Andy Gibb – Shadow Dancing (Album Review)

While the Bee Gees were already a trio setting the world on fire by the time 1978 rolled around, the Gibb Brothers’ youngest sibling, Andy was forging his own path, one that would ultimately lead to an incredible release, Shadow Dancing; Gibb’s second studio album. 

As you listen to Shadow Dancing, you get a sense that this could be an extension of the Bee Gees’ greater catalogue and that wouldn’t be a completely erroneous statement as four of the tracks were written in conjunction with Barry Gibb with the title track also being co-written by Robin and Maurice. Yet, to compare Shadow Dancing to the Bee Gees would be similarly erroneous on the behalf of the music-lover for Andy’s creative output should stand in isolation with nothing more than a tip of the hat for he was a consummate musician and songwriter in his own right. Of course, that isn’t how our minds work so throughout this review you’ll likely come across many correlating aspects. 

Musically Shadow Dancing is simply a fun album to listen to and sometimes that is all you need. Yes, the disco-era elements are present but with a touch of pop and soft rock, Shadow Dancing is an album firmly planted in the 70s that will interest all music lovers. Part of the appeal is due to the production of the album, undertaken by the production trio Gibb-Galuten-Richardson (Barry Gibb, Albhy Galuten, and Karl Richardson). While they were only active for approximately 9 years, the trio produced not only all of Andy Gibb’s albums but would also go on to produce Barbra Streisand’s highly regarded and successful album Guilty in 1980.

Sonically, the Lossless Apple Music stream is exquisite. Yes, it is essentially the mastering from the long-out-of-print CD release, but this is a perfect example of if it isn’t broken, don’t fix it. Far too often the music industry reissues and remasters music to varied levels of success. It is with joy that I can mention that Shadow Dancing has never been remastered, to my knowledge at any rate, and I truly hope it stays that way. 

Yes, I’d love to see the album reissued on a physical medium, for it has been absent for decades, but a remastering need not apply. A proper CD release would be lovely for the 2013 Japanese re-issue is the only one that I’m aware of that fully replicates the original artwork. The early 90s reissues on Spectrum were atrocious and should be avoided on principle alone. At least, in the modern era, we have access to this classic recording via streaming or digital download stores such as iTunes and the good news is it’s sonically impressive. It’s just a shame the liner notes aren’t included.

Shadow Dancing was the ideal lead single and while it obviously has Bee Gees vibes, as the trio joins Andy with regards to writing this song, it very well could have been a song taken straight from Spirits Having Flown. Subsequently, and needless to say, it’s a masterpiece!

If you’re interested in cover versions, may I suggest you check out the Dee Gees’ recording for The Foo Fighters performance, with Taylor Hawkins on lead vocal, is an incredible homage to this original. 

Why is a little more run-of-the-mill when compared to Shadow Dancing, but that often happens when you have an album that opens with such a strong lead track. As with Shadow Dancing, Barry's falsetto vocals can be heard throughout, but is this detrimental or complementary? To be completely honest, I find myself torn on this issue for as exceptional as Andy is, the inclusion of Barry here, and throughout the album, does amplify the recordings; even if it does take the spotlight away from Andy.

Fool For A Night is a hidden gem. Yes, it’s quirky but something is alluring about this particular song that makes me feel it should be considered a standard recording for artists to cover in the decades to come. It just has that laid-back feel that works well within the context of the Great American Songbook. 

An Everlasting Love is a great track and the mix and overall arrangement certainly stand out. Granted, An Everlasting Love has a dated sound, but it harks back to the era and therefore hasn’t truly aged. While An Everlasting Love would have been unlikely to have ever set the charts on fire, for it was never released as a single at any rate, it’s songs such as this that make the album experience so enduring.

(Our Love) Don’t Throw It All Away is one of the most beautiful songs ever recorded. Stunning doesn’t come close to describing the sonic brilliance heard here. Most casual fans of the Bee Gees would have heard this before as it was recorded during the Saturday Night Fever recording sessions but not released until 1979 on the Bee Gees’ compilation Greatest. Andy’s version, as heard on Shadow Dancing, would subsequently be the first time the music-loving public would be exposed to this song and his is an admirable performance. 

