Feargal Sharkey – Feargal Sharkey (Self-Titled) [Album Review]

Feargal Sharkey’s self-titled debut is an impressive mid-1980s pop release. While many may have been familiar with Sharkey, from his time as the frontman of The Undertones, this initial solo release presents a significant departure from his punk and new wave roots. Embracing high production values, soulful melodies, and emotionally charged performances, Sharkey showcased that he could reinvent himself and deliver a standout release with timeless appeal.

Featuring a mix of ballads, pop-rock, and synth-driven numbers, this self-titled release is as uniquely interesting as the album artwork would lead you to believe. It also helps that one-half of the Eurythmics, David A. Stewart produced the album thereby showcasing that the Eurythmics’ stylistic shift with Be Yourself Tonight, and their subsequent success, wasn’t limited to a single instance.

As it pertains to the sonic qualities of this release, the CD-quality Lossless stream, from Apple Music, is adequate. As the album has yet to be remastered, what you’re hearing is the original CD-equivalent master, but it sounds a little thin. Granted, that is the sound of the 80s and early digital releases, so you’ll likely find yourself needing to add a touch of EQ to bring it in line with your subjective preferences. A slight increase in the treble and a little more oomph in the bass will likely yield results that would find you rocking out; even if this is a pop record!

A Good Heart is, without a doubt, the album’s standout track and is arguably the greatest song that Sharkey ever recorded. It’s a heartfelt anthem with a romantic yearning and offers a perfect combination of shimmering synths, touching lyrics, and a powerful chorus that is amongst the best 1980s pop has to offer.

You Little Thief is a sharp and bitter counterpoint to A Good Heart, yet the seamless flow of the album is maintained. With a driving rhythm, jangly guitars, and Sharkey’s passionate vocal delivery, You Little Thief is a highlight that is made more memorable by the incredible musical bed and soaring saxophone performance.

Ghost Train is an absolute masterpiece and a hidden gem. Its slower pace, layering Sharkey’s emotive vocals over a mix of subdued synths and addictively good percussive elements, ensures Ghost Train is one of the greatest Jazz pop songs in all of recorded music history.

Ashes And Diamonds is a run-of-the-mill album-only tune that is perfectly positioned within the era. That shouldn’t, however, be seen as a criticism for it is songs such as this that make this self-titled debut one of the best records from 1985.

Made To Measure is a mid-tempo pop-rock number and, as with Ashes And Diamonds, while it may not be a standout, the album would have suffered had it not been included for it adds variety to the album’s sequencing.

Someone To Somebody is a soulful ballad with some magical guitar licks that emphasise the delicate nature of Sharkey’s vocals. It’s a truly beautiful song.

Don't Leave It To Nature returns the album to an upbeat tempo, blending funk-inspired basslines with synth-pop elements and some killer harmonica thanks to Jimmy 'Z' Zavala. The song’s lively energy and memorable hooks make it one of the more danceable moments on the album and a highlight of production styles within the 80s.

Love And Hate with its darker, moodier tone, showcases the diversity of Sharkey but the production is so solid that despite the tonal shifts, the album experience remains paramount. If nothing else, you’ll find yourself toe-tapping and head-bopping along to what can only be called a hidden gem; a recurring theme of the album, once you get past the hit singles.

Bitter Man offers a dynamic mix of sharp lyrics and an infectious beat as Sharkey’s vocal delivery oscillates between vulnerability and strength. That said, the chosen mix and panning between left and right channels, while done respectfully, may drive some a little insane. After repeat listens you’ll find your mind grabs onto a singular element rather than randomly picking layered audible elements from the mix.

It's All Over Now closes the album with a song that features lush instrumentation and a powerful vocal performance. As far as covers of this classic song go, this is better than The Rolling Stones’ rendition and is, in my opinion, far better than the original from The Valentinos. Regardless, it makes for a fitting conclusion to the album; one that will encourage you to play the record again and reflect on the music you’ve just heard.

Ultimately, Feargal Sharkey’s self-titled debut album is a testament to his ability to reinvent himself as a solo artist. Combining emotionally resonant lyrics, with impeccable production values, the album’s mix of heartfelt ballads and dynamic pop tunes ensures its place amongst the very best recordings of the era. Yes, it has that mid-80s pop sheen, but it’s a memorable artefact of its time; one that is worthy of inclusion in every music lover’s collection.

