Kansas – Monolith (Album Review)

A soaring progressive rock masterpiece that is intensely underrated is a good way to describe Kansas’ sixth studio album Monolith. For decades, fans have been divided when it comes to this 1979 release for it heralded a slight shift from Kansas’ prior works; one that some would suggest was a step too far. I, on the other hand, see Monolith as a natural progression and one of the albums that would influence the hair metal, ballad-driven, 80s era. 

Visually, the album artwork is perfectly aligned with Kansas’ preceding and future output and only second to Point Of No Return. It possesses an imaginative quality that allows the listener to gaze upon the artwork and ponder how, or if, it is related to the music while creating their very own fantasy.  

Sonically, the lossless Apple Music stream is sufficient but I’d be lying if I didn’t say that Monolith requires a remaster. The sound is arguably well-balanced, but it’s a little thin for my liking and you, like I, will likely find a need to adjust the EQ or tone controls on your playback equipment to get the most out of the recording. That said, a thinner sound was applicable to rock bands throughout the era, and even into the 80s, so your opinion may differ from my own. The 2020 vinyl reissue on Music On Vinyl may address this issue but that largely depends on the mastering that was used for this particular reissue. At any rate, I have yet to acquire that version so I’m not able to comment further. 

On The Other Side is a masterstroke as it pertains to the opening song of an album. The guitars soar, the bass slides in perfectly, and the drum backbeat is utterly amazing before Steve Walsh’s vocal enters the mix and culminates in an incredible classic rock tune that is up there with the best rock music ever recorded. That said, Robby Steinhardt’s violin and anvil performance stand out here, ensuring that the song itself, and Kansas’ overall sound signature, is progressive in that this isn’t just another generic rock album. 

The music video is an excellent live performance of the song, but I do wish that they had just got straight into the performance itself as the introduction is utterly ridiculous. Similarly, the video ends rather abruptly rather than fading out, and the multi-window editing style disappointingly becomes a recurring aspect that ultimately detracts from the music itself; a common style from the era, but one that has aged badly. 

People Of The South Wind adds incredible energy to the album and while it isn’t the strongest song from Monolith, it’s a solid tune with some killer guitar licks, particularly in the solo, that will likely appeal to many. People Of The South Wind most certainly was radio-friendly, with a pop/disco-vibe, that is true to the times but would likely have been declared a sell-out by their hardcore fan base.

The music video for People Of The South Wind thankfully does away with the finicky edits, allowing the music and the faux live performance to remain undiluted. The result is a much more compelling music video than On The Other Side. Still, it ends abruptly and I hope that it is merely someone not paying due diligence when digitising the original tapes rather than that being the way the videos were ended. 

Angels Have Fallen opens with Steinhardt’s stunning violin, but it is the lyrical delivery from Walsh that truly captivates the senses as the song builds to its ultimate peak before returning to a more mellow tempo. It’s simply magnificent and is without a doubt one of the strongest songs on the album and in Kansas’ entire catalogue, but it should be noted that the mix is the pinnacle element here as every musical aspect is perfectly positioned in the soundstage. Angels Have Fallen is one of those songs that you can immediately connect with upon hearing it. That aspect is no more apparent than during the second half of the song where the vocals, guitar, and other musical elements bring the song to its soaring closing moments that will encourage you to turn the volume to 11. Phil Ehart’s drumming in this particular section is second to none proving that he is one of rock and roll's greatest drummers. 

How My Soul Cries Out For You picks up the tempo but flows perfectly from Angels Have Fallen with its signature progressive elements that do sound a little dated, but not in the detrimental sense of the word. You likely won’t seek it out on its own, but as an album track, I couldn’t imagine Monolith sans this tune. That said, the mid-song lull should have been reconsidered as it breaks with the flow of the music and makes me question if it was really necessary. There’s also an audible drop-off towards the end of the song; likely intentional as it sounds like the master tape was spliced and recompiled in the mixing phase and never corrected or adjusted. An irritating aspect, yes, but one that we can do nothing about. 

A Glimpse Of Home has a corny opening, upon modern-day reflections, but it’s an underrated sonic masterpiece so good that it makes me wonder how A Glimpse Of Home and Monolith, in general, was not better received for it has stood the test of time and is amongst some of the very best music released in 1979.

Away From You is a solid tune but it suffers from another quirky introduction that ages the song. Of course, the trite chorus structure doesn’t help either but it’s one of those moments where you have to accept it for what it is. 

As it pertains to the music video for Away From You, there isn’t much to say as it retains the faux live recording featured on On The Other Side and People Of The South Wind. A solid promotional video, yes, but not music video worthy. 

Stay Out Of Trouble, by comparison, is a killer tune. Perhaps the only questionable aspect is its shifting tempo; a stylistic choice that is suitable but becomes disjointed in the listener’s mind thereby making it difficult to select the best tempo to attach oneself to. Look, it’s progressive rock 101 but it may take a few plays to fully become engrossed in Stay Out Of Trouble. 

