Carole King – Tapestry (Album Review)

Released in 1971, Tapestry remains one of the most timeless and revered records in the history of recorded music. It’s an album that almost everyone knows of, even those with little interest in the singer-songwriter genre. With sales exceeding 25 million units worldwide, Tapestry is also among the most commercially successful and culturally significant releases of the 20th century, as it touched the hearts and souls of many music lovers through King’s dulcet tones and incredible songwriting, which spoke to a generation while remaining relevant all these years later.

While an album’s reputation is often built upon sales figures alone, Tapestry is one of those rare albums that is so universally admired that many would argue it belongs in any “serious” record collection; a claim that’s difficult to dispute, but it has lived up to its legendary status with its enduring appeal. Aside from it being a landmark release, the influence this record has had on musicians is near-impossible to measure, for its reach goes beyond the songs as the album became part of the zeitgeist, without it ever intending to.

Of course, commercial and critical success doesn’t always guarantee artistic greatness, but in this case, it is most certainly deserved. Tapestry demands attention, and even its few rough edges and imperfections lead to the album’s lasting character. At times, Tapestry sounds as though it was conceived almost like a fully realised demo recording rather than a pristine studio production. It is this rawness, however, amongst an exceptional selection of songs, that makes it so compelling. While the songwriting is excellent throughout, King’s vocal performances are deeply human and emotive, while the underlying musical bed is often understated but equally compelling in its support and delivery of King’s masterful tunes.

Tapestry may lack some of the spit and polish of its contemporaries, but the grittiness and associated warmth of the recording combine to add to the record’s patina in a way that perfectly suits the source material. No truer is this than when listening to the Hi-Res Lossless Apple Digital Master, available via Apple Music. While I’ve had the good fortune to have heard a number of the physical editions, with the most recent being the Music On Vinyl pressing (MOVLP035), I’ve stopped trying to seek out the “best copy” as each mastering and reissue presents the album differently from the one before it, yet the Apple Music stream simply sounds right. Granted, that isn’t a very helpful description, but the shrillness that can be heard, via some editions of the album, is dialled back, preventing a detractive element. Undoubtedly, there’d have to be a killer physical version available; I just haven’t come across it yet, but modern listeners can’t go wrong with the Apple Digital Master.

I Feel The Earth Move has a compelling bluesy-jazz meets Motown vibe, but most importantly, it’s an ideal opener as it sets the tone for everything that follows with its sense of urgency and confidence. King’s vocal is full of emotion, but it’s the rolling piano groove and the hook-laden musical bed that brings everything together.

So Far Away is a beautiful song. While it can be seen as a stark contrast to the album’s opener, the record is tracked so well that it doesn’t cause a jolt to the senses. Instead, you’ll find yourself sitting back, enjoying what can only be described as one of the loveliest songs in King’s arsenal, for every aspect of the recording is handled beautifully.

It's Too Late is a defining number and has that quintessential ’70s pop styling that, if you’re a fan of the era, you’ll immediately fall in love with, for this is one incredible song.

Home Again is brief, but the polished yet raw approach of the recording, with King’s vocal front and centre in an otherwise immersive soundstage, is akin to a heavenly experience. It also happens to be one of the songs that benefits most from the Apple Digital Master treatment, for King’s vocals, on this song in particular, have a tendency to distort in the upper ranges.

Beautiful is a lovely uplifting number, but as great as King’s recording is, check out Anne Murray’s cover for it’s the greatest interpretation of “Beautiful” that I’ve ever had the privilege of hearing. Barbara Streisand’s rendition isn’t bad, either, but I do wish Elton John had recorded it; I dare say he would have knocked it out of the park.

Way Over Yonder is a lovely song that knows no bounds for its composition taps into numerous musical genres, most notably its gospel undertones, to create another standout from an already exceptional album. Add to that, Curtis Amy’s mystifying saxophone at the midway point, and what you’ve got is one of the most memorable and relaxing songs from Tapestry.

You've Got A Friend is, undoubtedly, the centre point of the album and is nothing short of pure perfection. There’s little doubt in my mind that “You’ve Got A Friend” could easily be considered the greatest song ever written, and for good reason, for it’s the emotional centrepiece of Tapestry. Despite being later popularised by James Taylor, and his rendition is magnificent, King’s recording is glorious in its own right.

Where You Lead is a solid pop/folk number, but it’s largely forgettable when contrasted against the other exceptional recordings on this release. Don’t get me wrong, it’s a good song, and King does an admirable job, but there’s a bolder and more bombastic version lying just below the surface that could have been recorded.

Will You Love Me Tomorrow? was originally recorded by The Shirelles, but their rendition is easily forgettable. Thankfully, King reclaims this classic and records it in such a spectacular manner that it adds new depth to what was already an iconic song. While numerous covers have been recorded, few compare to the passion that King portrays through this, one of her very best recordings.

