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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ABBA – Waterloo (Album Review)

Released in 1974, Waterloo, ABBA’s second studio album, catapulted the Swedish quartet to international stardom. While the album owes its iconic status largely to its Eurovision-winning title track, Waterloo, the record as a whole offers a diverse mix of catchy melodies, heartfelt ballads, and playful storytelling that showcases ABBA's early range and charisma.

A somewhat confusing aspect, however, is the different linear structure of the album with few international releases retaining the original tracking of the Swedish release, where the Swedish version of Waterloo opens the album and the English rendition is the closer. While it could be argued as to which version is preferred, not to mention the further shifts with bonus material on the Deluxe Edition and Bonus Track Edition, I’ve chosen to share the album via the original tracking of the vinyl release as this has always been my preferred structure and is true to the original intent. It also replicates the 2020 vinyl reissue from The Studio Albums that I’m fortunate to own.

Speaking of the vinyl reissue, it is amongst the best-sounding reproductions that I’ve heard, thus far, of this classic album. Granted, I haven’t heard every release but the reproduction is subjectively perfect with a bold, yet enveloping, soundstage that will capture your attention from the very first note to the last. Of course, the question that must be asked is what my thoughts are regarding the Apple Music stream, a lossless Apple Digital Master. Let’s just say that it is the digital counterpart to the vinyl reissue and that unless you’re dedicated to the needle drop process, for digitising your records, you’ll be utterly thrilled with this digital edition for it offers everything the vinyl reissue does, minus the tactile aspect and the slightly more rounded (think warmer) tonality that is commonly associated with vinyl releases. The result is that no matter which of these two versions you choose to listen to, you’ll find yourself thoroughly captivated. I would, however, keep my distance from the Deluxe Edition; unless you wish to attain the additional songs and updated album artwork it offers, that is. My reasoning for this suggestion is that I find it too shrill and fatiguing to listen to. The chosen mastering doesn’t encourage the music lover to turn the volume up and each time I listen to it I find myself wanting to turn the volume down. Naturally, your experience may differ, but let’s turn our attention to the songs that make up this historic release.

Waterloo (Swedish Version) is an upbeat and infectious pop anthem that blends rock and glam elements with ABBA’s signature harmonies. While presented here in ABBA’s native Swedish language, it’s so compelling that it really doesn’t matter which version you appreciate more for the Swedish Version is the ideal opener to this classic album.

Sitting In The Palmtree has a tropical flair and carefree vibe. Its quirky charm makes it a hidden gem, but it’s also quintessentially ABBA as their lighthearted musical style shines throughout.

King Kong Song continues the playfulness with this irresistible rock number. Blending a mix of hard rock guitar riffs, eccentric vocals, and an overall upbeat styling, King Kong Song isn’t merely a novelty track but one that is ideally positioned in the era while keeping the core of ABBA’s pop sensibilities intact.

Hasta Mañana offers a more mellow moment with Agnetha on lead vocals, delivering a tender ballad that is one of ABBA’s greatest tunes and one that many casual fans have likely never heard.

My Mama Said is another exceptional tune that hasn’t received the recognition it deserves for the funk-driven number, shifting vocal style, and the overall mix gives the song a sense of maturity and introspection showcasing ABBA in a different light to their more lighthearted tunes.

Dance (While The Music Still Goes On) is a strong contender for ABBA’s first true foray into a dancefloor-focused song. Featuring a captivating melody and lush harmonies, Dance (While The Music Still Goes On) is thoroughly enjoyable; even if it isn’t a standout from the album. Of course, for an album to be exceptional, all songs need not be a hit, for it is the combination of all elements that ensures an album is a worthwhile experience.

Honey, Honey is a sweet and flirtatious pop song that blends ABBA’s knack for catchy hooks with lighthearted lyrics. With its infectious rhythm, sparkling melodies, and sing-along chorus, there’s little doubt as to why this track became a fan favourite as it captures the essence of ABBA’s early style.

Watch Out sees ABBA venture into rock territory once again, this time with a hard-edged song featuring Björn on lead vocals. While not known for their rock songs, ABBA has always impressed when edging towards this styling for the aggressive guitar riffs and energetic pace contrasts nicely against the pop sheen of other songs from the album.

What About Livingstone? returns the album to a whimsical style with this upbeat number. Featuring a light, bouncy rhythm, What About Livingstone? gives music lovers more of the styling that would ultimately make ABBA a household name. No matter how many of us appreciated their more polished numbers, there’s something extremely compelling about these playful kinds of tunes as they make you smile each time they’re played.

