One record at a time: 26. Björk - Vespertine

"Vespertine" is the last Björk vinyl in my collection and like many of the others this is the coloured vinyl that was released in 2015. Strangely my copy doesn't have the corresponding promo sticker on the sleeve so I'm not sure if it from the original 5000 or it just got missed in the manufacturing process. At the time of the original album's release I bought the limited 'gatefold' CD with a card sleeve. This version was mildly irritating as it was much bigger than a standard CD case and I remember it wouldn't fit into my chosen storage solution - clearly I didn't have much to worry about in 2001.

This is something of a break up album for Björk and I. "Hidden Place" was a great single that raised my hopes that its parent album was going to maintain the high standards of previous efforts: but alas I was to be disappointed. How anyone can hear "Cocoon" and think, "That's a single!" is beyond me. The song is boring, the vocal is rubbish and the production is dull. The next track "It's Not Up To You" is fantastic and would have made a far better single than "Cocoon". "Undo" comes and goes without leaving an impression before the mildly entertaining single "Pagan Poetry" helps round out the first record.

To be honest I don't have the will to write about each song on the second disc individually. There is nothing remarkable here and whilst there is another flash of greatness with the last track "Unison", this is generally pretty boring stuff. I'm not sure why this album is so highly regarded by critics and some fans. I acknowledge that my love of electronic music can sometimes leave me blind to music created by other means and unfortunately, this album doesn't do enough to open my eyes more than halfway. 2/5

One record at a time: 25. Björk - Selmasongs

We're about halfway through the first shelf (Kallax obviously) of LPs and coming to the end of my Björk collection. I stopped buying her new records in 2011 when she began to explore a musical direction that wasn't to my taste. I described one album here as "arty tuneless garbage", which seems a bit petulant now, but was probably just me realising that there was never going to be a "Homogenic 2".

However, "Selmasongs" was released back when Björk could still muster a tune and employed production techniques that stretched further than using whistles, human beatboxes and fart noises.

This album is a collection of songs featured on the 2000 feature film "Dancer In The Dark" in which Björk also starred.  I've seen the film and thought it was very good. I also liked the songs and bought the CD when it was originally released. This is a 180g black vinyl from 2016 that I ordered directly from her UK record label One Little Independent (as they are now called). The sleeve seems to make a lot out of the fact hat it is mastered directly from metal but I've never noticed the sonic advantages of this.

There are only seven songs on the album but the quality is pretty high. The opening "Overture" is a beautiful orchestral piece that introduces a theme we will hear again in the final song "New World". Like a lot of songs on his album, "Cvalda" utilises 'found sounds' alongside the orchestra. The use of these mechanical noises is measured, imaginative and melodic; they really help define the sound of the record. "I've Seen It All" is a duet that has some fantastic lyrics, but Björk's powerful vocal blows poor Thom Yorke out of the water. "Scatterheart" hints at the sound of albums to come, but unlike those albums, it is quite good. 

This album is a bit of a watershed moment for me as it is probably the last Björk album I enjoyed. Everything went a bit downhill from here: "Vespertine" and "Volta" had their highlights but nothing has ever approached this, or more particularly "Homogenic", for consistency and quality. 3/5

One record at a time: 24. Björk - Homogenic

Another Björk record is next, but this is the first in my collection we have come across that I own in triplicate (there will be more I assure you). 

I have the coloured vinyl from 2015 along with the black vinyl from the same year which I will play here. I also own the 180g version from 2000 which strangely, I have no recollection of purchasing (I can see it wasn't from Discogs or eBay which is also weird). If you look closely at the sleeve you can see that the later re-releases on the right of the image crop the top of Björk's hair, where the older version retains the artwork of the original 1997 version. 