Smackwater Jack has an addictive rhythm that will see you toe-tapping and head-bopping from the very first note to the last. It may not be the most well-known track from the record, but there’s little doubt that it contributes to the overall album experience.

Tapestry is a simply beautiful title track, one that is understated and reflective, but it’s also a standout and somewhat of a hidden gem.

(You Make Me Feel Like) A Natural Woman closes the album with one of King’s most enduring and powerful songs. For lack of a better term, it’s a classic to end all classics and has been covered by the best of the best. While purists will agree that King’s recording cannot be beat, Aretha Franklin's version is stunning and amongst the greatest renditions ever recorded, for it is true to the song’s original intent and direction, but it’s also not overproduced, unlike Celine Dion’s recording. Regardless of the version you prefer listening to, “(You Make Me Feel Like) A Natural Woman” is a magnificent tune and a quintessential closing track; one that will compel you to play the album again whilst simultaneously encouraging you to sit back and contemplate the music you’ve just heard, for songs like this know few peers.

More than five decades on, Tapestry remains one of the most essential and emotionally resonant singer-songwriter albums ever recorded. From its unforgettable melodies to its understated songwriting, Tapestry captures King’s honesty and warmth, resulting in an album that’s both deeply personal and universally relatable. More than that, Tapestry offers a quintessential album experience; one that is timeless and continues to justify its place amongst the greatest records ever released.

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T. Rex – The Slider (Album Review)

There are classic albums, and then there is The Slider, a record that further solidified the legendary status the English rockers had attained on this, their seventh studio album. While The Slider was not as commercially successful as Electric Warrior (1971), it’s quintessentially T. Rex and if one was to share the band with a music lover, that had yet to experience them, The Slider would be at the top of my recommendation list for T. Rex doesn’t get much better than this, even though I have a soft spot for the experimental Futuristic Dragon (1976).

Released in 1972, The Slider finds T. Rex at a pinnacle moment of their career. With a selection of songs that play akin to a Greatest Hits release, it wouldn’t be far-fetched to suggest that The Slider, despite not reaching the commercial success of Electric Warrior, is the superior album. There will be some who naturally disagree, and they’d subjectively be correct, but The Slider is a glam rock masterpiece that knows few peers.

Featuring a stark black and white photograph of Marc Bolan, courtesy of Ringo Starr (yes, the one and only), the cover art design is striking. Perhaps my only complaint is that my preferred edition, The Visconti Master, utilises the white space from the album’s cover to inform us of the different mastering when presented on Apple Music et al. It shouldn’t matter, and most of the time I overlook it, but it takes away from the original artwork and is a distraction. First world problems, I know, but at least they didn’t make the same mistake as it pertains to the physical releases.

With regard to the sonic qualities, I find the Visconti remaster simply sounds right. And, yes, that is a technical term! For those unaware, Tony Visconti was the album’s producer, and this latest mastering is smoother, bolder in the mid and low end aspects of the recording, whilst also allowing for a thoroughly pleasing wide and enveloping soundstage. It isn’t presented as an Apple Digital Master, but it doesn’t need to be, as the CD-quality counterpart is stunning.

Undoubtedly, there will be fans of the original mastering, but whichever you prefer, join me as I take a look at the songs that make up this legendary release.

Metal Guru is a killer opener with a rhythmic burst that sets the tone for the entire album. Bolan’s emotionally charged vocals help to give the song its glam rock feel, but the backing vocal harmony adds to the mystique, for “Metal Guru” is amongst T. Rex’s finest recordings.

Mystic Lady slows the tempo somewhat, but the flow from “Metal Guru” is so natural that it’s unlikely you’ll sense the shift, unless you’re expecting it. With a near-dreamlike atmosphere, “Mystic Lady” is a lushly layered masterpiece that showcases not only T. Rex’s incredible musical prowess but Visconti’s high production values.

Rock On captivates like no other. You’ll feel compelled to move involuntarily to the rhythm as this song melds with your soul and stays long after the album has ended, but an earworm such as this has never been so pleasantly rewarding to the senses. The gruff, yet highly polished style of the song is part of its appeal, as it provides a contrast that works surprisingly well.

The Slider delves into a grunge-styled tone that provides the backbone to what can only be described as a classic glam-rock number. The layered musical bed is detailed and enveloping, yet Bolan’s vocals sit perfectly within the mix, further showcasing just how well The Slider, the album and this title track, have been recorded and mixed.

Baby Boomerang is an ideal glam-rock tune, for the short and punchy styling is undeniably catchy.

Spaceball Ricochet is a musical exploration that needs to be heard firsthand in order to be fully appreciated. While those not overly familiar with the era, or T. Rex, may point to “Spaceball Ricochet” being akin to a David Bowie tune, that would be a complimentary statement. The sparse, yet evolved, styling of the song is perfectly suited to both artists and is a great example of glam music at, arguably, its apex.