As to which version I prefer, I really can’t choose as they’re both complementary to each other. That said, I do appreciate the additional orchestral elements in the Bee Gees’ recording and the additional vocal layering adds a little more polish that is missing from Andy’s version. That said, I’d go as far as saying that I prefer Andy’s vocal, on this particular song, to Barry’s. Both are enjoyable and worth listening to and when I hear either, I never ponder if the other is better, except for at this moment when I’m actively listening in order to pen my thoughts. 

The Bee Gees would also perform the song live, as a tribute to Andy, throughout the One Night Only tour; a recording of which can be heard on the associated live album. While many will lament the use of backing tracks in live performances, this is one instance where it is perfectly suitable for it wasn’t only the Bee Gees that performed this song live as Andy was present, via a backing track, as photos and video of him were shown on the stage screen. It’s a beautiful homage to their brother, who passed away in 1988, and the Bee Gees performed the song masterfully. 

Despite a long legacy, with Barry Gibb in particular, Barbra Streisand’s rendition from Guilty Pleasures isn’t the greatest as the song simply isn’t suited to her vocal style. It likely wouldn’t have been a bad recording if Andy or the Bee Gees hadn’t recorded the song first, but it simply doesn’t work when superior recordings exist.  

One More Look At The Night is really dated to the era and reminds me of soundtracks from 70s television shows and films, but it’s a great album-only tune! 

Melody is the best song on the album, period! Melody should have been released as a single for it’s simply magnificent and I’ve no doubt that it would have reached the top of the charts.  

I Go For You has a great mix and is a solid tune. Don Felder’s guitar tracking on this song is thoroughly appreciated as it amplifies an otherwise average song.

Good Feeling is a slow build but you get that good feeling, pun most certainly intended, as soon as the chorus enters into the song structure. It isn’t a stand-out tune, by any means, but it is perfectly positioned within the album’s linear flow. 

Waiting For You is a lovely song to close the album on and much like Good Feeling, it would never have been single-worthy material but every song doesn’t need to be a hit to offer an appreciative album experience.

From start to finish, Shadow Dancing is an exceptional release that had it been an album released by the Bee Gees, it would have been an absolute chart topper similar to that of Spirits Having Flown. Of course, it’s never too late and streaming services allow us to enjoy this classic album and there is, therefore, always a chance that Shadow Dancing could still reach the success and recognition it deserves.

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Rick James – Come Get It! (Album Review)

Rick James and the Stone City Band was a breath of fresh air to both funk and soul genres when they launched onto the music scene in 1978 with their first studio album, Come Get It!. It wasn’t that the music from those genres was lacking in originality at the time, it was more a case of the need for an artist to stand out from the crowd and Rick James was one such musician.

During the same year, Chic would release C'est Chic, but as is often the case fans needed and wanted more than Chic could deliver. Rick James and the Stone City Band was exactly what was necessary; a familiar sound with a uniquely different style that blended more rock elements into their music. 

Listening to Come Get It!, from a modern perspective, one can’t help but see correlations between James’ style and that of Prince’s. Of course, the pages of history will tell of the rivalry between the performers and Prince certainly won the upper hand as it pertained to superstardom and admiration. That shouldn’t, however, detract from James’ musical legacy as he’s given us some of the grooviest songs in the history of recorded music; many of which are included via this release. 

While controversies, criminal acts, and drug addictions have cast a shadow over James’ musical career, one must attempt to separate the man from the performer for while they are linked, they aren’t inextricably connected. Regardless, there’s something special about this debut release. While the 1981 album, Street Songs may be considered James’ opus, aside from Super Freak, the album is rather nondescript by comparison. Whereas, Come Get It! has a flow that goes beyond a hit single. It’s an album, an exceptional one, and one that deserves more recognition for there isn’t a bad song to be heard. 

As James’ greatest creative achievement, it’s disappointing to note that while Street Songs has been reissued ad nauseam, Come Get It! has not seen an official reissue, via any physical format, since 1982. Yes, there was a 2014 CD reissue for the Japanese market, but considering these releases are rarely found outside of that marketplace, it’s a minor consolation.  