I'll be clear from the start that "Homogenic" is one of my favourite albums of all time. The first time I put the CD of this on in my Renault Clio back in 1997 I knew it was destined to be a favourite. The album kicks off with "Hunter" which is as original as it is awe inspiring. The new (at the time) production of Björk and Mark Bell were the perfect alchemy weaving the dance sensibilities of LFO and the twisting lush melodies of Björk. The first two tracks are a perfect example of this counterpoint where the string arrangements are perfectly juxtaposed with unique driving rhythms and a sub bass growl. I find the third track "Unravel" absolutely mesmerising to the extent that even the saxophone sounds don't annoy me. The single "Bachelorette" sees the epic string arrangements return to great effect in a track the proves how good Björk is in the role of producer. "All Neon Like" comes next with its infectious beat and intriguing lyrics. 

On side two the distorted beat of "5 Years" isn't totally to my taste but as the track builds this becomes less of an issue. I remember the first time I heard the next track "Immature" I kept asking myself, "What is this? How can an album track be this good?" I had this song on regular rotation for quite a long time and have never been able to find fault with it. The original sparse vocal/piano version of the song that features on the third CD single of "Jóga" illustrates that good songs can shine regardless of the production. "Alarm Call" has a great bassline and Björk drops an F-bomb. I find "Pluto" a bit annoying as its trying too hard to be different and seems to just end up being a bit repetitive. The album finishes with the suitably sombre "All Is Full Of Love" which I used to think was good until another version was released as a single the following year. The "single" version (which is actually the original version) is produced by Björk and is superior in every conceivable way. I can't help but wish the album finished with this version but then nothing is perfect. 5/5

One record at a time: 23. Björk - Post

The next record in my collection is another coloured vinyl by Björk. I haven't played this LP much as when I first bought it I thought it sounded awful. As I play it today, things are OK for the first track but the sibilance on "Hyperballad" is horrible and "The Modern Things" is spoiled by distracting pops and clicks. Things don't improve much for the rest of the record but as this is the only version of the LP I have, I will have to stick with it.

The poor sound quality is a real shame as "Post" is a great album and I enjoyed it so much in 1996 that I went to see her on the supporting tour. Even though a significant proportion of the album is produced by Nellee Hooper, it sounds miles better than its predecessor, "Debut". I think this must be down to collaborators such as Graham Massey and Tricky who seemed to injected enough grit and imagination to stop another "The Anchor Song" happening.

My favourite track is "Isobel" with its lush arrangement and haunting tune, but there isn't a bad song on here really. Even some of the more 'avant-garde' tracks such as "You've Been Flirting Again" and "Headphones" are entertaining. The only slightly rubbish track is "Cover Me" but happily it is only two minutes long and is buried near the end. The singles "Army of Me" and "Hyperballad" are quirky and highly original and you get the feeling Björk is beginning to find her feet as a solo artist here. "Possibly Maybe" is an OK track but was never a single to my ears. However, this didn't stop me buying no less than three CD singles of it when it was released. More alarmingly all three CDs were full of garbage remixes with only one passable live track in their favour.

There were lots of mixes and singles from "Post" and they culminated in the remix album "Telegram". This collection of mixes tried too hard to be "different" and "arty" and the result was dreadful. Having bought three CD singles of garbage with "Possibly Maybe" I declined "Telegram" at the time. In the last year I picked the CD up from eBay for a few pounds and I don't feel I have missed out in the intervening twenty five years. It won't get listened to again (unless for the purposes of this blog I suspect). 

To summarise, this is a good album but I can't recommend this coloured vinyl version at all. These records seem to be selling between £50 to £100 on Discogs and I find that amazing. My perception has never been that this is a rare pressing and from a sound quality perspective, it certainly isn't desirable. I prefer my limited edition CD in a plastic purse which sounds loads better. 3/5

One record at a time: 22. Björk - Debut

Whilst I bought the original CD of this album back in 1993, I didn't own it on vinyl until 2015. I know this because I posted about acquiring some of Björk's back catalogue on coloured vinyl here. Although I've owned the record for 6 years, I have only played it once to my recollection. I haven't played it much for two reasons. 

