more contemporary live cut than Cover Me, but perhaps too controversial in Orban's Hungary. Well, we have elections coming up now, and his position is swaying. Anyway, it’s a disappointment that Where’s The Revolution is not included. Otherwise I can’t argue with the setlist. The chosen songs are all well-performed in stellar versions. After chilling down with Things You Said and In Your Room at the end of side B, it’s time for the big guns and megahits on the second disc.

Side C starts with superb Everything Counts and DM never lose grip or slows the dance mood down. Stripped, Personal Jesus and Never Let Me Down Again excite and exhaust all fans in the audience. 

Side D calms things down and gives the listeners a chance to catch their breath. Somebody is Martin Gore’s vocal masterpiece, also in this version, and then Walking In Your Shoes pumps up the speed again before the concert crescendo Enjoy The Silence and Just Can’t Get Enough.

It is a stunning concert, and a fine-sounding recording of a global superstar band in splendid form.

It’s also a heartwarming document of the last tour with founding member Andrew Fletcher. Amazing, really.

The Roots: Organix (2 LP).

Questlove in The Roots has become the new Chuck D (Public Enemy) as the intellectual brain of hiphop. If not before, so definitely after his very well-received landmark book Hiphop History (2024). Well, his international  hiphop credibility stems mainly from his role in The Roots and productions of other hiphop acts. 

Organix is The Roots’ debut-album and it has been called both experimental and jazzy. The views are mixed and divided over it, and by many seen as one of the weakest Roots albums. However, I would argue that Organix is worth to check out and not just be dismissed as weak. It might not be a classic, but it still has its moments. The Anti-Circle is a definitive highlight on side A. Black  Thought, Questlove & co delivers an interesting album, that moves and grooves nicely. It’s very well-performed, but without lifting to the greatest heights. Grits, for example, is pumping along on a fine beat, and the same goes for Leonard I-V. 

Side C starts with a fine experimental improvisation live from Slovenia, Essawhamah? (Live at the Soulshack), that both Roots and the audience seems to enjoy. Popcorn Revisited is a highlight on C, building on Black Thought MC:ing over a groovy and catchy bassline. Common Dust is another landmark on side C, with Questlove driving the beat. Great funky stuff.

Side D is totally dominated by 12-minute The Session (Longest Posse Cut In History). It has a fresh jazzy feel with horns prominent in the buildup. A slow and relentlessly rollin’ groove over which Black Thought intensively MC:s. Yes, it works very well. We are quite a few minutes in when the bassline and drums starts driving the beat. Syreeta’s Having My Baby is a fine 43 seconds instrumental while Carryin’ On is a jokey end that also copies some tones from Daylight.

Organix is an unfairly dismissed album. It might not be top of The Roots’ line, but it is definitely not a bad record. It has a few highs, and The Session is one of them, but not much of real lows. Some of the short joke numbers could have been scrapped, though.

So, it’s a good album, very good even. Not a classic, but dismissers would do wisely to check out Organix again. You could be surprised, hell, you should be surprised.

This list may give some moments, or hours, occupation if the weekend program is dull or you want to explore some newer territories in music. Or perhaps an Easter Music Quiz with friends and family? Perhaps the albums are like Kinder eggs, chocolate outer and hollow, but with a secret and surprising gift inside, or like Mignon chocolate eggs, compact dark nougat-chocolate under the white egg shell. Music can be like that too. Albums may hide secrets and surprises within, songs you would never have expected. Or they may look one way but be something else completely, what you see is not always what you get. Test these albums on your friends, some will love them, others will not. That’s life. We are not alike and that’s the way it should be.

Keep your eyes on the blogg, there might be more Easter eggs for the long weekend. Films or series perhaps.

For now I wish you a Happy Easter weekend, or just some well-deserved time to chill.

For now, over and out.