For fans, however, James’ entire catalogue was reissued to iTunes in 2014 and that legacy continues today with an Apple Digital Master, in (Hi-Res) Lossless quality, that is simply exquisite. When music sounds this good, I question the need to attain a physical release. There’s a fullness that will remind you of the tonal quality of vinyl while still ensuring every musical element shines with a level of clarity expected from the Compact Disc format. Whoever undertook the transfer, and mastered this particular digital release, should be congratulated as it’s faultless. Perhaps I shouldn’t be as surprised as I am for one of Motown’s greatest achievements was always ensuring their music sounded phenomenally good, on all formats, and I don’t recall ever being disappointed with a Motown-related release. 

What is missing from the digital counterpart, however, is the stunning album artwork. There’s no doubt in my mind that if you saw Come Get It! in a record store, you’d consider picking it up based on the cover alone. I must admit that as much as I appreciate the seemingly endless availability of music, thanks to streaming, I miss randomly coming across something in a record store that I’ve got no idea about but would be willing to give a shot based on the visual presentation of the release. Yes, you can still happen upon new releases on your favourite streaming platform, but it’s far too easy to skip to another record without giving an album, such as this one, a fair spin.

Stone City Band, Hi! Has gone for a stylistic faux live recording and while it isn’t usually something that I’d applaud, in this situation it is utterly perfect as it doesn’t dwell too long on the introductory elements, thereby allowing the song to quickly come into its own. The chosen mix is also intriguing for it offers that low-fi, somewhat produced, styling that you’d get from a live performance.

You And I is a seamless transition from Stone City Band, Hi! and while the false sensation of a live performance is gone, you’ll find yourself on your feet, on the virtual dance floor, as you groove along to every rhythmic beat. You And I was also chosen as the debut single and history will tell that it was the right choice for it rocketed all the way to the top of the charts. As much as I enjoy this album version, the final track on this digital release offers a different mix and is truly worth listening to for it takes You And I and tastefully embellishes it further.  

Sexy Lady has some incredible horns thanks to Randy and Mike Brecker and the song is Funk 101 with an infectious groove. That said, James’ chosen vocal falsetto style doesn't work. Look, it won’t make me skip the song, but the bridge is most certainly taxing on the senses. If I have the song on in the background, I don’t necessarily notice it, but listening intently, as I am while penning this review, it becomes jarring and a low point on an otherwise exceptional album.

Dream Maker is dreamy! Yes, dear reader, I had to go there. It’s that sultry spoken word introduction that sends my thoughts in that direction, but once the song gets going, it is thoroughly enjoyable and perfectly suited to James’ overall style. Yes, there are correlations to be heard, upon retrospect, with Prince and I can’t help but wonder how Dream Maker would have sounded had Barry White recorded it, but despite its kitsch nature, it hasn’t aged and isn’t a bad song by any measurement. Although, we could have done without the moaning at the end of the song, couldn’t we? 

Be My Lady picks up the tempo and pulls us out of the dream-infused world in order to return us to the dance floor. A great upbeat tune!

Mary Jane, as the second single from Come Get It!, is masterful and I’d even go as far as saying that it’s superior to You And I and should have been the lead single. Yes, the tempo is different between the songs, but I feel Mary Jane encompasses more of the 70s overall feel whereas You And I hit more specifically on the disco-era vibes. Regardless, Mary Jane is a killer tune even if its meaning is more closely aligned to James’ love of marijuana than a woman named Mary Jane. I love songs like this where there’s a double meaning. It results in a song that can be appreciated by everyone, for many will assume that Mary Jane is a love interest for James without knowing about this additional aspect. The good news is, that whichever way you choose to enjoy the song, it has a lasting impact and is one of the best tunes on the album. 

Hollywood is one of the strongest songs James ever recorded and I truly believe that it would have been a far better closer than Stone City Band, Bye!; a song that despite bookending the album should have been omitted. Nevertheless, Hollywood is EPIC! 

Stone City Band, Bye! returns us to the faux elements that opened the album but as I mentioned in my reflection on Hollywood, I feel that this song isn’t strong enough to close the album on and while the 2014 remastered edition features the Extended M+M Mix of You And I, all original releases would have ended with Stone City Band, Bye!. Yes, the thank you at the end is cute, and this song does work, I just feel the album would have been stronger had the epic Hollywood been the closer. 