Firstly "Debut" isn't my favourite Björk album. Although it starts strongly, it meanders off into weirdness that I can't abide. Everything is going well until we hit "Like Someone In Love" which is a fairly limp interpretation of a dull Jazz standard. Not only is this track inferior, it is also incongruous and ruins the mood that had been building. Things pick up again with a few good tracks before the disjointed mess that is "Aeroplane" sours the atmosphere and "The Anchor Song" vomits everywhere just so we are clear the party is well and truly over. You can tell I hate saxophones.

The second reason I haven't listened this record much is that I had previously played the coloured vinyl of "Post" and "Homogenic" and they had all the sonic fidelity of a hairdryer full of iron filings. Who could have predicted coloured vinyl pressed by GZ media would sound horrible? *sarcasm mode disengaged* But truth be told, this particular record doesn't sound nearly as bad as the others I own and it behaved quite well on this listen through.

Having not heard this album in a long time, I am struck by how 'nineties' it sounds with the guitar samples on "Human Behaviour" and the liberal use of organ being especially dated. My alternate version of this album would jettison "Aeroplane", "The Anchor Song" and "Like Someone In Love" and add in "Play Dead". I would also swap out "Big Time Sensuality" for the Fluke remix that made it a chart hit and substitute "There's More To Life Than This" for its non-toilet version included on the "Venus as a boy" single. It still wouldn't be perfect, but it would be a lot less disappointing than this.

Another disappointment of this re-pressing is the sleeve. I understand that record companies may not have the original artwork for a record lying around twenty years after it was released, but at least make some effort to reproduce it to a reasonable quality. The sleeves on these coloured vinyl versions look like bad scans in places and just aren't very sharp. If you consider the poor sleeve combined with the poor vinyl, it mystifies me why people are asking such high prices for these albums on Discogs and eBay. Acquiring them may have posed me some initial problems but they aren't that rare and they really aren't as desirable as you might think. 2/5

One record at a time: 21. The Beloved - Blissed Out

This is a remix compilation that followed hot on the heels of "Happiness" which was released earlier in the year. My memory of the chronology has faded over time, but I am sure the single "It's Alright Now" was released around the same time and I seem to recall receiving the cassette of this album as a Christmas present in 1990. I asked for the cassette as I had read a review of the album in "Smash Hits" which said the cassette had quite a few extra tracks - value for money was a big concern when you're only source of income was delivering newspapers. I was accustomed to CDs offering extra tracks to lure me to the new format, but cassettes were a dying breed even in 1990, so this decision didn't make sense then or now.

Anyway, the LP of this album starts with the "Happy Sexy Remix" of album track "Up, Up and Away". This is a club orientated mix with a prominent sub bassline and TR909 snares. Whilst the difference to the album version may not be startling at first, Danny Rampling delivers a much sparser mix that retains interest right to the end. The second track is one of my favourite remixes ever: "Hello (Honk Tonk)". The key to the success of this remix is that is it a completely different take on the track. Jon and Helena didn't just tinker with the original but replaced the backing track with a sample laden dance workout that compliments the vocal perfectly. There are many nice flourishes and changes of direction that mean the six minutes fly by. I have always liked "Wake Up Soon (Something To Believe In)" as it features a sample of the Eurythmics song "Greetings From A Dead Man" that I recognised instantly. Aside from giving myself marks for sample spotting, I like this mix as it moves the album version from a very eighties sounding track into something a bit more contemporary without losing its character.  

"Time After Time (Muffin Mix)" shows the pure genius Jon and Helena were capable of when remixing their own material. This version turns the original into the type of ragga dance track that was de rigueur in the early nineties. However, unlike many contemporary ragga mixes, this one hasn't aged at all. Leslie Lyrics proves to be the perfect MC with his tongue in cheek delivery and clever rhymes. Instrumental B-side "Pablo" was always a bit of disappointment to me and the club orientated dub that comes next isn't significantly different from the original. We return to more familiar ground with "The Sun Rising (Norty's Spago Mix)" which is a classic house mix by Tony Humphries. The main change here is to the drums which take on the relentless sound favoured by the early house pioneers such as Tony and Larry Heard. 

