Label: RCA
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The general consensus seems to be that Marit Bergman's third album is good, but a bit disappointing and I'm going to have to agree with this. After a promising start in punk band Candysuck, followed by a rough but super charming debut album, and then a magnificent second album, my hopes and expectations for Bergman are sky high every time she releases anything new. That the first single ("No party") from this album is a party anthem (despite the title and lyrics) almost as good as "Adios amigos" only got me to think that "I think it's a rainbow" would inevitable be the album of 2006. It's not a bad album, it's just too MOR and at places it feels a bit too lackluster despite Bergman "experimenting" with flutes, strings etc. "I think..." doesn't have half of the charm of "3.00 am Serenades" nor the fantastic songs of "Baby dry your eye". It's a well-produced album, a bit above the average with a handful of excellent tracks on it (e.g. "You can't help me now", "Green light"), but being something done by Marit Bergman, it doesn't measure up. Still, even such a legend as Ingmar Bergman (no relation, I think) made some duff films, hopefully Marit's next album will see her back on track.
- Simon Tagestam
If someone told me seven years ago that Kent had released an EP that contained a children choir on it I would surely wet my pants, since like most Swedish people my age, I was once crazy in love with Kent, but just like a lot of the initial fans, my adoration ceased quite some time ago. Although, compared to most people, I think I stuck with them quite a long time into their career, yes, I even thought 2002's "Vapen & ammunition" contained quite a few good tracks. But with their last album I finally decided to give up on them, and if I ever had got a Kent tattoo, I would now have spent my savings to remove it. Not even the children choir sounds any good (Kent manages to ruin this super safe device by overusing it). I wouldn't call the music on this EP (or Kent) horrible, but compared to their former self, I find this very difficult to appreciate.
- Simon Tagestam
Marit Bergman's second solo-album "Baby dry your eyes" is one of the finest records that has been released this year, thus me listening to an EP with four new songs by her will of course be nothing but a session of preaching to the already converted. The title track (with its, strangely enough, original title) is one of the best songs on her album, but it's the three other tracks that are of real interest. People like me who prefers Ms. Bergman when her songs are of the uptempo nature, can all rejoice in the ace "Please don't walk on red" that highlights one of the biggest downsides of being in love. "Boom Boom" with its regular Marit Bergman stomp inevitably stands in the shadow of the rest of the songs on this EP, and although it's a better song per se than "Highway for Hell" (the last track on this EP) it fails to interest the listener as much as the latter. Her rendition of this AC/DC number is in the same vein as Mark Kozelek's covers, and like Kozelek, Bergman manages to transform one of AC/DC's machismo anthems into something completely different, namely her own feminist manifesto (sort of) by making the song into a minimalistic number with her voice being accompanied by a lone piano.
- Simon Tagestam
I was almost to write this off as a sophomore slump because it didn't grab my attention right away, but I'm glad I gave it another chance. Marit's strength has always been her ability to write deceptively simple, catchy pop tunes and this album is no exception. They sound innocent and unobtrusive at first, but then they sink their claws in you and won't let go. As for the new major label affiliation, that hasn't changed much except for better production values.
- Avi Roig