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Elton John – Ice On Fire (Album Review)

Released in 1985, Ice On Fire marked Elton John’s first collaboration with producer Gus Dudgeon, following a long hiatus, with their previous joint effort being on the gem that is the 1976 release, Blue Moves. As with their final coupling, almost a decade earlier, Ice On Fire can take a moment to get used to, but if you’ve got the patience to give it repeat listens, it becomes one of Elton John’s greatest releases; certainly as it pertains to his 80s era recordings. Driven by a blend of tender ballads, synth-driven pop, and a touch of rock, Ice On Fire was, by far, his strongest release since The Fox in 1981.

While Ice On Fire represented a return to form, following a few albums that failed to excite fans and music lovers, it’s the mix of memorable melodies, introspective lyrics, and energetic performances that helped to bolster the album’s status. That said, due to its heavy use of synths, the production of Ice On Fire can sound a little dated, but fans with an ear for nostalgia will undoubtedly fall in love with the album all over again.

Regarding the album artwork, there isn’t much to discuss. It’s better than much of Elton’s output during the 80s but is still lacking compared to his classic 70s releases. What isn’t lacking, however, is the CD-quality lossless Apple Music stream. Yes, it is derived from the 1998 CD remaster, but that particular reissue is noted for largely maintaining the album’s dynamic range, thereby ensuring that it’s a lovely facsimile. As you listen, you’ll note that every musical element is perfectly positioned within the mix and despite the 80s production quality, this is Elton John through and through.

This Town opens the album with an upbeat number that is brimming with 80s swagger and while it’s, most certainly, a product of its era, it’s simply magnificent. Driven by a funky rhythm, sharp horns, and Elton’s idealistic vocals, what you’ve got is a catchy tune and a perfect start to the album.

Cry To Heaven slows the tempo for what can be best described as a poignant ballad. As the song builds, the orchestral elements ensure the song comes alive, but at no time does it detract from Elton’s exceptional vocal performance. Cry To Heaven, unfortunately, isn’t amongst Elton’s most recognised tunes and it’s a shame as this ballad is one of his greatest.

Soul Glove flows seamlessly, despite its funky groove-laden vibe. If you are toe-tapping and head-bopping along you’re listening correctly as Soul Glove is an ideal mid-tempo dance number.

Nikita is, arguably, the most well-known track from the album and for good reason; it’s a synth-pop masterpiece! With a catchy sing-along lyrical structure, and an unforgettable melody, it’s difficult to not be drawn in by this classic Elton John tune.

Too Young is a soulful ballad that feels like a throwback to Elton’s 70s-era works but with modern production values. Roger Taylor and John Deacon, from Queen, contribute to the song on drums and bass guitar and the boldness they add to the recording results in Too Young being a standout album-only tune.

Wrap Her Up (feat. George Michael) is a high-energy number brimming with flamboyance and was an ideal collaboration with Michael who was, during this era, still a member of Wham! and had yet to commence his solo career. While Michael’s falsetto is not nearly as incredible as Barry Gibb’s trademark is, it works incredibly well and has 80s synth-pop written all over it. That isn’t a bad thing, however, as the pulsating beat and infectious chorus will reach into your soul and not let go until the final note has played.

Satellite is perfectly positioned within the album’s linear structure and leans heavily into the 80s aesthetic with shimmering synths and electronic textures. However, while there isn’t a bad song to be heard on the album, Satellite is the poorest recording. It isn’t a bad song, it just sounds either over or under-produced. I respect the confusing aspect of that statement, it’s just that there’s a good song hidden here, one that needs to be either stripped back or further developed and, to be honest, I’m not sure which approach would be best. Perhaps it should have been omitted from the album instead.

Tell Me What The Papers Say is a solid mid-tempo rocker that offers a biting critique of media sensationalism. Yes, the driving beat and layered instrumentation date the song, but there’s enough lyrical relevance to the current era that it will still appeal to a modern audience.