Reason To Be is a lovely ballad. Yes, I am one of those music lovers that adore ballads and don’t find them corny; even when they most certainly are. It is just that I often adore the vocal prowess of rock musicians and Reason To Be showcases just how good Walsh is as a vocalist and while some may disagree, I’d put him on par with any of the Eagles. It’s so soothing that it becomes the ultimate closing song as it both encourages me to listen to the album again and reflect on the music that I’ve just heard.

The music video for Reason To Be, however, is woeful and what is it with that wow and flutter in the audio, I can’t help but wonder if that is intentional or not, given that it has a metallic sound signature. Likely, it was simply on the original tape that was digitised by the record label and they never corrected it, but it really throws out the tuning of the songs for those who enjoy watching music videos. 

Overall, Monolith is sensational and the fact that it has been so underrated is a travesty for it is a remarkable piece of audible art. While some would disagree, I consider Monolith to be Kansas’ best album. 

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Bee Gees – Spirits Having Flown (Album Review)

Many would point to the Bee Gees as the kings of the disco era, subsequently typecasting them to that genre, but their diversity throughout their back catalog showcases that they were more than a bell-bottom-wearing flash-in-the-pan band. Spirits Having Flown was, after all, their fifteenth studio album but what the Bee Gees did better than anyone else during the disco era was to lean so completely into the style that there was no room for doubt as to their intentions and aspirations. The result is some of the very best pop music, with a disco vibe, ever recorded; particularly from 1979.  

Yes, the incredible Saturday Night Fever soundtrack, Children Of The World, and Main Course could also be regarded as some of their greatest works, but there’s something special about Spirits Having Flown that I’ve never quite been able to quantify. Perhaps it’s that it signalled, in retrospect, the end of the era for their 1981 release, Living Eyes was somewhat of a disappointment as the Bee Gees dramatically shifted their focus back to pop-styled music; a style they had not applied continuously since the 1974 release, Mr. Natural.

As it pertains to the sonic qualities of Spirits Having Flown, I’ve yet to be blown away. The music is extraordinarily good, as is the mix, and I never tire of the focus placed on Barry Gibb’s falsetto vocal, but the remastering heard on the lossless Apple Music Stream is merely adequate. Think of it this way, it’s not bad, not by any means, but it could be so much better. A minor contradiction, yes, but the remaster is a little too clean and sterile and thereby loses the emotive element. There is additional hope, however, as in 2020 a vinyl reissue was released to little-to-no fanfare; always a concern especially considering the status of the Bee Gees, but as I’ve yet to hear it, I will reserve any further comment until I actually obtain a copy and update this review. 

The album artwork is iconic, and subsequently picking up a vinyl copy is worthwhile for that very reason, yet I’ve never fully comprehended the red swath at the base of the album cover. What it represents is lost to me but it does strangely make the artwork stand out from the crowd; a key aspect when releasing albums in an era where the visual element was as important as the music itself.

Tragedy is not only a quintessential Bee Gees song, but it was the ideal choice to open the album on. Rhythmically charged, with some killer guitar moments, and arguably only beaten in that regard by Stayin’ Alive, Tragedy is one of their very best recordings and while the Bee Gees catalogue is extensive, traversing several styles and genres, few would argue that this song doesn’t belong in a Top 10 list of the best Bee Gees songs ever recorded. Magnificent!

Too Much Heaven is a majestic ballad with symphonic and intermingling vocal elements that prove just how essential it is to get the mix right. The orchestral musical accompaniment can’t be understated for it forms the overall sound of the song, but it is the combination of all elements, perfectly positioned in the soundstage, that makes Too Much Heaven a timeless masterpiece.

The music video is, for lack of a better term, perfect! Recorded in a studio environment, and also lacking the rhythm that made videos such as Stayin’ Alive so popular, it maintains an interest because it plays to the beloved harmonies of the Bee Gees. When watching the music video it also became apparent to me that they would have had to know, at the time of recording, just how well Too Much Heaven would be received for even the most self-critical person couldn’t deny a masterpiece was in the making. To say I would have liked to have been a fly on the wall is an understatement and I can only imagine how exciting it would have been to have been part of the Bee Gees’ inner circle during the recording process. 

Love You Inside Out is pure magic; it’ll get you on your feet, dancing, even if you, like I, have two left feet. Besides the rhythm, I long to hear Alan Kendall’s lead guitar work for his licks are incredible and while it isn’t the focal point of the music, the distortion, including the slide, in the chorus, is hypnotic. 

If you’re looking for a killer instrumental cover of Love You Inside Out, look no further than Arturo Tappin’s exceptional jazz-styled version from Inside Out. 

Reaching Out slows the tempo a little but it’s such a beautiful composition that the shift doesn’t detract from the overall flow of the album. While the initial verse structure can be a little slow, once the song reaches the chorus it really takes off and becomes a solid tune in and of itself.

Spirits (Having Flown) gives us a break from Barry’s falsetto vocal, during the verses at least, thereby providing a vocal contrast that strengthens the song overall. It’s a solid title track but, not unlike Reaching Out, it is the chorus that takes this song to another level entirely.