Buick Mackane is amongst the heavier tunes on the album, and while I’ve always appreciated Guns N’ Roses’ 1993 cover, from The Spaghetti Incident, the original is all that one ever really needs to listen to, as its muscular driving riff, while maintaining the band’s glam aesthetic, is nothing short of exceptional.

Telegram Sam is derived from one of T. Rex’s most iconic compositions, "Get It On". With a touch of funk, a dab of rock, and a healthy dose of glam, “Telegram Sam” is as instantly irresistible and catchy as the aforementioned track and a highlight amongst a collection of songs that are some of the very best in all of recorded music history. Some may be perturbed that the riff and overall styling were reused, but when you have such an incredible tune, why not repurpose it? AC/DC has been doing it successfully for decades.

Rabbit Fighter is a boldly dramatic number that sees T. Rex at their most theatrical and grandiose, whilst simultaneously delivering one of Bolan’s most impressive vocal performances.

Baby Strange is a raw, stripped-back rocker that will find you head-bopping and toe-tapping along. The riff and Bolan’s vocal delivery are the highlights on this tune, and while it may have been seen as a little pedestrian, the strength of “Baby Strange” is its simplistic approach.

Ballrooms Of Mars is one of the slower compositions on the record, but it’s an absolutely magnificent tune and another that highlights not only the band’s overall musical ability and tightness, but Bolan’s incredible vocal capabilities that, in this case, have a slight John Lennon styling in a respectful tip of the hat to the former Beatle.

Chariot Choogle is a killer high-energy number with an incredible riff and rhythm that you’ll feel as much as you’ll hear it, for this is one number that will encourage you to move both involuntarily and intentionally to the rhythm.

Main Man is a magnificent closer, with a dreamy mystique that is reminiscent of “Life’s A Gas” and is, subsequently, difficult to ignore. It will encourage you to play the record again, as well as offering you the opportunity to sit and reflect on the music you’ve just heard.

From start to finish, T. Rex’s The Slider is nothing short of an exceptional release that has not only stood the test of time but also remains one of the greatest albums ever recorded. It is T. Rex at their finest and, if, like me, you’ll find yourself playing this record on repeat for hours, for The Slider can seldom be listened to once.

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Rare Earth – Willie Remembers (Album Review)

Some albums, more than others, grow on you if you give them a chance. Willie Remembers, Rare Earth’s fifth studio album, is one such release. As to why that is the case, I truly can’t say, as this Funk-infused record, replete with R&B and Soul, is one of the greatest records to come out of the early-‘70s.

What I know for sure, however, is that it took a half dozen listens for the album’s music to infuse itself with my soul. Perhaps it was the diverse musical styling of Rare Earth that I found equally compelling and musically challenging. It could have even been the unique artwork that carried a similar tone to the music; compelling, but different enough to challenge one’s mind. Regardless, Willie Remembers reminds us that you can’t judge a record by its cover, or even upon first listen, but if you give it a chance, it can become one of your most treasured albums, one that will continue to capture your attention and unravel itself further upon each subsequent listen.

Released in 1972, Willie Remembers joins a collection of highly respected and memorable releases from the same year, but is arguably a standout due to the album’s aforementioned unique, yet somewhat disturbing, album artwork. As was the case during that era, the visual accompaniment was often seen as just as important as the music itself. One can only imagine entering their local record store and seeing that cover art on display. Of course, given the artwork’s controversial nature and the sensitivities of the era, this is one record that may have remained somewhat hidden among the record shelves. Still, upon seeing it, it would have drawn you in, just as it does in the modern era, as we’re still talking about it all these years later.

While I most certainly would have picked it up, based on the artwork alone, had I been alive at the time of release, the music is the most important aspect, and in that regard, Willie Remembers is second-to-none for it’s an extremely underrated release and has been recorded and mixed incredibly well. You’ll get a rawness, not unlike that of The Rolling Stones, but you’ll also hear high production values that link back to The Beatles, the Eagles, and Cymande.

While somewhat of a cult-status release, in the modern era, it’s a difficult album to come by. Other than digital download/streaming options, there have been two official re-issues on CD in the last decade. No vinyl re-issue and, perhaps most interestingly, Willie Remembers didn’t see a CD release at the height of the format’s reign. As such, it would be pure conjecture on my part to suggest which mastering was used, but as it pertains to the CD-quality Apple Music Lossless stream, it’s a thoroughly pleasing facsimile and is on par with what one may expect from a CD release.

If there are any sonic flaws to note, it’s fair to suggest that they’re intentional and part of the album’s recording and mixing style, rather than the mastering itself. Nevertheless, I have a feeling that most fans will find the digital offerings to be noteworthy.

Would a vinyl release better serve the album?

In this case, I don’t think so. While it doesn’t possess the vinyl warmth per se, it isn’t brittle and shrill, meaning that you’ll find yourself content to listen to the album on repeat for hours on end with no listening fatigue to be heard. Of course, don’t take my word for it; give it a listen for yourself and join me as I dive into the songs that make up this intriguing release.