Candy By The Pound is upbeat and funky but rather than being an 80s-era number, I’d suggest it could have been a tune straight out of the 50s or 60s. Nevertheless, it’s a great song that offers an infectious rhythm, with a dance floor feel, that culminates in a feel-good lighthearted number.

Shoot Down The Moon is an ideal closing ballad with an incredible vocal performance from Elton. Yes, it may be a haunting ballad, but between Taupin’s poetic lyrics and Elton’s stripped-down delivery, Shoot Down The Moon is another of Elton’s hidden gems; one that deserves more credit than it often receives.

If this is the first time, or one of the few times, you’ve listened to Ice On Fire, give it another play-through as it’s an album that reveals its charms with repeat listens. While it might not satisfy those longing for Elton’s 70s-era releases, it provides an intriguing snapshot of his mid-80s evolution. For fans willing to embrace its quirks and somewhat 80s production, Ice On Fire is a rewarding mix of hits, hidden gems, and moments of heartfelt artistry that is worthy of inclusion in any record collection.

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Dionne Warwick – Friends (Album Review)

Released in 1985, Friends sees Dionne Warwick blending her classic pop and soul sensibilities with the sleek production styles of the 1980s. Featuring a mix of heartfelt ballads and upbeat tracks, Warwick’s unmistakable vocal shines through on a series of songs that are not only, in many cases, instantly identifiable but offer a series of hidden gems that make for a thoroughly pleasing and relaxing record; one that you’ll want to revisit time and time again.

Speaking of relaxing, if the elegant, yet sophisticated, album artwork doesn’t grab you, then the production qualities of the music itself will. The Apple Music lossless stream is lovely and perfectly suited to Warwick’s style. I’m certain some would suggest that it could be stronger and requires a remaster, but that is what tone controls are for as this, somewhat, flat transfer has all the required emphasis in all the right places. Plus, that classic (non-loudness war) sound allows, and compels, you to turn the volume up for this album sounds ideal at higher, room-filling, volumes.

That's What Friends Are For (With Elton John, Gladys Knight & Stevie Wonder) is most certainly the standout tune from Friends and for good reason; it’s a masterpiece with a lineup of collaborators that anyone would feel privileged to work with. There are timeless classics and then there is That’s What Friends Are For, a tune with an enduring legacy that will outlive us all as it talks to the core of humanity's need for friendship. While most people instantly know this classic tune, this wasn’t the first time this song was recorded for Rod Stewart recorded it in 1982. His is a lovely recording in its own right, but it’s ultimately overshadowed by this particular release.

Whisper In The Dark introduces a mid-tempo, highly polished, synth-heavy sound that is ideally suited to the era. As is the case with many of Warwick’s recordings, her sultry vocal performance is as memorable and engaging as the song’s rhythmic groove; even if it is a little understated in the chosen mix.

Remember Your Heart is your classic 80s soft rock number featuring a lush arrangement that ensures you’ll be toe-tapping and head-bopping along from the very first note to the last.

Love At Second Sight is a lovely album-only tune that showcases Warwick’s exceptional vocal range. Love At Second Sight is, subsequently, a hidden gem and is one of Warwick’s greatest vocal performances.

Moments Aren't Moments is a lovely laid-back tune. The intricate orchestration adds layers of musical elements that add to the song’s straightforward, yet poignant, presentation that allows Warwick to deliver a deeply moving performance.

Stronger Than Before is one of the greatest songs from Friends and is most certainly a hidden gem within Warwick’s illustrious back catalogue. With its uplifting lyrics and steady rhythm, Warwick’s vocal phrasing captures both vulnerability and strength and it’s so strong that I simply can’t understand why it was never released as a single; it’s that good!

Stay Devoted continues with the upbeat musical bed and is the perfect followup to Stronger Than Before as both are similarly approached in not only musical and tempo styles, but also in the way Warwick delivers her nuanced yet introspective performance. Yes, it may be an 80s tune, through and through, but those of us with a nostalgic perspective will find Stay Devoted to be absolutely captivating.

No One There (To Sing Me A Love Song) is a soulful number that explores feelings of loneliness and longing. The rich blending of backing vocals and a restrained instrumental arrangement ensures that Warwick’s masterful vocal delivery is front and centre, thereby underscoring the song’s emotional weight.