"It's Alright Now" was released as a single to promote the album and it featured several fantastic remixes that I play regularly to this day. The pick of the bunch is "Back to Basics" which builds from a sparse, acid tinged dreamscape into a hypnotic colossus. Amazing. However, things go a little awry at the end with "Your Love Takes Me Higher (Calxy of Isis)" which is a 10 minute long instrumental which centres on saucy ad libs and (presumably) fake orgasm noises contributed by a backing singer. Personally I find the mix boring and the vocals very annoying. Thus the vinyl finishes with a bit of a damp squib, but the disappointing ending shouldn't be allowed to detract too much from what has gone before. As remix albums go, you'd be very hard pressed to find a better one. 4/5

One record at a time: 20. The Beloved - Happiness

During my more formative years I played a snazzy yellow and purple TDK cassette of this album in the sixth form common room. I listened to the CD when idling away the hours at university and then whilst travelling to my first job in the early hours of the morning. I've sung along to "I Love You More" in the company of girls who never really loved me back and created a private rave in my bedroom to "Sun Rising". I've listened to this album as mp3s on my phone when walking to my office and I've played it to my children. It would be overly dramatic to say: "this album is the soundtrack to my life," but I'm not sure how else to describe it. It has always been there (well from 1990 anyway) and I have always loved it. Here I am playing an original pressing of the LP but I also have the recent remastered version and their CD equivalents.

The opening track "Hello" is a slice of late eighties pop perfection with its groovy rhythm guitar, DX7 bassline and 808 drums. The lyrics are largely just a list of people Jon is saying hello to, but in a pre-internet era, this was strangely fascinating. At the time I had no idea who the hell Little Neepsie (still no idea) or Sir Bufton Tufton were or why they were worthy of inclusion. Although not on this album, I have to mention the "Honky Tonk" remix of this track which, to my ears at least, is one of the best remixes ever created.

Whilst I clearly remember "Hello" being in the charts, it was hearing the second track "Your Love Takes Me Higher" that pushed me to buy the album. This song is an almost perfect pop/dance crossover that marries the TR909 and TB303 sounds of house music to a melodic and structured song. There are some dated orchestra hits and I've never been a fan of the female orgasm that seems to last through the middle of the song (there are even some remixes which focus solely on the orgasm that are annoying and a bit rubbish), but it remains a favourite of mine. "Time After Time" is a perfect change of pace that shows Jon and Steve aren't a one trick pony. The violins compliment the dub style bassline very well and it should have been a bigger hit. The more placid feel continues with "Don't You Worry" which sounds a bit more eighties with its D-50 "Pizzagogo" strings, but the strong melody wins the day. The first side of the LP finishes with what I consider to be the best song on the album "Scarlet Beautiful". Jon described this song on Twitter as, "The unbridled joy of 1988 compressed into four and a half minutes." This is Detroit house influenced dance pop with the greatest outro ever. It's hard to follow a track as good as this but the strength of this album is undeniable when you consider the next track you are presented with.

"The Sun Rising" wasn't a massive chart hit, but I suspect almost everyone of a certain age will recognise its infectious bassline and THAT sample. A track truly worthy of the tag "Classic". Having displayed their Balearic credentials Jon and Steve serve up a slice of frothy pop with "I Love You More". This really is a joyous song but unfortunately it elicits tinged adolescent memories for me. "Wake Up Soon" is another slower guitar based track that provides great contrast to the joyous acid frenzy that is "Up, Up and Away". The album is rounded off with "Found" which harks back to the sound of the 'old' Beloved and proves to be a fitting ending to a consistent and great album. 5/5