Good Time Sally kicks off the album with an upbeat funk-rock number, immediately showing off the groove-based styling of Rare Earth. While the musical aspects of the song are irresistibly catchy, it’s Pete Hoorelbeke’s vocal delivery that captures not only the carefree spirit implied by the song’s title, but the playful and energetic nature that makes this tune a standout.

Every Now And Then We Get To Go On Down To Miami continues the feel-good funk-style groove. Capturing a sense of escape and celebration, while being further rooted in the band’s Soul and R&B origins, it delivers the easygoing charm of early-‘70s rock and is so highly compelling that one can only wonder why Willie Remembers wasn’t more successful, as it failed to achieve the commercial heights of Rare Earth’s earlier releases.

Think Of The Children is the first significant shift in tempo and tone, but this slower and more contemplative number is thoroughly pleasing with a beautiful arrangement and multi-layered mix that’s simply divine, for every musician is represented thoroughly, thereby showcasing the musical cohesion of Rare Earth.

Gotta Get Myself Back Home is perfectly suited to the era, as is much of Willie Remembers, but the raw rock-driven approach, with a tight groove, energetic guitar work, and a rock and roll narrative style, makes it more aligned to the era’s notable rock counterparts.

Come With Your Lady is a sonic masterpiece and a true hidden gem. Built on a relaxed, almost hypnotic groove, combining soulful vocals with layered instrumentation, “Come With Your Lady” is amongst the finest recordings Rare Earth ever made. The slow-burning introduction is an idealistic opening element that then explodes into a killer rock and roller that will not only compel the senses but will leave a lasting impression.

Would You Like To Come Along flows so seamlessly from “Come With Your Lady” that you’d swear it was merely a continuation of the previous song. Still, this tight upbeat burst of soulful rock, with catchy hooks and a lively rhythm section, is perfectly aligned to the radio-friendly numbers of the early-‘70s; yet it was never released as a single. Was it a missed opportunity? Absolutely, but success on the charts is rarely an indication of greatness, and in that context, “Would You Like To Come Along” is one of the most underrated and overlooked tunes from the era.

We're Gonna Have A Good Time is exactly representative of the song’s title, for it doubles down on the album’s celebratory mood, complete with infectious grooves and funky bass lines.

I Couldn't Believe What Happened Last Night is one of the album’s most ambitious songs, but it resembles a jam session full of improvisation that allows Rare Earth the space to explore their broad musical styling, whilst leaning into Soul, R&B, Funk, and Rock in this sprawling 12-minute epic. It isn’t, however, dull as there isn’t a lull to be heard throughout, and it’s the perfect closing number that allows for contemplation and will see you compelled to listen to the album, or this song, again.

Willie Remembers is one of those albums that I find myself returning to time and time again, for I find greater appreciation for the record upon each subsequent listen. There's little doubt that the band’s diverse musical styling, from the very first note to the last, is a drawcard, but as you listen to the album, it will command your attention, and if you allow it, it will meld with your soul in a manner that words can’t adequately describe.

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Neil Young – Harvest (Album Review)

Despite the prolific nature of Neil Young’s creative output, and as enjoyable as much of his extensive catalogue is, few releases compare to his 1972 record, Harvest. It’s not only one of his most iconic and enduring works, but it also captures the singer-songwriter at a pivotal moment in his career, shifting tone slightly to a warmer, country-tinged sound, alongside his remarkable lyrical poetry and emotional depth.

While some fans will be divided between this solo outing and his noteworthy collaborations with Crazy Horse, the tone Crazy Horse adds to Young’s musical palette is one of a heavier rock vibe that is somewhat of a contrast to Harvest’s more laid-back approach. It’s important to note, however, that this more relaxed style was due to Young’s inability to physically play the electric guitar at the time, following an accident that, ironically, became a significant aspect that made this release a defining moment in Young’s career.

With a minimal album artwork to accompany the music, some may find it a little underwhelming, but I’d argue that it’s strikingly compelling. There’s a relaxed aspect that shines through the design, one that perfectly matches much of the album’s musical styling. The old, tarnished look also adds a sense of warmth that complements the music well.

Speaking of warmth, Harvest has a smooth tonality that will captivate your soul, but all editions are not necessarily created equal. That’s somewhat surprising, given Young’s penchant for purity as it pertains to what the listener ends up hearing, but it’s an accurate assessment. Over the years, I’ve been fortunate to have owned the HDCD reissue, and if you have a CD player that will decode the HDCD element, you’re in for a treat. Without that functionality, however, the CD can sound a little harsh, particularly if you don’t have the treble dialled back a little.