Gonna Sing You My Love Song is one of the more tender and soulful tracks on Waterloo. While it may be lacking the immediate hook of some of the album’s other songs, it stands apart for its emotional resonance and is another of ABBA’s hidden gems. Of course, when an artist such as ABBA has such an incredible back catalogue of music, some tunes are destined to be overlooked, but Gonna Sing You My Love Song shouldn’t be one of them for it is one of ABBA’s greatest recordings.

Suzy-Hang-Around is another of ABBA’s lighthearted numbers to feature a gentle melody and subtle arrangement. It’s most certainly an album-only tune, but as mentioned earlier, an album experience is the sum of all its parts, not just a couple of hit songs.

Waterloo (English Version) is the ideal bookend closer to the album as it encourages me to play the record again as Waterloo is one album that can be seldom listened to once.

ABBA’s Waterloo was a pivotal album in their career, showcasing the band’s diverse musical abilities and their growing confidence as performers and songwriters. With a mix of jubilant anthems, tender ballads, and experimental rock numbers, the album laid the foundation for ABBA’s future success. Yes, Waterloo will forever be linked to their Eurovision triumph, but the album contains hidden gems that highlight ABBA’s evolution from a regional pop act to international superstars. The bottom line is that Waterloo is a fun, vibrant, and eclectic record that has stood the test of time.

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Julio Iglesias – 1100 Bel Air Place (Album Review)

Released in 1984, Julio Iglesias’ 1100 Bel Air Place marked a significant milestone in his career and established him as a global pop icon. Showcasing his signature romanticism, primarily from an English-language perspective, 1100 Bel Air Place became a worldwide phenomenon selling over 9 million copies.

Featuring collaborations with prominent artists of the time added to the crossover appeal. However, when an album is recorded and mixed this well, success is most certainly the culmination of all elements. That said, the mastering, of different versions, is a point of contention for the Apple Digital Master is a little smoother and more laid back. At the same time, the 2006 CD remaster is louder and more forward, offering fans a more lively presentation. There is no doubt that fans will be divided over the editions, especially considering one version is not categorically better than the other.

If I were forced to choose one of the aforementioned versions, it would be the CD remaster as the Apple Digital Master can sound a little too concealed, in places, as a result of mastering decisions. Naturally, the core performance remains, regardless of how you choose to listen to the album, and perhaps this is why Sony Music has decided to keep various editions on Apple Music so that listeners can decide for themselves. Nevertheless, by utilising tone controls, the remaster can be dialled in extremely closely to the sonic presentation of the Apple Digital Master. Hence, it is really up to you as to which version you prefer.

While I can appreciate both masterings, I do wish that each album would have a definitive master as I find comparisons to be frustrating and fatiguing, thereby taking away from the magic of the music itself. With that in mind, dear reader, I am going to share the 2006 remaster with you, but know that either version is readily available on Apple Music if you search for the album.

All Of You (with Diana Ross) is a beautiful opening track that sets the tone for the music that’s about to come. While I’m not in awe with the introduction, particularly Ross’ ad-lib vocal, as the song proceeds through the verses and then to the chorus it comes into its own and is simply magnificent with an enchanting melody and lush orchestration that perfectly complements the vocal styles. All Of You was also, strategically, included on Ross’ 1984 release, Swept Away; a perfect collaboration technique as it allowed fans of each artist to experience the duet without having to purchase an album they may not have been enamoured with.

Two Lovers is one of Iglesias’ most heartfelt performances. The slow build is utterly exceptional and the soft rock feel blends perfectly with Iglesias’ usual balladry to create an extremely compelling tune. While Two Lovers wasn’t released as a single, it should have been for I believe it would have topped the charts worldwide.

Bambou Medley introduces a tropical flair to the album that showcases Iglesias’ multilingual abilities. While this medley brings a light-hearted, fun moment to the album, offering a change of pace from the more emotionally intense tracks, it isn’t a style that I believe encompasses Iglesias’ musical talents.

The Air That I Breathe (with The Beach Boys) is a cover of Albert Hammond’s 1973 masterpiece, but it’s most likely that The Hollies' exceptional 1974 release is the one that many music lovers will remember. Regardless, this classic tune has been covered by some of the greatest musicians the world has ever known and this rendition by Iglesias and The Beach Boys doesn’t disappoint. They not only paid homage to the original but ensured this newer composition was memorable. As you listen to Iglesias’ heartfelt rendition, the nuanced delivery of his lead vocal will touch your soul. Add to that the appealing harmony delivered by The Beach Boys and you’ve got a lush and dramatic rendition of a classic tune that will remain in your thoughts long after the album has finished playing.