You And I (Extended M+M Mix) is a worthwhile bonus track, particularly because it builds well upon the brilliance of the album mix for You And I, but it’s an isolated example as I generally lament the inclusion of bonus tracks. Why, you may ask? Well, they’re generally substandard tunes that weren’t worthy of inclusion originally and subsequently I often question why we’re bombarded with such unnecessary bloat when the original track listing is perfect. Nevertheless, the Extended M+M Mix for You And I isn’t so removed from the album mix that it ruins the experience and it, therefore, encourages me to spin the album again for you can never listen to Come Get It! only once.

Come Get It! is nothing short of a masterpiece and is rightfully deserving of its position as not only one of the best albums from 1978 but one of the best albums released in recorded music history.

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Dan Hill – Frozen In The Night (Album Review)

It isn’t much to look at, for the album artwork for Dan Hill’s 1978 release Frozen In The Night is atrocious, but dismissing this album, based on the cover alone, would be a grave mistake for any music lover. 

Of course, you can be forgiven for having never heard this album as 1978 was abuzz with numerous classic recordings and while many of the popular titles have remained in the social consciousness, it is the lesser-known and celebrated albums that I find to be the most compelling. Perhaps that is due to the music not being overplayed and therefore I haven’t become fatigued by it. Regardless, a core reason why Frozen In The Night doesn’t feel dated to the era, from a musical perspective, is that the musicians and the entire production team didn’t fall into the trap of linking it to a 70s sound signature. By doing so, they’ve created a timeless recording that will outlive us all.

Frozen In The Night is your classic singer/songwriter pop album with a touch of soft rock. Firmly planted in the then Easy Listening category, it’s an album I can listen to on repeat for hours on end. There really isn’t a bad song to be heard and in many respects, it could be presented as a textbook example of a record that is all killer and no filler.

Being born in the September of 1979 meant that I was unaware of this release and while it didn’t come across my radar during my formative years, streaming has allowed me to explore the recordings that weren’t mainstream enough to be played on the radio in Australia during the 80s and 90s. Interestingly, however, I’m certain that I’ve heard many of these songs before, yet I can not pinpoint when or by what medium that occurred. Dan Hill may not have been as mainstream as other Easy Listening artists from the same era, but it is undeniable that he was a well-respected and regarded musician and it stands to reason that I may well have heard his music but never connected the artist to the songs.

Disappointingly, Frozen In The Night has been out of print, on physical media, for decades. This is one example of where streaming, and digital purchasing on platforms such as the iTunes Store, is imperative to music lovers. If it had not been for streaming, I most likely would have never come across this masterpiece; an album that has quickly become one of my all-time favourites. 

Frozen In The Night was, however, re-issued on CD by MCA Records, only once, in 1996 for the Canadian market; Hill’s home country. As an Australian, I can understand this release structure, for artists that are well known, and highly regarded, in this country remain lesser known in other regions of the world. I’m talking about an artist such as John Farnham; a brilliant vocalist, one of the world’s greatest, yet one that has known little recognition outside of the Australian Music scene. While Frozen In The Night was released to the Australian marketplace, upon its release in 1978, it simply isn’t well-known.

The Apple Music stream is most likely derived from the aforementioned CD release. It’s a lovely facsimile, even if a little clinical in places, but a small EQ adjustment to the bass region results in a thoroughly engrossing sound that is free-flowing and spacious with regard to sonic separation between musical elements. While the soundstage could be wider, at no time does the stream sound congested. Hill and the band aren’t necessarily in the room with you, on this particular release, but it’s a solid performer and if it never sees a remaster, I will forever be grateful for the available edition.

Frozen In The Night is a stunning opener that sets the tone for the entire album. Every aspect is utterly perfect and that continuous slow build to the chorus is done so well that I could listen to this song alone, on repeat indefinitely. Brilliant!

All I See Is Your Face slows the tempo a little, but doesn’t feel out of place in the album’s sequencing. I wish more modern albums had a similar flow for Frozen In The Night is first and foremost an album experience. All I See Is Your Face is, subsequently, a magnificent tune.

No One Taught Me How To Lie has a gorgeous acoustic guitar opening and Hill’s vocal pace and pitch throughout are nothing short of exceptional. 