As it pertains to the Hi-Res Lossless Apple Digital Master, available on Apple Music, that version has a lovely presentation, but isn’t quite as lively as the aforementioned HDCD. Had I never heard the HDCD release, I’d likely find myself smitten with the Apple Digital Master. The Dolby Atmos mix (also available on Apple Music) is another beast entirely. As one may expect, there’s excellent instrument separation and depth, but there’s also a substantial increase in the bass and midrange. It’s not bloated and does enhance the mix by adding emphasis, but it also doesn’t sound quite right. Of course, after all these years, I’m used to the stereo mix, so it may simply take some adjustment for the additional boldness of the mix to merge with my senses. If nothing else, the surround mix is more enveloping when compared to the stereo mix, but it isn’t fundamentally better, just different.

One aspect I did notice, which I’ve never experienced before with this release, is a sense of fatigue when listening to the Atmos mix. It was only apparent towards the back end of the album, but it was distracting nonetheless. Most likely, it’s due to the senses needing to adapt to the increased detail within the surround mix. While I can appreciate the surround mix and do find it compellingly different, I’ll stick with the original two-channels. But, don’t take my word for it, dear reader, take a listen for yourself and see which mix you subjectively prefer, as there really is no right or wrong way to appreciate this classic release.

Out On The Weekend is a beautiful opening country ballad that sets the tone for the entire album. Musical gold is one way to put it, for every aspect of this recording is perfect with a sereneness that delivers a thoroughly enjoyable listening experience, extending from the very first note to the last. How “Out On The Weekend” was not released as a single is beyond comprehension, for it’s one of the very best tunes from the album.    

Harvest continues the acoustic laid-back styling and will see you toe-tapping and head-bopping along to the rhythm. It may not be the most complex song Young has ever written and recorded, but it suits the album perfectly.

A Man Needs A Maid is a unique song in that the minimal musical arrangement and Young’s distant vocal, particularly in the opening, sound unpolished, yet it isn’t and is as intentional as the inclusion of the London Symphony Orchestra. Part of me would love to hear a bolder version of this song, one with a more lush arrangement, but that would, naturally, take away from the core essence of the tune.

Heart Of Gold is a masterpiece, in every sense of the word, and while this sacred number should never be covered, Diana Krall’s edition, on her 2015 release, Wallflower, is a lovely rendition of this timeless classic. Still, it is, arguably, Young’s greatest song and while “Old Man” tends to receive more attention, “Heart Of Gold” is a vocal and musical wonder that makes Harvest even more compelling.

Are You Ready For The Country has a lively vibe. With an ideal country-rock groove, it becomes the perfect midway point for the album as well as a perfect closer for the first side of the record. It may not be a standout, but all songs need not be hit-worthy to contribute to a top-tier album experience.

Old Man is amongst Young’s most thought-provoking numbers, but it’s the musicality of the tune that, for me, is the strongest element here, as it’s the gentle country-folk rhythm that keeps me coming back for more.

There's A World is musically bold, yet beautiful. It’s the contrast between musical stylings that makes the song so intriguing. Add to that Young’s unique vocal styling, and you’ve got a highly compelling album-only number that will keep you coming back to the record as much as the more celebrated tracks do.

Alabama is a killer tune. With equal parts relaxed and upbeat, this is rhythmic gold. The piano element enhances the raw intensity of the electric guitar throughout, thereby driving the song forward and making it one of the most compelling tracks from the record. In fact, I’d even go as far as saying that “Alabama” is the hidden gem from the record; it just hasn’t received the attention it deserves throughout the years.

The Needle And The Damage Done is a remarkable song, one that was recorded live, that tells of drug addiction, specifically heroin, and the associated consequences. While I seldom listen to music for its lyrical storytelling, instead preferring to appreciate the human vocal as if it were an instrument within the mix, Young is a master storyteller, and it’s his vocal clarity, on songs such as this, that allows the narrative to take centre stage.

Words (Between The Lines Of Age) is an idealistic closer. Incorporating elements from the songs that have come before, “Words (Between The Lines Of Age)” will simultaneously encourage the playing of the album again and contemplation of the music that’s just been heard.

No matter which way you look at it, Harvest is one of Neil Young’s finest releases; one that has not only stood the test of time, but has continued to be lovingly adored by generations of fans. Albums such as this are ultimately timeless, but it's with certainty that there will never be another Harvest, not from Neil Young, or any other artist, but its influence ripples throughout the decades of singer-songwriters that have followed in Young’s footsteps, even if Harvest can be seen as a spiritual successor to Bob Dylan’s celebrated 60s output.

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Michael Jackson – Got To Be There (Album Review)

While most Michael Jackson fans are busy listening to The King Of Pop’s most renowned albums, Off The Wall, Thriller, Bad, and Dangerous, I find great pleasure in listening to his debut solo release, from 1972, Got To Be There, for it’s an exceptional album and, in the context of his continued evolution towards superstardom, has become somewhat of an underrated and forgotten release.