How Long? is a beautiful song that leans into a smooth R&B groove. Warwick’s vocals are effortless, yet the subtleness is the most appealing aspect as How Long? is a timeless classic. The musical bed is glorious and it’s one of the greatest songs that Warwick has ever recorded and one that those who only know the hits may never have experienced. Hence, if you know a casual Warwick fan, it would be great if you could share this incredible song with them.

Extravagant Gestures closes out the album beautifully with this reflective ballad that highlights Warwick’s storytelling ability. Delivered with her incredibly delicate vocals, and an arrangement that is perfectly suited, Extravagant Gestures becomes a fitting end to a flawless record and one of the most impressive works Warwick ever recorded.

Ultimately, Friends is an album that perfectly balances Dionne Warwick’s timeless elegance with the modern production techniques of the mid-80s. Anchored by the monumental success of That’s What Friends Are For, the album showcases Warwick’s versatility, transitioning effortlessly between poignant ballads and upbeat, contemporary tracks. Her vocal performances are impeccable, and the collaborations with legendary songwriters and producers result in a cohesive and memorable listening experience; one that will appeal to longtime fans and newcomers alike.

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Diana Ross – Eaten Alive (Album Review)

Diana Ross’ Eaten Alive offers a compelling blend of pop, soul, and dance music, featuring contributions from some of the most celebrated names in the music industry. Released in 1985, the album sees Ross collaborate with the Bee Gees and Michael Jackson amongst other legendary musicians. While not as commercially successful as some of her previous works, Eaten Alive showcases Ross’ versatility and her willingness to experiment with the contemporary sounds of the mid-80s, but does it work?

Yes, and no! Let me explain.

While Eaten Alive is amongst the best releases of the mid-80s, it isn’t an album that can be appreciated via a single listen alone. So often, in our fast-paced modern realities, we are seeking what’s next and an album such as Eaten Alive will generally be overlooked for it takes several playthroughs to truly connect with the inner soul of us music lovers. Yes, the title track will likely appeal instantly, as will the catchy and iconic Chain Reaction, but the other songs require greater patience. If you have the time, however, you’ll find an album that is most certainly worth your time and Ross’ incredible legacy.

As with many things associated with the era, the album artwork is a product of its time, yet it isn’t worthy of inclusion amongst The Worst (And Most Disturbing) Album Covers Of All Time list. The sonic qualities of this release also exhibit the mid-80s vibe and while that isn’t a bad thing, it could be suggested that Ross drifted, at times, a little too far from her unique style in an attempt to appeal to a modern audience.

Regarding the Apple Music stream, the CD-quality Lossless presentation is more than adequate. It isn’t, however, a sonic powerhouse that you’d use to demo a new stereo or show off your system with pride. Granted, it likely wasn’t intended to have that quality as every album need not have audiophile aspirations to be appealing. What you will hear, however, is an album that has been inspired by some of the most incredible musicians to have ever written and recorded a song and one that is perfectly aligned with the recording, mix, and mastering standards of the era. Hence, the best way to appreciate Eaten Alive is not to listen critically, but to simply listen to the music for there are some hits and plenty of hidden gems to be heard.

Eaten Alive opens the album with a pulsating energy, but don’t get too attached for this isn’t the kind of song that sets the tone for the entire album, as its style is significantly different to the other songs on the record. Of course, that isn’t necessarily a bad thing for this electrifying performance, blended with the smooth vocal delivery, matches the urgency of the song’s delivery perfectly. With backing and intertwining vocals, from Barry Gibb and Michael Jackson, Eaten Alive is one of the most memorable tunes Diana Ross has ever recorded.

Oh Teacher shifts gears into a funky, mid-tempo number but it’s fair to say that Oh Teacher would have been better suited to Barry Gibb as Ross’ chosen vocal register is a little higher than she’s ideally suited to. Interestingly, Gibb did release the demo on the iTunes Store and it’s, arguably, stronger than this interpretation. Nevertheless, the harmonised backing vocals with the song’s catchy hook and Ross’ sultry vocals ensure that Oh Teacher is a solid album-only tune.

Experience slows the record considerably with this ballad; one that stands out for its heartfelt delivery and emotional depth. While its stripped-back production may seem out of sorts with the album’s overall style, Experience is a stunning tune that is not only amplified by Ross’ vocal warmth but also Gibb’s perfectly positioned backing vocals.