Search, Find is a party starter with some great horns opening things up. The upbeat tempo makes it a great toe-tapper, but it is that bass guitar tracking that gets me every time. Search, Find very well could have been a Motown tune as it has that type of groove but, either way, this is one song that will have you moving towards the dance floor. 

Stop (Think Again), in comparison to Search, Find, is a little sombre but I’d be lying if I didn’t say how much I enjoy this song. For me, it’s the musical elements that make the song. The soundstage is three-dimensional and you feel as if you’re in the middle of an incredible performance that is for you, and you alone. From a production standpoint, it could be argued that Stop (Think Again) is the pinnacle from Spirits Having Flown for as good as the other songs are, they aren't as ethereal.

Living Together picks up the tempo and is most certainly a 70s tune; but who doesn’t like a little nostalgia, especially when it’s this good! 

I’m Satisfied is one corny love song, but it’s a fun little tune that works well within the album structure. I couldn’t imagine Spirits Having Flown without it. 

Until is a lovely vocal ballad but is considerably different from the rest of the songs on Spirits Having Flown and therefore stands out like a sore thumb. That said, Until allows the listener to reflect on the album and the tune itself thereby making it an intriguing closing song. I don’t, however, like the abrupt ending as it seems it would have been better to taper the volume off towards the end of the composition.

While there isn’t a B-side to be heard, one could argue that there is a little too much Barry on vocals throughout. Yes, the harmonies are there, and Robin and Maurice are present, but Spirits Having Flown, like no other Bee Gees album, is most certainly a Barry-first record. Depending on your perspective that could be a blessing for his falsetto vocals certainly deliver an unmistakable signature sound, but as incredible as the entire album is the Bee Gees, in my mind at least, is all about the interweaving harmonies. Regardless, Spirits Having Flown is a masterpiece from the very first note and worthy of inclusion in every music lover’s library.

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KISS – Dynasty (Album Review)

What a thunderous record! 

Okay, so in 1979, KISS had to contend with the monster that was AC/DC’s Highway To Hell but if there is one truth to be said it is that rock certainly wasn’t dead in the late 70s despite the disco boom. KISS certainly played into the disco rhythm with Dynasty, as it’s a little more pop-driven than their preceding output, thereby making it more accessible to a broader audience, but you’ve got to be listening with disco in mind to pick up on it otherwise it comes across as a rhythmic hard rock masterpiece. 

Dynasty has always divided fans and if nothing else it has kept the album at the forefront of the KISS back catalogue because of this divisive nature. Still, KISS were well and truly in their stride when they released Dynasty, their seventh studio album, and while others may disagree, I feel Dynasty is one of their best albums and one of the best records released in 1979. 

As to the quality of the recording, mix, and mastering; it’s astonishingly good! The soundstage is wide and immersive with a warm tonality and slight boost in the low-end while remaining crystal clear across the entire sound spectrum with just enough distortion to make Dynasty really rock. While this is one album that should be in every KISS fan’s vinyl collection, the lossless Apple Digital Master, on Apple Music, is the very definition of perfect. Don’t get me wrong, I love vinyl, but when a stream sounds this good it’s difficult to look beyond it for you never quite know what you’re going to get with used or new vinyl. A double-edged sword, yes, but it’s a serious consideration that each music collector must ponder as the cost of vinyl continues its upward trajectory. It is with this in mind that streaming, when done right, can be the perfect accompaniment to your physical music collection. The trick is to download albums to your device so that it plays seamlessly and is uninterrupted by the instability of the Internet. Doing so gives you a sense of having the record; a psychological anomaly perhaps, but one that allows me to feel as if the digital collection has more permanence.

I Was Made For Lovin’ You is iconic with Gene Simmons’ bass tracking rhythm, Anton Fig’s driving drum beat, Ace Frehley’s killer guitar licks, and Paul Stanley’s falsetto vocal. It’s a perfect (KISS) song and while some may point to its disco-driving groove, I class it as pure rock and roll. Admittedly, KISS didn’t help issues with the disco-style music video, but as a fan of both genres, I consider this merging to be nothing short of perfection. It was, after all, representative of the era. 

2,000 Man has too much of a Cheap Trick sound, particularly with regard to the vocal echo, for it to be fully KISS. Frehley does an adequate job on vocals, but I’ve never really been a fan of his vocal presentation, except perhaps on Hard Times, subsequently preferring Stanley and Simmons on lead vocals. Yes, KISS’s 2,000 Man is more rock and roll than the original Rolling Stones recording; but it was far from a stellar song from the Stones so it’s a wonder that KISS decided to cover it. 

Sure Know Something is rhythmic gold. While I’d suggest that it isn’t Stanley’s greatest vocal performance, it sure is compelling.  

Dirty Livin’ is the only Peter Criss song on Dynasty and what a killer tune it is. Criss’ vocal melds perfectly into the mix and is understated thereby allowing the music to take prime positions and therefore not allow the listener to be distracted by the lyrical intent. That said, it would be interesting to hear a mix with Criss’ vocal sitting atop the musical bed. Regardless, Dirty Livin’ is a great song that is worthy of inclusion here.