Yes, everyone is aware of Jackson’s earlier recordings, particularly as the frontman of the Jackson 5, but this solo outing is a world-class record with a collection of 10 timeless tunes. In fact, from start to finish, Got To Be There is flawless. The production, songwriting, and artistry are exactly what one would expect from Motown during the era. Granted, there are cover songs, but they, too, are expertly interpreted. Still, it’s Jackson’s impressive vocal delivery that makes this timeless album a hidden gem, because he was no longer sharing the limelight with his brothers. While Jackson was only thirteen at the time of recording, there’s a level of maturity that simply couldn’t be expressed adequately in the Jackson 5 and would, arguably, not appear again until the transition from Motown to Epic Records and The Jacksons’ story began.

While most certainly ensconced in the sonic styling of the era, the Lossless Apple Music stream, an Apple Digital Master, is simply exquisite. As much as I value my 2009 vinyl reissue, and its near-perfect replica of the original release, the stream is the perfect digital counterpart and is so good that if I didn’t own the vinyl release, I’d be more than content with the streaming version. In fact, the stream is so lush that it sounds more analogue than the vinyl reissue. That, in part, is likely due to it being a different mastering, most likely from a digital intermediary, but where the record sounds a little sharp and clinical, the stream is laidback and crankable. One may assume it’s a small variance, but when listening back-to-back, it’s a considerable difference and one that leans my preference towards the 2013 digital remaster as heard via Apple Music.

Ain't No Sunshine is the perfect album opener and a stunning soul-based cover of Bill Wither’s original (from 1971). While Jackson’s rendition may have a slight increase in tempo, it suits his vocal capabilities while staying true to the original masterpiece. Yes, the original is better, but when you factor in that Jackson was only thirteen when his version was recorded, well, it’s a stunning musical achievement by any standard. Additionally, the instrumental performances and overall mix are absolutely incredible, and the individual players deserve far more praise than they’ve ever received, particularly on these legacy releases where a house band was a common thing.

I Wanna Be Where You Are is thoroughly enjoyable. The mid-tempo rhythm works well with Jackson’s youthful vocals, but it’s the Motown spit and polish that is so compelling. That doesn’t take anything away from Jackson’s natural charisma, but if we’re being completely honest, Berry Gordy and the team at Motown played a core role in Jackson becoming the King of Pop.

Girl Don't Take Your Love From Me is a beautiful ballad. The minimal arrangement results in Jackson’s vocals being prominent within the mix, and is the first song on the album to truly showcase Jackson’s impressive vocal range.

In Our Small Way flows seamlessly with a relaxed soul styling that, again, highlights Jackson’s vocal capabilities, amidst a lovely musical backing. As you listen, you’ll likely find yourself singing along, for the recording’s melody, sincerity, and warmth are addictively catchy.

Got To Be There, aside from being the title track, is Jackson’s debut solo single and rose to the top of the charts. While it had a radio-friendly sound, and is thoroughly enjoyable, I wouldn’t consider it the best song from the record. The one thing that puts me off is the distortion in Jackson’s vocals, particularly in the high notes. Granted, it’s a recording technique, and it clearly worked considering how successful the song was, but a chosen vocal style can, at times, be detrimental to an otherwise excellent song.

Rockin' Robin may be a novelty tune at its core, but there’s something special about Jackson’s rendition that defies explanation, for as much as it is cringeworthy, it’s simultaneously a guilty pleasure. Sometimes all you need is an infectious groove, one that will make you smile, for there are times when we all take life too seriously, and toe-tapping and head-bopping to a fun track can be exactly what the doctor ordered.

Wings Of My Love shifts the tempo back in line with much of the album’s, and the era’s, musical styling, and it offers not only a nice respite following the upbeat “Rockin' Robin” but is a hidden gem as many of Michael Jackson’s best songs, are not his high-tempo numbers as his impressive vocal, even at such a young age, was his greatest asset.

Maria (You Were The Only One) steps the tempo up a notch, and when combined with lush harmonies, a highly appealing melody, and some masterful musicianship, “Maria (You Were The Only One)” ends up being one of the best songs from the record and is deserving of much more attention than it receives.

Love Is Here And Now You're Gone is a cover of The Supremes’ classic (from 1967), but Jackson’s performance is so strong that it makes The Supremes’ recording sound like a demo. Jackson’s vocal presentation is stronger, but it’s the entire arrangement on this recording that makes it much more appealing and refined, thereby making it the standard that all other covers of this track should be measured by.

You've Got A Friend is a beautiful song and an ideal closing track, but as strong as Jackson’s rendition is, Carole King’s original (from 1971) is incomparable.

Yes, Michael Jackson’s future solo albums, particularly from Off The Wall onwards, are some of the very best releases in all of recorded music history, but Got To Be There has the same passionate performances as his more popular works and is worthy of inclusion in every music lover’s collection, for the mix of well-known covers and compelling originals makes this a thoroughly engaging and memorable listen.