The Last Time is a lovely smooth mid-tempo pop tune with a slight jazz influence. Iglesias’ vocal delivery is calm and restrained, bringing an air of wistfulness to the track, but it’s the combination of all elements that makes The Last Time one of the most stunning songs from the record.

Moonlight Lady injects a Latin flair into the album with its rhythmically vibrant melodies. The infectious groove makes it difficult to sit still and you’ll find yourself toe-tapping and head-bopping along to this most beautiful tune that draws inspiration from Iglesias’ Spanish roots.

When I Fall In Love (with Stan Getz) was a perfect choice for this landmark record as the legacy of this song is nothing short of astounding. This interpretation retains the song’s timeless appeal, with Iglesias adding a level of warmth and sincerity that makes his rendition unique. Add to that Getz’s magnificent performance and you’re left with one of the most pleasant songs ever recorded.

Me Va, Me Va is another song that sees Iglesias return to his Latin origins as this lively upbeat number has an infectious energy that will see you on your feet dancing along to the addictive rhythm. It’s thoroughly enjoyable, and perfectly positioned within the tracking of the album, as it gives a brief burst of excitement and is the quintessential album-only tune.

If (E Poi) is a bilingual track, blending English and Italian, but wasn’t originally intended to be when written by singer-songwriter David Gates and made famous by Bread. Nevertheless, If (E Poi) is a lovely ballad with a tender melody that works perfectly with Iglesias’ vocal style. The language switches are done so seamlessly, that you likely won’t notice, but it adds depth and elegance to the song. Granted, it might irritate those of you who appreciate the human vocal for its literal interpretation, but for those of us who consider the vocal to be akin to another instrument in the mix, this interpretation is simply magnificent.

To All The Girls I've Loved Before (with Willie Nelson) is a cover of the Albert Hammond classic. As lovely as the original was, Iglesias and Nelson took the song and made it their own. The result of this collaboration was a chart-topping hit across the globe and it’s fair to say that it’s the best rendition, to date, of this exceptional song.

Bonus Track

I Don’t Want To Wake You is frustrating as the album’s original linear structure was flawless. Nevertheless, I Don’t Want To Wake You is a lovely tune, even if it doesn’t add anything to an otherwise perfect album. While bonus material encourages people to purchase reissues, and I can appreciate the appeal from both the artist/label and fan perspectives, I do wish they’d come on a separate disc or be released in a separate compilation for my aim is to always appreciate the album in its original linear structure. That said, I Don’t Want To Wake You closes the 2006 remaster nicely and compels me to play the album again.

There is no doubt that 1100 Bel Air Place was a pivotal album in Julio Iglesias’ career, cementing his status as a global star. It was, however, the blending of pop ballads, Latin influences, and collaborations with iconic artists such as Diana Ross and Willie Nelson that gave the album its broad appeal. As it pertains to 1984, it is one of the very best albums released, but it’s also a highlight of the 80s as a whole and is one of the most beautiful records released in all of music history.

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Joe Jackson – Body And Soul (Album Review)

There are albums and then there is Body And Soul; a masterpiece in every sense of the word.

Released in 1984, Joe Jackson’s Body And Soul is amongst his finest recordings and is one of the greatest albums ever released. With a blend of jazz, pop, and Latin influences, Body And Soul showcases Jackson’s continued evolution as a songwriter and arranger. The album’s sound is heavily inspired by big band jazz and classic pop orchestration, giving it a unique and compelling presentation. Body And Soul is, ultimately, so diverse that to pigeonhole it into a particular style or genre would be to do it a disservice for this is a timeless classic that sounds as fresh today as it did upon release.

Striking is one way to put it for the music isn’t the only aspect of this release to impress. Yes, I’m referring to the cover art and the boldness of the simple, yet utterly perfect design. Jazz fans will likely point out that the concept is hardly original as it emulates Sonny Rollins’ 1957 release, Sonny Rollins, Vol. 2, but imitation is the greatest form of flattery and Jackson pulls it off. Of course, had it not been for such an extraordinary collection of music, one could suggest that Body And Soul’s artwork wouldn’t be nearly as endearing, but when the music complements the artwork so well, the combination is the very embodiment of the album experience.

Of course, no matter how exceptional the artwork is, it is for nil if the recording, mix, and mastering of an album are lacking in any way. Body And Soul doesn’t disappoint, in that area, as it’s a textbook example of how to properly produce an album. Every element in the mix is perfectly positioned and the sonic reproduction is heavenly. Yet, I’m not referring to the numerous audiophile-grade editions that have been released, as I have not heard them, for I am simply referencing the Lossless Apple Music stream.