Chain Reaction is a killer tune, one that very well could have been a Motown classic had it been released when Ross was a member of The Supremes. Despite the obvious correlation, it was an instant hit, outside of the US, with chart-topping success around the globe. It really is Motown meets The Bee Gees and Ross delivers nothing less than a powerhouse performance.

More And More slows the tempo again, but this beautifully delicate song is perfectly suited to Ross’ more tender style. More And More is, subsequently, irresistible, although I’m certain some would call it a piano bar tune. While that may be an accurate assessment, that shouldn’t be seen from a negative perspective for it’s a lovely song and is one that offers a nice contrast to the more intense moments on the album.

I'm Watching You is a sultry, mysterious track that features a thoroughly atmospheric production. Ross’ seductive tone will draw you in as the narrative builds and while it may not be a song that you’d often associate Ross with, it’s nonetheless lovely and is a quintessential album-only track; one that ensures that the album experience is cohesive and thoroughly enjoyable.

Love On The Line blends disco and pop with a touch of rock. As with most of the songs on the album, it’s got that classic Bee Gees sound and is one of Ross’ most underrated gems. If nothing else, the pulsating beat and uplifting melody provide a dance floor-ready vibe; one that will be remembered well after the album has concluded.

(I Love) Being In Love With You is a dreamy, romantic ballad. Ross delivers a tender, yet understated, vocal performance that perfectly suits the song’s intimate lyrics. Add to that Barry Gibb’s incredibly good backing vocals and what you’ve got is the perfect culmination between these two powerhouse artists.

Crime Of Passion dramatically shifts the tone following the relaxed (I Love) Being In Love With You and while it may not be the most perfectly sequenced record, Crime Of Passion does offer a compelling toe-tapping and head-bopping melody.

Don't Give Up On Each Other closes out the album with this exceptional ballad; one that allows you to reflect on the music you’ve just heard whilst simultaneously encouraging you to play the record again.

Eaten Alive is, subsequently, a testament to Ross’ ability to evolve with the times while retaining much of her artistic essence. The blend of pop, soul, and dance elements, coupled with high-profile collaborations, gives the album a polished and eclectic feel. While it may have failed to set the charts on fire, there are several standout tracks to accompany the hit tunes, thereby making it an ideal album experience and one of the best released in 1985.

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A-Ha – Hunting High And Low (Album Review)

Released in 1985, a-ha’s debut album, Hunting High And Low, marked the arrival of one of the most influential synth-pop new wave bands of the 80s. Featuring a rich tapestry of melodic hooks, passionate lyrics, and a lush production, Hunting High And Low not only captured the zeitgeist but is a remarkably cohesive debut; one that has a timeless appeal.

Part of the album’s success is due to the song selection for Hunting High And Low plays akin to a greatest hits release. Most casual fans would be more than happy to attain this record, along with their compilation Headlines And Deadlines, and call it a day. Some may even call them a one-hit wonder, as it pertains to the album’s release, but a-ha have gone on to release some severely underrated and notable music. However, no post-debut release would resonate with music lovers as much as this legendary debut has.

Also appealing is the visual aspects of the album’s cover art. Yes, it is indicative of the era, particularly regarding clothing and hairstyles, but renowned photographer Just Loomis’ composition ensured it would be a standout in record stores and within one’s music collection for decades to come.

Regarding the sonic prowess of this classic release, the recording, mix, and mastering are exceptional and are amongst the greatest in all of recorded music history; particularly within the new wave and synth-pop genres. As it relates to the 2015 Remastered Hi-Res Lossless Apple Music stream, an Apple Digital Master, it’s exquisite with a full-bodied and detailed sonic presentation that ensures every musical element is clearly presented within the chosen mix. Remastering is at times looked down upon, even here at Subjective Sounds, but you know when an album just sounds right and in this case, the Apple Music stream doesn’t disappoint. It’s so good that I don’t feel compelled to pick up a physical release, for sonically I don’t feel there is any improvement to be achieved.