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Elton John – Honky Château (Album Review)

Honky Château, despite being a chart-topping success, remains one of Elton John’s most underrated records of the 70s, even with the immense popularity of “Rocket Man (I Think It's Going to Be a Long Long Time)”. Positioned between Madman Across The Water (1971) and Don’t Shoot Me I’m Only The Piano Player (1973), this 1972 release, Elton John’s fifth studio album, sees Elton John experiment with rock, pop, jazz, country-rock, and touches of funk. The result is a diversely pleasing album that becomes more appealing with repeat listens.

What isn’t as pleasing is the album’s artwork, for Honky Château is amongst Elton John’s least intriguing, as it fails to offer a mystique or represent the somewhat playful nature of the music contained within. The chosen artwork, for the 50th Anniversary Pink & Yellow Splattered edition, is much more desirable as it offers a better visualisation of the tone of the album.

While Honky Château has incredible songwriting, performances, and overall production values, there are, arguably, too many different masterings available, all offering slight variances in the album’s tonality and sonic clarity. While going through every master goes beyond the scope of this review, I will say that I feel the 1995 remaster remains superior to the 2017 remaster that is available via the 50th Anniversary Edition. My reasoning is twofold. Firstly, from a purely subjective standpoint, it is the version of the album I am most familiar with. Secondly, as it pertains to the Lossless Apple Digital Master, from Apple Music, it’s lost the sonic sparkle in the top end of the audible spectrum, instead focusing on a mid-to-low end range. That chosen styling adds a little oomph, yes, but it also muddies the clarity of the recording. Of particular note is the near-loss of "Legs" Larry Smith's tap dance on I Think I'm Going To Kill Myself via the 2017 remaster. While one can still thoroughly enjoy the music, and some may even prefer the new remaster, it’s best to give them both a listen and decide for yourself.

Honky Cat has a lively funk-jazz feel and is an ideal album opener. Its strength lies in the song’s compelling composition, and despite being initially straightforward, if you take the time to listen to the mix and the varying sonic elements contained throughout, you’ll undoubtedly come away amazed, as Honky Cat is a real humdinger.

Mellow, as the name implies, slows the tempo slightly, but its mellow styling is pure genius as the song is not only exceptional, but if Honky Cat was New Orleans jazz-club inspired, Mellow would be ideal in any piano bar with it’s laid back and relaxed approach.

I Think I'm Going To Kill Myself returns the album to the upbeat tempo and is one of the most appealing and memorable songs from the record. Its tongue-in-cheek lyrical approach may cause division amongst listeners, but it offers a different perspective when discussing a serious and sometimes controversial topic. That can be especially true when you consider the era in which Honky Château was released, for issues relating to suicide, or suicidal thoughts and mental illness, were somewhat taboo and not spoken about as freely as they are in the modern era.

Susie (Dramas) is a thoroughly enjoyable album-only tune. You likely won’t find yourself returning to the album specifically to listen to this song, but it’s got a compelling rhythm that will get you toe-tapping and head-bopping throughout. There is a standout, however, and that is Nigel Olsson’s drumming for it’s some of the very best on any Elton John release.

Rocket Man (I Think It's Going To Be A Long Long Time) is one of the greatest songs ever recorded and a trademark for Elton John. If you’re not singing along to the chorus, even in your mind, you’re listening wrong, for “Rocket Man” is an absolute masterpiece.

Salvation is a beautiful song and a hidden gem.

Slave is a killer tune, but John’s vocal delivery (and the overall musical styling) is simply too reminiscent of The Rolling Stones to make it purely original.

Amy picks up the toe-tapping, head-bopping, groove and is perfectly positioned within the album’s linear structure, but it’s most certainly an album-only number that is unlikely to be anyone’s favourite.

Mona Lisas And Mad Hatters is simply magnificent and should have been released as a single, for I dare say it would have been a chart-topper. While it has made its way beyond the constraints of Honky Château, onto career perspective releases, “Mona Lisas And Mad Hatters” remains somewhat of a deep cut in Elton John’s extensive catalogue, but a highly memorable one that will see you coming back to the album time and time again just to hear this classic tune.

Hercules closes out the album in the same way it started, with an upbeat number. While it’s a great song, and most certainly encourages me to play the record again, I can’t help but wish that “Mona Lisas And Mad Hatters” had been the album closer, for the compelling nature of that song, along with the relaxed styling, would have ensured it was a quintessential closer; one that also allows for contemplation of the music that’s just been heard.

From start to finish, Elton John’s Honky Château delights. The songs, for the most part, have an upbeat vibe, but it’s the incredible songwriting and layered compositions that really make Honky Château memorable within Elton John’s vast body of work. While many will be drawn to the album for the hits, “Rocket Man” and “Honky Cat”, Honky Château is far more than a collection of songs; for the more you listen to it, the more you come to appreciate this humble release, one that could very well be considered Elton John’s greatest musical achievement.

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Deep Purple – Machine Head (Album Review)

There are hard rock albums, and then there is Deep Purple’s Machine Head; perhaps the greatest heavy metal album of the ‘70s, or of all time.