Yes, dear reader, the Apple Music stream is what I would consider to be perfect. So much so that when listening to this edition, I don’t feel that I’m missing out on anything, sonically, and therefore seeking out an SACD or Vinyl release seems quizzical, outside of the ownership and tactile aspects, of course. That isn’t to say that there aren’t sonic benefits, or differences, but it’s nice to know that the stock-standard CD-quality stream is exquisite. If nothing else, it ensures that all music lovers, regardless of how they wish to appreciate their music, can hear an exceptional version of this classic album.

The Verdict opens the album with flair and a dramatic brass section that sets the tone for the orchestral ambitions of Body And Soul. Jackson’s vocal is stunning, especially as it's positioned atop the piano backing before the lushness of the crescendo enters the mix. Subsequently, the verdict on The Verdict is that it’s a magnificent tune and an ideal opener for this legendary album.

Cha Cha Loco has a playful Latin element that is both lively and energetic. While different in style to The Verdict, the transition is seamless and the interplay between the musical bed and vocalists makes for a buoyant, danceable track.

Not Here, Not Now slows the tempo slightly with a ballad that is both reflective and melancholic in tone. The arrangement is subtle yet effective, with a soft piano, muted instrumentation, and a world-class brass solo that accompanies Jackson’s vocal delivery and can be best described as heavenly. Music doesn’t get much better than this and Not Here, Not Now is, without a doubt, one of Jackson’s greatest recordings.

You Can't Get What You Want (Till You Know What You Want) picks up the tempo with a jazz-funk vibe. The groove is infectious, driven by a punchy bass line and vibrant brass riffs, as well as some incredible vocal techniques that culminate in an irresistible song. Again, as is the case throughout the album, the sonic shift shouldn’t work but the album’s linear structure has been considered so thoroughly that this post-disco number is the perfect counterpart to the more sombre Not Here, Not Now.

Go For It continues the exploration of jazz with an upbeat frenetic energy, yet it’s the Motown-styled cues that are just as notable as the driving percussion and energetic brass. Add to this the urgency in Jackson’s lyrical delivery and you’ve got a song that is lively and a perfect album-only number that drives the record forward.

Loisaida stands out for its atmospheric qualities, with a moody, almost noir-like arrangement that is highly compelling. Yet, the absence of lyrics doesn't detract from Loisaida as the instrumental bed evokes imagery and emotions as only the greatest instrumental songs are capable of.

Happy Ending (feat. Elaine Caswell) offers a lighter, more pop-oriented sound with catchy hooks and upbeat rhythms. When you listen, in conjunction with the other songs on the record, Happy Ending feels like a departure from the album’s overall style, yet it’s the perfect tune at this point in the album’s sequencing. The bottom line is that it’s just a fun little duet with a killer chorus.

Be My Number Two is one of the greatest ballads that has ever been recorded. The stripped-back arrangement helps in this regard, allowing Jackson’s vocals to take centre stage for his voice is tender, heartfelt, and resonant throughout. While the entire album is flawless, when you have songs that are as beautiful as Be My Number Two, you know that you’re listening to something that can only be described as a masterpiece; an overused statement, granted, but one that most certainly applies to this magnificent tune.

Heart Of Ice starts delicately and slowly builds into a powerful orchestral arrangement that’s a perfect album closer; one that will either compel you to play the album again or contemplate the music you’ve just listened to. While much of the song is sans lyrics, once Jackson enters the mix, as almost an afterthought, it culminates in what, upon reflection, can only be described as pure perfection.

Overall, Body And Soul marks a high point in Joe Jackson’s career. The intricate arrangements, varied influences, and strong songwriting make it a standout release from the 80s. Jackson’s mastery in blending jazz, pop, and Latin styles results in an album that feels timeless, making it a compelling and rewarding listen. Not only is Body And Soul one of Joe Jackson’s most revered but it’s amongst the greatest records in all of recorded music history.

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Billy Ocean – Suddenly (Album Review)

Released in 1984, Billy Ocean’s fifth studio album Suddenly is a masterpiece; one that not only has a plentiful supply of hits and addictively good rhythms, but one that even by today’s standards, and upon nostalgic reflection, sounds vibrant and fresh. It also happens to be the album that would catapult Ocean to international success.