Take On Me is an ideal album opener and is, arguably, a-ha’s most iconic track; a dazzling combination of pulsating synths, infectious hooks, and some incredible vocal performances. The song’s driving energy perfectly encapsulates the spirit of the mid-80s and, ultimately, sets the tone for the entire album.

Train Of Thought introduces a slightly darker tone to a-ha’s dynamic instrumentation, but the song’s sense of urgency grabs your attention and doesn’t let go until the very last note has been played. Morten Harket’s vocal delivery is particularly noteworthy for its understated, yet emotive, thereby adding perfectly to the song’s overall style.

Hunting High And Low is a quintessential title track for this sweeping ballad is stunning. Harket's vocal range and emotional intensity will touch your soul as the orchestral arrangement builds the song’s dramatic atmosphere; one that will stay with you long after the album has ended.

The Blue Sky returns the album to a-ha’s core synth-pop styling and while this upbeat breezy number is a solid tune, it’s not the standout that the previous songs have been.

Living A Boy’s Adventure Tale is a magnificent tune with a mix of whimsy and melancholy. Every musical aspect, from the unconventional structure and dreamlike quality, to the ethereal synth layers and emotive vocals, is perfectly presented and in many respects, Living A Boy’s Adventure Tale is so good that it could be considered the very best song a-ha ever recorded. It honestly surprises me that it wasn’t considered for a single, it’s that good!

The Sun Always Shines On T.V. is one of my favourite songs on the album and while it’s borderline campy, as some of a-ha’s music is, the lush orchestration and powerful synth elements, that build to the addictively good crescendo, are simply incredible and showcase just how talented a-ha were from the get-go.

And You Tell Me is a brief minimalist interlude. While it serves more as a palate cleanser than a fully-fledged song, it adds a touch of intimacy to the album’s bolder soundscape.

Love Is Reason is a more conventional pop song featuring a bright melody and rhythmic energy that will see you toe-tapping and head-bopping along.

I Dream Myself Alive is a solid energetic number and while its position as an album-only tune isn’t in question, it also isn’t anything to write home about as it lacks a certain level of musical magic that has been heard throughout the rest of this debut.

Here I Stand And Face The Rain closes the album on somewhat of a haunting note, particularly as it pertains to the song’s unique opening. Nevertheless, Here I Stand And Face The Rain is the perfect bookend to the album as it permits reflection of the music you’ve just heard whilst simultaneously compelling you to listen to the album again.

Hunting High And Low is a remarkably cohesive debut release that balances commercial appeal with artistic depth. Its mix of high-energy synth-pop anthems and introspective ballads demonstrates a-ha’s versatility and ambitions; traits that have resulted in not only superstardom and timeless appeal, but characteristics that helped the album, and band, to define the sound of 1980s pop music.

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Neil Diamond – Serenade (Album Review)

Serenade is unlikely to be the first album you think of when you consider Neil Diamond’s illustrious career, yet to dismiss Serenade would be a great disservice to one’s musical journey for it’s a hidden gem and one of his most enjoyable records; once you give it a few listens, of course.

Yes, the lack of immediacy in appreciating this release is of concern, but every album need not talk to you the first time you listen to it for it to be an exceptional release and, in this case, Serenade will serenade you, if you give it a chance. As to how many times you’ll need to listen to this 1974 release, in order to appreciate it fully, is highly subjective, but I’d suggest a few play-throughs will give you a good sense of the flow of the album; a record that is knocking on the door of an EP’s length with a runtime only barely exceeding half an hour.

Of course, good music need not be dictated by an album’s runtime, for the CD era proved how detrimental filler material can be to an album’s success, longevity, and reverence. With that in mind, the eight songs on Serenade are masterfully produced with an exceptional mix that is thoroughly engaging and indicative of the high-quality standards most often associated with Neil Diamond. Vibrantly showcasing his ability to blend storytelling and heartfelt melodies, Serenade is a highly polished record, with lush arrangements, that are complemented by Diamond’s deep and evocative vocals, thereby creating an intimate, yet expansive, listening experience.