Charisma has a killer rhythm and is, without a doubt, one of my favourite KISS songs. Simmons recorded a masterful dreamy vocal performance and those guitar licks are utterly perfect.

Magic Touch is a solid rock tune but isn’t as strong as many of the other songs from Dynasty. It’s as if it’s missing something and that dip, mid-song, in tempo and drive takes the listener out of the mix somewhat. Magic Touch is akin to a highly polished demo but it just needed a little boost to make it great. It would be interesting to hear it sped up, just a little, to see if that shifts the song to a bolder, more KISS-like approach. 

Hard Times is a far better Frehley performance than that which was heard on 2,000 Man. The gruffness, and distortion, throughout the chorus in both his vocal and the accompanying musical backing make Hard Times a killer tune and one of the best KISS songs of all time.

X-Ray Eyes is a fun tune and is a perfect album track. However, you’re unlikely to seek it out on its own for it isn’t amongst Simmons’ greatest and I’d argue the tempo is a little too slow to be truly great and I would love to see an additional kick drum element placed in the mix. 

Save Your Love closes out Dynasty with a drilling rhythm that compels me to play the album again. Yes, as with a number of the songs on Dynasty, it may never make it to a compilation, but songs like Save Your Love are the backbone of KISS and ensure that the album is notable for more than a couple of killer tunes. 

From start to finish, Dynasty is hard rock at its very best. The firestorm of rhythm, followed by an incredible mix and lyrical styling makes this one of the greatest KISS albums of all time with memorable and engaging tunes. While we can all lament Gene Simmon’s suggestions that rock is dead, I find it hard to argue with his position when listening to classic KISS albums such as Dynasty for no musician makes hard rock music like this anymore. 

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Neil Diamond – September Morn (Album Review)

Released in 1979, Neil Diamond’s thirteenth studio album, September Morn, is somewhat tarnished by the theist perspective of The Good Lord Loves You and the Caribbean/reggae-styled cover of I’m A Believer. Yet, even with these missteps, September Morn is a magnificent release with the title track and The Sun Ain’t Gonna Shine as the draw-cards that hold the album together, thereby permitting it to become one of my favourite albums from the era. 

Disappointingly, September Morn has remained largely out-of-print for those of us who like owning music physically, although there was a CD reissue by Capitol Records in 2014. While some may argue that September Morn isn’t one of Diamond’s greatest releases, I’d question that assumption for it was successful upon release selling over a million copies and it, therefore, surprised me that its 40th Anniversary came and went without a whimper. 

One would have expected a short-run vinyl reissue at the very least but it simply wasn’t forthcoming. What has been, however, was a remastering of Diamond’s back catalogue in 2016 whereby 36 albums, including this one, were remastered for iTunes (formally Mastered for iTunes [MFiT], now Apple Digital Master) and HRA (High-Resolution Audio).  All albums were thankfully remastered by Diamond’s longtime audio engineer, Bernie Becker, from the original source tapes and they sound simply magnificent with clarity and crispness that isn’t overly shrill for the mid-range and low-end has been finely crafted to ensure that when you listen to September Morn in (Hi-Res) Lossless, via Apple Music, you’ll become fully immersed in the music and likely won’t long for any other edition. In fact, from a sonic perspective, the only thing a vinyl re-issue could add to this remastering would be the analogue warmth that’s common with the format.

September Morn is worthy of being the title track. It’s classic Diamond; a simple vocal and piano-focused composition that builds progressively. Diamond & Gilbert Bécaud certainly penned a masterpiece. While September Morn is somewhat wistful, I choose to look at it from a positive perspective as I don’t feel the intent was to focus on what was but instead to reflect on a glorious moment of life. Nevertheless, for some, it may be too forlorn. 

Mama Don’t Know is a little more upbeat than September Morn, but it flows seamlessly from the title track. It’s a killer tune with some interesting rhythmic instrumental aspects and Diamond’s vocal delivery is perfect; especially with regards to the pitch increase at the end of the word whole. 

That Kind, again, shifts the tempo but it doesn’t disrupt the flow of the album. It’s a beautiful song and while the composition may be sparse, it amplifies Diamond’s exceptional vocal dexterity. 

Jazz Time is, pardon the pun, jazzy! There’s a solid tune to be heard here but it is closer to a musical interlude than a song in and of itself for the lyrical aspects are simply a repetition of the same three words; proving that sometimes less is more. It works, quite well, but isn’t a song that you’ll likely seek out, outside of the album format. 

The Good Lord Loves You is one of those songs that will drive agnostics mad. If you can look past the overly religious undertone of the song, it isn’t as corny as it initially appears. Yes, the chorus most certainly is but the verses are potent in the sense that Diamond is asking the listener, from all walks of life, to contemplate the negativity of society and the divisive nature of people the world over. With that in mind, one can appreciate The Good Lord Loves You on a different level, even though it’s a little preachy. 