(Why Did You Have To Go And) Pick On Me has a familiar sound and while perfectly suited to the Easy Listening category, it’s another magnificent tune from Frozen In The Night.

Friends to some may constitute album filler, but filler tunes never sounded this good. Granted, Friends is a slow burn and I feel it could have been a stronger song had the introduction been shortened by a third, but the guitar work, mid-song, ensures it’s unforgettable. 

Let The Song Last Forever is one of my favourite tunes from the album; it’s simply lovely.

When The Hurt Comes is pure bliss. The piano and orchestral arrangement, combined with the acoustic guitar and Hill’s smooth vocals are exactly what musical dreams are made of. 

Dark Side Of Atlanta is, as is the case with many of the songs from Frozen In The Night, an excellent story-telling tune. While it is true that I appreciate music more from a musical than interpretational perspective, there are songs such as Dark Side Of Atlanta that make me sit up and pay attention. As a singer/songwriter, this would most likely be Hill’s intent but the greatest aspect of Dark Side Of Atlanta is that it can be thoroughly appreciated from both perspectives.

Indian Woman is so good that I question how Hill wasn’t more successful than he was. Yes, he has achieved more than many musicians have throughout his career, but Indian Woman is a spectacular tune, with an addictive chorus, that deserved more attention than it received. In a way, Indian Woman reminds me of the Eagles' music and would have been a perfect song for them to record. If they had, I dare say that it would have been a hit.

Till The Day I Die is the greatest song on Frozen In The Night and in part that is due to Leah Kunkel’s incredible backing vocals. While Celine Dion would record Hill’s song, Seduces Me (co-written with John Sheard), on Falling Into You, I can’t help but wonder how Dion would have performed Till The Day I Die as I feel it would have been perfectly suited to her. Perhaps even with Barbra Streisand; based on how complementary they were on Tell Him. Nevertheless, that cover never happened, but we are incredibly fortunate to have this masterpiece. It’s just a shame that it was never released as a single for I believe it would have been a chart-topper; worldwide!

Your Only Friend (Sometimes Pain Can Be Your Only Friend) is a little sombre to close the album on, but it’s such a beautiful tune that I can’t help but enjoy it. If nothing else, it encourages me to play the album again so in that context it is a perfect closer. 

From start to finish, Frozen In The Night is an astonishing release and is not only one of my favourite albums from 1978, but it’s one of the best records released in the 70s. It is truly underrated and I hope you find just as much enjoyment from this album as I do; a timeless classic!

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The Bar-Kays – Money Talks (Album Review)

Billed as an EP, Money Talks is one of those albums that you’ll wish you added to your collection sooner than you did. It’s pure funk, with no filler, and is a great example of the genre in action. Despite its compelling nature, however, Money Talks failed to set the charts on fire. Yet, as you listen to the album, you’ll find that, upon its release in 1978, it was perfectly suited to the existing zeitgeist. Yes, dance floors were filled with disco grooves, but Money Talks compels you to get on your feet and dance to the funky rhythm.

Money Talks isn’t a traditional album as it’s comprised of songs recorded between 1972-75; before the collapse of Stax Records. Granted, it was only released to capitalise on the success The Bar-Kays were having on their new label, Mercury Records, but Fantasy Records, the new owner of Stax’s back catalog, turned this collection of tunes into a masterful release.

Prior to these songs being recorded, The Bar-Kays would go through a significant personnel change following the sad passing of four founding members in 1967. Carl Cunningham (drums), Jimmie King (guitar), Phalon Jones (saxophone), and Ronnie Caldwell (electric organ) died in the same plane crash that killed Otis Redding; they were Redding’s backing band. Ben Cauley (trumpet) was the only survivor of the crash and along with James Alexander (bass), who wasn’t on the same flight, courageously reformed the band. A great loss, certainly, and one that should never be forgotten. 

Money Talks would be released some eleven years following that fateful crash and it’s amazing to hear the upbeat joy and happiness on this EP following such a devastating blow. There’s no doubt in my mind that Money Talks pays homage to the lost bandmates and if you listen closely you’ll hear the spirit and influence of Cunningham, King, Jones, and Caldwell throughout. 