While my only exposure to this album has been via the Hi-Res Lossless Apple Music stream, the Apple Digital Master is derived from the most recent remastering of the album, from 2014, and while I can’t speak for anyone else, I feel these remastered editions, from Diamond’s back catalogue, sound simply magnificent. You’ll experience a full-bodied sound with an enveloping soundstage and enough clarity between all musical elements that allow each musical contribution room to breathe. It really is a beautiful mastering; one that allows the recording and mix to fully shine so that music lovers, such as ourselves, can simply sit back and enjoy the songs that make up this classic release.

I've Been This Way Before is a beautiful opening ballad. As the song builds slowly, with Diamond’s vocals front and centre, the warm orchestral backing crescendos into a powerful conclusion; one that is perfectly suited to Diamond’s overall style and offers the listener a musical journey that is thoroughly enjoyable.

Rosemary's Wine picks up the tempo a little with a melody and delicate acoustic instrumentation that will likely remind you of any number of singer-songwriter folk-based tunes. The simple arrangement allows Diamond’s vocals to shine but as lovely as the song is, I feel it is too short and should have had an additional verse and chorus for by the time it comes to an end, I find myself wanting more.

Lady Magdalene, by comparison, is the longest track on the album and worthy of every second, for it’s a sprawling song, with an almost hypnotic meditative quality, that is somewhat of a hidden gem in Diamond’s extensive back catalogue. Again, sticking with a minimalistic musical accompaniment, the song gradually swells into a grander arrangement that will appeal to just about any music lover, not just Neil Diamond fans. Lady Magdalene is, subsequently, one of Diamond’s greatest performances and one that casual fans, had they not heard this album, would have sadly overlooked.

The Last Picasso is a mid-tempo number that offers a delightful contrast to the tunes that have come before it. Showcasing Diamond’s playful style, this jazz-focused arrangement is a masterpiece and sonic pleasure that exudes sophistication, thereby making it a refreshing interlude.

Longfellow Serenade is one of Diamond’s more well-known tunes from Serenade as it topped the charts upon release as the album’s lead single. As you listen, you’ll find yourself toe-tapping and head-bopping along to the addictively good rhythm. Be prepared, however, for Longfellow Serenade is also an irresistible earworm; one that will stay with you until you play the song again.

Yes I Will is a stunningly beautiful tune. It is Neil Diamond at his very best and is another hidden gem.

Reggae Strut adds a touch of Caribbean flair that adds a lighthearted vibe to the album. However, despite the infectiously fun groove, it does feel a little out-of-place when compared directly to the tonality of the former tracks.

The Gift Of Song is a perfect closer; one that also compels me to listen to the album again for Serenade can seldom be listened to once. As has been the case throughout the entire album, the understated arrangement, primarily comprised of piano and strings, ensures that Diamond’s sensational vocals are paramount within the mix. It, really, is a gift to music lovers the world over.

Serenade is a masterful collection of songs that highlights Diamond’s versatility as a songwriter and performer. The album’s balance of introspective ballads, playful diversions, and lush orchestration creates a cohesive yet dynamic listening experience; one that stands as a timeless testament to this master singer-songwriter and is a must-listen for dedicated and casual fans alike.

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Bee Gees – Mr. Natural (Album Review)

When you think of the Bee Gees, Mr. Natural is likely not an album that instantly comes to mind. Still, the more you listen to this classic release, the more you realise that it’s one of the greatest hidden gems in not only the Bee Gees’ illustrious career but in all of recorded music history.

Released in 1974, Mr. Natural marks a transitional period in the group’s evolution, as they began exploring a more contemporary soulful sound that incorporated elements of rhythm and blues, funk, and rock. Interestingly, it’s not entirely representative of their earlier works nor the disco-driven vibe that would catapult them to superstardom and define an era. Mr. Natural sits precariously in between their old and new styles, yet there is connective tissue to be heard throughout and it’s thoroughly enjoyable and perfectly suited to the trio.

While Mr Natural didn’t achieve commercial success, it remains a pivotal album in the Bee Gees’ discography and demonstrates their willingness to experiment with new directions; an essential aspect should the world of music long to hear sensational disco-driven releases such as Main Course and Spirits Having Flown.   

As we’ll come to see, as we peruse the songs that make up this hidden gem, the music is but one part of the album experience for the album artwork, much like the music, grows on you the more you look at it. Initially, it appears a little drab and uninspiring, but it melds perfectly with the chosen selection of songs and adds to the overall album experience.