Dancing In The Street is intriguing for its faux live recording adds to the style of the song and while it’s perfectly suited to Diamond, I do question if it’s a little too disco-driven. Yes, it was applicable to the era but I can’t help but wonder if Diamond could have turned it into a pop-rock tune, thereby making it even more suitable to his style. Admittedly, this rendition pays homage to the original Martha Reeves & The Vandellas Motown recording, but it does lose the horns which I feel are a trademark of the song. You may also wish to take a listen to Human Nature’s modernised recording; a truly wonderful rendition!

The Shelter Of Your Arms is a magnificent song with an incredible composition to boot. As a cover of the Sammy Davis original, Diamond’s interpretation has a slower tempo, with a bolder musical presentation, which makes it a stronger song than the original. Diamond’s recording is, in my mind, the definitive version of this classic tune. 

I’m A Believer is blasphemous for the original recording, by The Monkees, is a masterpiece. Why Diamond chose to record it, with a reggae-vibe, is a mystery. Yes, it’s his original composition, but this particular interpretation is a second-rate effort at best. It wouldn’t be the only time Diamond re-interpreted this classic, for it was also included on Dreams; a lovely acoustic-styled recording. He also recorded it in the original style to The Monkees and whichever version you prefer there is no doubt in my mind that they’re all superior to the recording featured on September Morn.

The Sun Ain’t Gonna Shine is the bookend to September Morn and I do wish that it had been the closing track for the album as I consider it to be stronger than Stagger Lee. I also consider this interpretation to be the definitive version of Bob Crewe and Bob Gaudio’s classic. Yes, there are other notable renditions but none come close to this exceptional recording. 

Stagger Lee is a solid toe-tapper with a swinging chorus and Diamond does an admirable job on this popular folk tune. While I still contend that it doesn’t close the album out as well as The Sun Ain’t Gonna Shine could have, it is far from the worst closer I’ve ever heard. 

September Morn from start to finish is excellent, even with the missteps noted above. Subsequently, September Morn is one of those albums within my collection that I can’t listen to just once for I find myself putting it on repeat several times before I’m ready to move on; an indication of a truly great album. 

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The Crusaders – Street Life (Album Review)

While jazz music has never been focused on commercial success, The Crusaders’ Street Life was not only a success in that regard but is also their creative pinnacle. Few jazz-based albums are as fluid as Street Life and this is one release that is amongst the best of what jazz has to offer. It’s also one of the best albums from 1979 with an infectious rhythm that captivates the music lover within. 

Originally billed as the Jazz Crusaders, prior to 1971, The Crusaders would release no fewer than 29 studio albums before Street Life. While new albums, post-Street Life, were released, they never quite captured the spirit that The Crusaders were renowned for. As has been the case throughout the years, once a peak has been reached it is often difficult for an artist to not only re-capture and re-infuse themselves but also reinvent their art into subsequent zeitgeists. It is with this in mind that makes Street Life such a monumental release for it speaks to the era, but like all great music, it has remained timeless and is as magnificent today as it was in 1979. 

For some reason that escapes my understanding, this seminal recording has remained out-of-print on vinyl since the mid-80s. Yes, it’s been remastered and reissued on CD, even with vinyl replica artwork, but for those of us who don’t wish to seek out a used copy, preferring to create our own memories with the music we love, this omission is frustrating. The lossless Apple Music stream is a lovely facsimile but depending on how you have your system configured, it can be a little shrill and fatiguing if you prefer to keep your EQ settings flat. Personally, I prefer a little boost in the low end and a slight reduction in the treble range as it best mimics the warmth that is closest to analogue reproductions but I acknowledge that many people, particularly with modern listening equipment, often lack an equaliser and will therefore not be so fortunate to be able to address this issue. Another problem, for those of us seeking the very best quality in music, is that there’s no indication via Apple Music if this is the 2014 remaster or an earlier CD mastering. This makes it difficult to ascertain its provenance and if the aforementioned CD is worthy of acquisition over the stream. Of course, this is a quibble that only a few will entertain but as we all know it’s the music that is the most important thing, so let’s take a look at the songs that make up Street Life.

Street Life is a pure masterstroke with exceptional vocals from Randy Crawford. It’s so good that I wish Crawford and The Crusaders had recorded an entire album together. Of course, if that had happened, Street Life may not have been as singularly spectacular as it is. From the smoothness of the opening notes, to Crawford’s soulful vocal, to the upbeat firestorm of rhythm, this 11-minute epic is utterly perfect. Yet, this original composition wasn’t my first experience of the song. 

In 1997, towards the end of my formative years, Quentin Tarantino’s Jackie Brown was released and along with it a killer soundtrack with one of the songs being Street Life; albeit a higher tempo, significantly abridged version, but I was intoxicated and it has remained in my consciousness ever since. The day I streamed the original, not realising that it was a Crusaders’ release, for the Jackie Brown soundtrack billed it as a Randy Crawford song, I was ecstatic. It was as if I had found the meaning of life, as ridiculous as that may sound. Nevertheless, let me give you an insight into the versions that I feel are worthy of listening to. 