Yes, dear reader, that is a bold statement, but Machine Head is no ordinary record, for it not only sees the English rockers at the peak of their creativity, but its blistering musicality knows few peers, for it laid the groundwork for heavy metal, and is akin to what one would expect from a greatest hits release. In essence, few albums have defined a genre as much as this one; it has inspired generations of musicians and remains a reference point for what a hard rock album should sound like.

Released in 1972, Machine Head is the sixth studio album from Deep Purple and featured the second lineup of the band: Ritchie Blackmore (guitars), Ian Gillan (vocals), Roger Glover (bass), Jon Lord (keyboards), and Ian Paice (drums). While fans will likely argue over their preferred lineup, it’s impossible to deny just how strong this Mark II lineup was, for their output is otherworldly.

Of course, it isn’t just the music that demands one’s attention, as the album artwork and blurred band image is utterly perfect, aligning ideally with the metal-based music that’s contained within the record. There is, however, an alternative cover art design, but we shouldn’t speak of it as it’s the most pedestrian of covers with the band sitting in the studio, looking downright bored with themselves. To think that the record label would reissue such a landmark release with this artwork, for the album’s 25th Anniversary, leaves me speechless; it really does.

As it pertains to the sonic quality of the lossless Apple Music stream, an Apple Digital Master, it’s sensational. You’ll be rocking out with your air guitar and forgetting about the worries of the world as the music melds with your soul; an aspect that, should you allow it to, will intertwine with your subconscious and never let go. Sounds scary? It isn’t. It’s a gift from the rock gods themselves.

Every aspect of the recording is stunningly presented and preserved with no glaring issues to report. It is so sonically pleasing that I can’t see the benefit of picking up a physical release; aside from the ownership and tactile aspects, that is. Yes, there are lauded after surround sound mixes, all of which are interestingly absent from Apple Music, but that’s okay because this fan prefers stereo editions, especially when they’re done this well.

Highway Star is an anthem-styled rocker that’s a perfect opener for this incredible release. From the uptempo riff to the soaring guitar solos to Gillan’s masterful vocal presentation, “Highway Star” never ceases to amaze, yet the album has only just begun, and it continues to get better. It’s as if Deep Purple set out to prove they were the fastest, tightest, and loudest band on the planet, and they delivered.

Maybe I'm A Leo is a masterpiece and, in my subjective opinion, is the greatest song not only from this album, but that Deep Purple has ever recorded. It’s attitude-driven blues-based rhythm is off-the-charts and perhaps it’s a blessing in disguise that outside of the album, “Maybe I’m A Leo” is less well-known, for as much as I adore “Smoke On The Water”, it has been played to death over the years, yet “Maybe I’m A Leo” has a fresh feel to it.

Pictures Of Home is a thoroughly enjoyable album-only number, complete with the sonic cues that Deep Purple are renowned for. While it most likely isn’t at the top of anyone’s list, as it pertains to the songs that bring them back to Machine Head time and time again, it’s more than a solid tune that flows well within the album’s linear structure.

Never Before brings the funk, with a killer introduction that leads seamlessly into one of Deep Purple’s most compelling songs. There’s little wonder as to why it was released as a single, for its straightforward hard rock approach meant that it was easily accessible (think radio-friendly), particularly beyond the band’s core audience.

Smoke On The Water may well be one of the greatest songs ever written, with a riff that is nothing short of legendary, but it still doesn’t trump “Maybe I’m A Leo” despite it being amongst my favourite songs from the band. No, I’m not trying to be controversial with that statement; it’s just my subjective truth as “Smoke On The Water” has been overplayed, and if it were not for the trademark riff and associated heavy groove, it would be a solid, but not exceptional, rocker.

Lazy is a wonderfully distorted composition akin to a jazz band’s jam session, but with Deep Purple’s blues-based hard-rocking flair. While some may lament the song’s length or the indulgent nature of the tune, when Deep Purple has such incredible music, as heard on Machine Head, let alone their other albums, one can accept a somewhat experimental tune that sees the band not only explore their artistry but also their cohesion with each other. Had it not been for songs like this, the wonderfully expansive and expressive Made In Japan may not be the celebrated recording it is.

Space Truckin’ flows seamlessly from “Lazy” but adds a little more energy and a darker vibe. It’s so compelling that if you don’t find yourself putting “Space Truckin’” on repeat, you’ll most certainly feel compelled to play the album again, for Machine Head will keep you immersed for hours.

From start to finish, Machine Head is a literal masterpiece that is not only Deep Purple’s most successful release, but is also amongst the most influential albums of all time. Artists such as Metallica, Iron Maiden, and Van Halen have cited Deep Purple as an influence on their music, and one can understand why, as the songwriting, performances, and overall production are textbook examples of how to produce a legendary release, one that has not only stood the test of time but will exist for millennia.

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