By the time Suddenly was released, the post-disco era was in full swing. While Disco-styled music was quickly becoming a thing of the past, Disco elements, merged with R&B and Soul influences ensured that artists such as Ocean had a unique sound unlike anything that had come before. Yes, we could point to artists such as The Jacksons and Stevie Wonder and look at their 70s-era releases and suggest that they had already achieved a post-disco styling, despite being right in the middle of the movement, but suggesting that would detract from the wonder that is Suddenly, for this is one album that shouldn't be overlooked as it’s a landmark release of the 80s. Suddenly is so impressive that it plays like a greatest hits release for there isn’t a dull tune to be heard. While every song didn't have the potential to set the charts on fire, when the linear structure of an album is this strong, even the album-only tunes become essential recordings.

While songwriting and the musical style were a crucial element in the success of Suddenly, and its corresponding single releases, the recording, mix, and mastering are second to none. Despite being a multi-million seller, Suddenly has received minimal attention post-release. It’s as if the now-defunct Jive Records (distributed, currently, via Sony Music Entertainment) forgot that they had released the record. However, while it is difficult to come by on physical formats, unless you seek it out on the secondhand market, the one benefit of a lack of interest from the record industry has meant that the existing mastering remains untouched.

While the Discogs listing states it as being remastered, and it would have needed to have been for the label to include the bonus tracks for the Expanded Edition, there’s no indication as to who had undertaken the remastering process. Regardless, they’ve done an exceptional job for the sonic qualities of the recording are so pleasing that you’ll simply become immersed in the music. Seriously, take a listen to the lossless Apple Music stream (a CD counterpart of the 2011 reissue); it’s a sonic marvel. Ocean is front and centre and the soundstage is as deep as it is wide. The result is you’ll be enveloped in music as the songs won’t merely emanate from your speakers. Every musical aspect is given room to breathe and the result is that Suddenly is one of the best-sounding records from the 80s.

Caribbean Queen (No More Love On The Run) is a stunning album opener and if the rhythm doesn’t get you, that saxophone will; thank you, V. Jeffrey Smith. With a catchy synth riff and pulsating beat, embodying the essence of the 80s, there’s little wonder as to why Caribbean Queen became not only a massive hit but Ocean’s most successful. A little of Michael Jackson’s influence can also be heard, in the musical backing, so fans of his will likely find this song extremely compelling.

Mystery Lady slows the tempo slightly but don’t let that deter you for this mid-tempo number has a smooth, jazzy feel, and a laid-back rhythm that is Ocean 101.

Syncopation is, perhaps, one of the most interesting song titles one could come up with, yet it works perfectly for Ocean’s pronunciation style. That aside, Syncopation is a beautiful tune that, despite being an album-only number, is a contributing factor as to why Suddenly is such an incredible album experience from start to finish.

The Long And Winding Road is a Beatles’ cover from their 1970 release Let It Be and is one of the most beautiful interpretations of the song I’ve ever had the pleasure of hearing. It remains true to the original, but with Ocean’s style and a touch of the 80s to go along with it for good measure.

Loverboy is an atmospheric dream come true, as it applies to the song’s introduction, for the multi-layered presentation is superb. Ocean’s vocal is exceptional here, particularly during the bridge, but it’s the chorus and the musical accompaniment that sets Loverboy apart from the other songs on the album. The driving rhythm, with its mixture of pop and rock stylings, will quickly meld with your soul as this is one catchy tune.

Lucky Man has a somewhat relaxed groove, following Loverboy, but this mid-tempo number with its smooth bassline and subtle synth elements is a thoroughly pleasing tune. It’s a quintessential album-only number and all songs need not be a standout for an album, such as Suddenly, to be exceptional.

Dancefloor will compel you to get on the Dancefloor for despite having two left feet, this song permeates my soul with its funky rhythm.

If I Should Lose You is a lovely mid-tempo album-only tune that further confirms Ocean’s exceptional vocal talents. While the backing musical bed is fundamental in its approach, its arrangement is thoroughly pleasing to the senses, thereby allowing you to lose yourself within the music.

Suddenly is a true masterpiece. Ocean’s vocal prowess is on display and his tones are so smooth, and recorded so well, that you’ll feel as if he is in the room with you, singing this beautiful ballad. It’s an ideal closer, one that offers reflection whilst also encouraging you to play the record again as Suddenly is one album that is easily put on repeat for it’s nothing short of exceptional.

If there was one album that could adequately showcase 80s-era post-disco pop to a new music lover, Suddenly would be that album. Impeccably recorded with a series of songs that meld together beautifully, Suddenly is not only one of the greatest albums Billy Ocean ever recorded, but is amongst the best albums released in the 80s; particularly in 1984. If you don’t have this album in your music library, ask yourself why not as it’s a timeless classic.

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