Randy Crawford’s version from the Jackie Brown soundtrack is magnificent but I’d argue that the conciseness loses some of the magic that can be heard on the original recording. Yes, the core principles are there, but the focus of this edition is very much the vocal aspect with only a small musical interlude that is jazzy but can no longer be classed as jazz. Herb Alpert’s rendition, from Rise, is another beast entirely for it is condensed, and a little disco-driven, but thanks to Alpert’s exceptional trumpeting, it retains the soul of the song by comparison.  

If you’re after a live performance of Street Life, look no further than Randy Crawford’s performance from Live In Zagreb; a solid live performance only overshadowed by the original studio recording. While some may suggest checking out the 2012 performance with Joe Sample, it is too focused on improvisation. Granted that’s a trait of live jazz performances but it is too far removed from the original to be compelling for this listener. 

My Lady follows Street Life perfectly with a rhythm that isn’t entirely removed from the first track, thereby ensuring fluidity when listening in the album format. It’s less bold by comparison, as are the remaining songs on Street Life, but one must remember that the rest of the album is sans lyrics and it’s this musical focus that makes up The Crusaders’ greater catalogue. Yes, My Lady features some vocal harmonies but none are lyrical thereby making the human voice an instrument in the mix. Either way, this is an exceptional tune.

Rodeo Drive (High Steppin’) is a little lighter when it comes to the chosen style for its story is one regarding the glitz and glamour of the famed street. Of course, the way you interpret the song may differ but it’s always interesting to hear how musicians can make their instruments and compositions sing without the need for lyrics. That said, if they hadn’t titled the song as they did, the correlation likely wouldn’t be apparent so there’s a little confirmation bias at play here. Regardless, Rodeo Drive (High Steppin’) is Jazz 101.

Carnival Of The Night will get you on your feet if you’re not already toe-tapping, for its ability to involuntarily move your body is one of its most notable qualities. Plus, that interweaving soloing is out-of-this-world. A great song by anyone's standards. 

The Hustler shifts gears a little and is one song on this particular release that I feel is a little too forward in the treble range, thereby making it a more challenging listen without shifting the EQ settings. That said, The Hustler is the weakest song on Street Life but I couldn’t imagine the album sans this song and I never skip over it when listening via the album format. 

Night Faces is a lovely song to close the album on. Some will lament its overall styling whereby it has a jazz-club feel to it, but I prefer to look at it reflectively as it allows me to ponder the magnificence that has come before it. I rarely listen to Street Life without putting it on repeat, and Night Faces encourages me to listen to the album again, but it can also be the perfect track to close out a relaxed night of listening.

While individual songs are important for they tell a unique tale within themselves, Street Life is a fluid piece of audible art and as such while we can discuss the individual tunes this is one album that truly needs to be appreciated in the album format. Yes, the title track is worthy of any 70s, or jazz-inspired, playlist, but as each composition flows from one to the other we’re met with a flawless album that has not only stood the test of time but will remain one of the greatest jazz albums ever released. 

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Herb Alpert – Rise (Album Review)

Gone are the kitsch, but eye-catching, album covers of Alpert’s creative output with The Tijuana Brass for his solo works, which are equally exceptional, present a less flamboyant flair but just as you should never judge a book by its cover, Rise is one of the most energetically exciting releases of Alpert’s career and is without a doubt one of the best albums released in 1979.

Alluding further to the cover art for Rise, I find it to be stunning with full praise going to photographer Barry McKinley. The perspective vinyl record artwork behind Alpert, along with its lighting and the overall composition, is a work of art that is truly worthy of displaying; especially on vinyl.

While I, unfortunately, don’t own a copy on vinyl, the lossless Apple Music stream, an Apple Digital Master, is sonically magnificent. About the only thing that the vinyl counterpart would bring to the table, minus the larger artwork and the tactility of the format, is a further level of warmth and smoothness to the sound. That said, it really isn’t needed for Rise will have you toe-tapping and head-bopping throughout.

Some may lament the change in direction for there is a little less jazz and mariachi-styled music to be heard here but these styles aren’t missing entirely as Alpert has infused them with disco and rhythm and blues cues; a combination that likely appeals to a wider audience. There’s even a little soft rock to be heard throughout. On paper, it may appear to be a mishmash of creative ideas, particularly as the first half of the album is assigned to original compositions by Andy Armer, Herb Alpert, and Randy Alpert while the second side is a collection of covers, but the proof is in the listening as this is one album you’ll want to play again and again; it’s intoxicating!

1980 opens Rise magnificently, paying homage to Alpert’s core styling while simultaneously introducing new musical elements that set the tone for the entire album. 1980 is most notably transitional and in the best way possible for it becomes instinctive as you listen to interleaving styles that you’re about to hear throughout the rest of the album. Interestingly, 1980 wasn’t written with that intent for it had been earmarked as the official theme for the 1980 Summer Olympics in Moscow only to later be used, arguably more appropriately, for the FIFA World Cup in Mexico in 1986. Despite that, there isn’t a song that Alpert recorded that would have been a better opener for Rise. 