Of course, the greatest album artwork would be for nil if the music contained within was lacklustre and while it is anything but, the lossless CD-quality Apple Music stream also sounds exquisite. There are no glaring omissions to concern ourselves with and you’ll find a soundstage that is wide and enveloping, with enough space between each musical element, allowing every aspect of the recording to shine. While mastering is essential, and in this case, it is ideal, when music is recorded and mixed this well, then the only thing left to do is to grab a coffee, sit back, and enjoy.

Charade isn’t an ideal opener, despite being a lovely ballad. The problem is it lacks a hook, one that will draw you into the music and the album itself. It isn’t, however, until you play the album multiple times that you start to appreciate Charade for its gentle yet melancholic melody that evokes some of the Bee Gees’ earlier 60s-styled recordings.

Throw A Penny introduces a more contemporary, soft rock-influenced sound, building momentum with its smooth groove and layered production. I can’t help but wonder if Throw A Penny would not have been a better opening. Nevertheless, it’s an exceptional song and the shift between the slower delicate verses, and the slightly more upbeat chorus that blends elements of R&B and Soul, is simply exquisite.

Down The Road flows seamlessly from Throw A Penny yet smoothly transitions the mood to that consisting of a bluesy, rock-and-roll vibe. Add to that the carefree swaggering groove, with a lively beat, and you’ve got yet another exceptional hidden gem from the Bee Gees.

Voices shifts the tone with its eerie slow-burning arrangement that makes me immediately think of songs such as Massachussetts and New York Mining Disaster 1941. To say that Voices is a masterpiece would be a just statement for it’s a magical song.

Give A Hand Take A Hand is an uplifting soulful ballad and while the Bee Gees’ vocal prowess is not a point of contention, the vocal skill heard here is second-to-none as Barry Gibb has rarely sounded better. Subsequently, this vocal-driven number is a standout from Mr. Natural and another of those hidden gems that really need to be appreciated for the hits are one thing, but Give A Hand Take A Hand is musical gold.

Dogs will captivate you with its fluid melody, particularly throughout the verses and chorus. Additionally, that mid-tempo shift in the bridge is pure genius. Not to sound like a broken record, but given Mr. Natural was all but ignored when released, it’s songs such as Dogs that need to be shared with fellow music lovers for casual fans of the Bee Gees have no idea of the exceptional music they’re missing out on.

Mr. Natural was an interesting choice as the title track as it’s a solid song with an infectious groove and funky bassline, but it’s most certainly an album-only tune, despite being released as the album’s first single. It just doesn’t hold one’s attention as much as many of the other songs on the album do.

Lost In Your Love slows the tempo down again with this delicate ballad, offering a tender moment. The arrangement is sparse, allowing Barry’s magnificent vocals to take the spotlight, thereby ensuring that Lost In Your Love is another memorable experience.

I Can't Let You Go has a killer riff, as the song brings an upbeat rock-oriented style to the record; one that melds perfectly with the Bee Gees’ overall style and harkens back to their origins.

Heavy Breathing continues the upbeat nature with this jazzy groove-focused tune that is perfectly suited to the era. If you’re not toe-tapping and head-bopping to this number, you’re listening wrong for its rhythmic gold with some exceptional musicality, particularly from the brass section to the ripper guitar licks. The bottom line is that Heavy Breathing is one Bee Gees song that should not be overlooked.

Had A Lot Of Love Last Night is, arguably, the greatest closer, from any album, in the history of recorded music. Not only is it uplifting, but it’s reflective, as well as encouraging the listener to play the album again. It also happens to be the most beautiful song that the Bee Gees has ever recorded that almost no one has ever heard. Had A Lot Of Love Last Night is so beautiful that I’d even argue that it’s the best song the band ever recorded; it’s that impressive!

In conclusion, Mr. Natural was a crucial, though often overlooked, album in the Bee Gees’ discography. It marked a period of experimentation and transition, as the group adapted their sound in preparation for their later success in the disco era. The album’s blend of soulful ballads, rock, and subtle R&B influences helped set the stage for what was to come, and it remains a thoroughly pleasing listen for those curious about the Bee Gees’ musical journey, beyond their chart-topping hits.

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