Rise was a Billboard No. 1 hit and a Grammy Award-winning song for Alpert and rightly so. Without a doubt, it’s the highlight of the album. Perhaps on a note of disappointment is the fact that Andy Armer and Randy 'Badazz' Alpert, despite being nominated, didn’t win a Grammy Award for Best Instrumental Composition; they truly deserved it! Rise is rhythmic gold with an incredibly immersive soundstage that will captivate your soul. 

While nothing can beat the original, Rise was sampled masterfully on The Notorious B.I.G.’s Hypnotise and covered beautifully by Glass Candy.

Behind The Rain slows the tempo a little, certainly throughout the introduction, but its sweeping sound will captivate the senses as it moves between musical influences including a killer rock and roll guitar solo that doesn’t overpower the mix but compliments it. 

Rotation has a modern sound that hasn’t aged a day since it was recorded. Yes, good music shares this timeless aspect, but Rotation is a little different for there are few modern musicians that record in a style such as this, yet it sounds as if it was only recorded yesterday. 

Street Life is one of the greatest songs ever written and while I adore The Crusaders’ original, Alpert reinterpreted it like no other could. It matches the original, even bests it, yet it quizzically takes nothing away from the seminal recording. Few cover songs are done so exquisitely that they become a celebration of the song itself rather than a bastardisation. 

Love Is is the only song on Rise that I feel indifferent towards. While it wasn’t entirely uncommon for Alpert to perform vocally, it isn’t his forte. Musically, however, there’s some exceptional playing if you care to listen beyond the repetitive vocal. Love Is was originally recorded by Bill Withers and while this rendition is very similar, I feel the song is better suited to Withers. Fans of the song will note that Alpert removed all lyrical elements aside from the repetitive chorus. That approach certainly works as the vocal becomes a harmonic musical element, rather than a storytelling device, but I remain unconvinced that the vocal aspect was needed at all.

Angelina has a personality all of its own. It’s the type of song that tells a story without the need for lyrics and is how all good instrumental music should be presented. Angelina has plenty of influences, from various musical styles, with even a little country being mixed with the eclectic sounds of the Caribbean. 

Aranjuez (Mon Amour) is a magnificent song and is arguably the closest song on the album to Alpert’s style when performing with The Tijuana Brass. While I’m not sure it’s the greatest version of the tune that I’ve ever heard, as it’s a little too disco-driven, Alpert’s interpretation is exceptionally good and closes the album perfectly.

Alpert may have outsold The Beatles in the 60s but as magnificent as his music was during that era, Rise is quintessentially Herb Alpert; a musical masterpiece if there ever was one. 

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The Alan Parsons Project – Tales of Mystery and Imagination (Album Review)

Unlike George Lucas ruining the original Star Wars trilogy, the 1987 remix of Tales of Mystery and Imagination is nothing short of perfection and while the original mixes, from 1976, are worth your time tracking down and listening to, the remix is arguably the best way to enjoy this cult classic. 

Yes, there’s an 80s vibe to this 70s album, but the prog-rock style remains ever-present thereby offering not only refinement in production but a significant improvement over the original. No doubt there’ll be some who prefer the original mix and there’s nothing wrong with that. Subjectively, I prefer the fuller, more atmospheric, sound of the remix along with the inclusion of the Orson Welles’ narration; although it does make for a less fluid and relaxing musical experience. 

While the original mix has previously been difficult to come by, in the modern era, it’s wonderful to note that it is available, as of 2024, via Apple Music et al. However, in going back to the album whilst compiling the upcoming Best Albums of 1976 ranked list, I took the time to listen to both versions and can declare that I remain most impressed with the 1987 remix as it’s more akin to a rock symphony than its original mix. It is simply a sonically better, and bolder, presentation, that works incredibly well with the style of music. 

It’s also important to mention that the 1976 mix was reissued in a 2007 Deluxe Edition and via the 40th Anniversary releases; a release that is not currently available to streaming services. As physical releases go it should be noted that Mobile Fidelity Sound Lab was the first to re-issue the original album on CD in 1994, although this particular release isn’t readily available and goes for considerable prices on the second-hand market. These releases no doubt showcase a perfect example of why physical media reigns supreme, but it’s a missed opportunity for those of us who choose streaming as our primary method for music delivery and it would be nice to see these additional versions released to a broader audience. 

Similarly frustrating is the fact that a higher resolution and the well-respected surround sound mix is missing from Apple Music. The only version present is the lossless CD-quality edition and while it’s an adequate facsimile, it could be so much more immersive. Given Apple Music’s push for Spatial Audio Dolby Atmos streams, it’s bizarre that Mercury Records hasn’t delivered Apple Music for streaming via their network. Most likely, while it is only conjecture on my part, they’re probably waiting for the 50th Anniversary release window before offering an updated release. Some may ponder if the surround mix is available elsewhere, or if a higher resolution is present via TIDAL or Qobuz and the answer to that thought process is no. They have the exact same version, of this album, as Apple Music. While it may be a frustrating omission, let’s hope that we will see additional offerings over the next couple of years as the album approaches its 50th Anniversary.

While fans will be aware of Alan Parsons’ legacy, newcomers may not realise that this project and the subsequent albums didn’t merely come about randomly for Parsons worked with The Beatles, Paul McCartney & Wings, and Pink Floyd as an engineer on Abbey Road, Red Rose Speedway, and Dark Side Of The Moon respectively. To say he’s a legend would be an understatement but no amount of collaborative efforts with these musical masters could have prepared the world for the haunting musical retelling of Edgar Allan Poe’s most classic written works.

Of course, 70s art rock would be for nothing if album artwork hadn’t played a key role. Instantly recognisable, the barren artwork directs your eye to the centre image, one of a shadow man presented on a strip of recording tape. The concept’s great for it is as if there’s an open door in the two-dimensional world that we can see but can’t quite access. From a distant view, it also gives the impression of an audio waveform; at least to me. 

Upon the release of the 1987 remix, however, the cover art did get a makeover that fills in the white space with an even more obscure caricature, taken from the original liner notes, that works surprisingly well with the existing artwork. It also maintains a solid match to the music but whichever way you look at it, both designs can stand on their own, sans the musical accompaniment. 

As with many popular albums from the era, there was a range of alternative cover art, with some of the cassette releases being particularly appealing along with the 1977 vinyl reissues that feature Parsons being wrapped up as if he would become the faceless mummified man. 

Nevertheless, while the cover art may have drawn you to the album, it’s ultimately the music that keeps us engaged and coming back for more. Join me as we explore the music that makes the Tales of Mystery and Imagination so compelling. 

A Dream Within A Dream (1987 Remix) opens the album with Orson Welles’ narration. While it isn’t the best opening, it’s far from the worst and helps the music to build gradually in the background. Once the minute-long spoken introduction has ended, the rest of this tune, instrumental in nature, has an oriental feel to it before morphing into a rhythmic rock piece. A Dream Within A Dream is just that; a multitude of songs within a singular track. Stunning and emotive, A Dream Within A Dream most importantly flows seamlessly through the transitions, blending perfectly into The Raven. 

The Raven (1987 Remix) is the opus here, both from Edgar Allan Poe’s perspective as well as The Alan Parsons Project. It’s magnificent and in part that is due to Alan Parsons’ use of the vocoder that breathes an otherworldly life into the song. Similarly, Leonard Whiting’s non-distorted vocal on The Raven is incredible, as is the guitar solo that is notable for being included in this 1987 remix. Even if you’re not a fan of the entire album, The Raven is one of the greatest classic rock songs ever recorded. 

The Tell-Tale Heart (1987 Remix) has a Led Zeppelin feel to it but it’s symphonic rock at its very best. There are moments of chaos and moments of subtle delicateness, but it all comes together in a killer tune that will set your stereo on fire; figuratively speaking, of course! 

The Cask Of Amontillado (1987 Remix) flows seamlessly from The Tell-Tale Heart, even though the style is much more mellow by comparison. It takes a group of master musicians to pull off such a transition even when contrasted against the era of the linear album format. The adage that they don’t make music like this anymore rings true for The Cask Of Amontillado is audible perfection.

(The System Of) Doctor Tarr And Professor Fether (1987 Remix) is a killer rhythmic tune. John Miles’ did a remarkable job on the vocal but it’s the guitar tuning, and performance, that really sets this recording apart from the rest of the songs on Tales of Mystery and Imagination. 

The Fall Of The House Of Usher [Instrumental] (1987 Remix) while split into Prelude, Arrival, Intermezzo, Pavane, and Fall sections is arguably a collective body of work that shouldn’t be considered as individual pieces when discussing the movement. Yes, it is sectional and could be discussed in that manner but The Fall Of The House Of Usher is stronger as a continuous piece of work that will remind you of Pink Floyd in places, particularly in the Arrival section, and classical symphonies in others. There’s even a classic film vibe, think The Godfather, to be heard within the Prelude area of the movement.

The Fall Of The House Of Usher [Instrumental], overall, is a lovely piece but one would rightly suggest that Side A of the original vinyl release would be worn out, unless you’re more of a fan of the symphonic elements, for that is where the soul of Tales of Mystery and Imagination really lies. Of course, what could be seen as a weakness could also be interpreted as a strength for this album can be listened to, and subsequently interpreted, in different ways. The Fall Of The House Of Usher [Instrumental] is a 15-minute behemoth but it’s as memorable for its length as David Bowman's movement through space and time in Stanley Kubrick's 2001: A Space Odyssey. 

To One In Paradise (1987 Remix) closes the album out nicely while ensuring that you’ll feel like playing it again. Even though To One In Paradise may not compare to the songs found on the first half of the album, it’s contemplative meaning that even if you decide not to spin the record again, you’ll be just as rewarded for sitting back and reflecting on the music you’ve just experienced. 

From start to finish, the Tales of Mystery and Imagination is an experience. One that will captivate you, and allow you to interpret Edgar Allan Poe’s works in an entirely different manner to his written output. Despite its modest success and subsequent cult following, I’m sure that if you take the time to listen, undistracted by the world around you, you’ll also become a fan of The Alan Parsons Project: Tales of Mystery and Imagination…forevermore. 

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