Funk, however, wasn’t at the core of The Bar-Kays in their early years and while it wasn’t entirely void on earlier albums, such as Soul Finger and Coldblooded, The Bar-Kays had a greater focus on soul, rhythm and blues, with a rock vibe at the time. Subsequently, the transition to pure funk seems, upon reflection, to be the perfect transition. This is, however, one of those grey areas where music genres overlap somewhat. One person will listen to the early albums and hear funk present throughout, and they’d be correct, but there is a difference between a funk influence, or featuring funk elements, to being pure funk. I don’t proclaim to be an expert in the variances of musical genres, for I prefer listening to music for its emotive elements rather than wondering if it fits into a particular style. Nevertheless, genres exist for us to connect and compartmentalise similar recordings and there is often overlap. The question that really needs to be asked is do I prefer The Bar-Kays’ origins or their funk era more? For me, it has to be the funk-era recordings and in the case of Money Talks, it gets me moving in the same way as Stevie Wonder’s Hotter Than July does. 

Of course, the music doesn’t reach you if the sonic quality isn’t up to par and this is one exceptionally recorded and mixed record. The lossless Apple Music stream is a lovely facsimile, but this is one record that ideally needs to be enjoyed on vinyl. While I’ve yet to pick up a copy myself, I note that Stax Records, in conjunction with Vinyl Me, Please, reissued the EP in 2020. Unless you can source, or already have a nice original release, it seems that this reissue is the one to get; based on the reviews. 

Returning our attention to the Apple Music stream, one issue that I feel is worth mentioning is that the sound is a little thin. To improve the presentation of the album, you’ll need to increase the bass. As someone who lived through an era where Equaliser (EQ) dials were present on all audio equipment, I find the modern-day software offerings to be substandard and too aggressive with little to no wiggle room outside of the preset options. Purists will argue that such sonic manipulation should be outlawed, but I want to listen to the music in the manner that best suits my tastes.  

An additional reason, outside of sonic quality, for picking up the vinyl counterpart is the artwork. While The Bar-Kays’ debut, Soul Finger, has the greatest artwork of any of their releases, Money Talks is right behind it. I’ve always enjoyed these artistic, cartoon-styled, covers as I feel they present a different viewpoint and connection to the music. Plus, they look cool when displayed! 

Holy Ghost sets the tone for the entire album with a purposeful groove that will get you moving from the get-go. It’s an incredible tune that bookends this release perfectly with the extended Reborn edition closing out Money Talks. Although, as with the song Money Talks, I’m a little torn on the mid-song dip. I get the intent, but I can also imagine the song sans this element.

Feelin’ Alright is an absolute classic tune and this cover is no exception and has to be one of the greatest renditions I’ve ever heard. Originally recorded by Traffic, Joe Cocker’s interpretation is likely the most well-known and is exceptional in its own right, but there’s something special about this particular recording. While it doesn’t deviate too far from Cocker’s rendition, the differences are appreciable from this listener’s perspective.

Monster slows the tempo slightly and some may suggest the introduction is akin to music that is often played in the background for adult entertainment, but I wouldn’t know anything about that! Nevertheless, once Monster reaches the 1-minute mark, it settles down and becomes an incredible instrumental tune. If you’re listening to Money Talks on vinyl, Monster closes out Side One and is utterly perfect in that regard and makes for a perfect late-night listening session whereby you don’t feel the need to flip the album over. 

Money Talks picks up the tempo and will once again encourage you to get on your feet and groove to the rhythm. The mid-song stop, however, is a little disconcerting; until you get used to it, that is. 

Mean Mistreater is a sonic masterpiece. Yes, it’s a Grand Funk Railroad cover, and the original is excellent, but the sound stage’s depth and spaciousness on The Bar-Kay’s edition know no bounds. A perfect mix and one of the best songs, if not the best, on Money Talks. Larry Dodson’s vocal is of particular note here for he takes it right to the edge of his vocal range, yet ensures that it isn’t taken too far. This restraint ensures that Mean Mistreater is an incredible cover. 

Holy Ghost (Reborn) is the perfect bookend closer to Money Talks and if you already thoroughly enjoyed Holy Ghost, you’re going to love this longer version.

From start to finish, Money Talks is a groove-infested album that you’ll find yourself putting on repeat. Why it wasn’t more successful, and more well-known, is likely due to a lack of marketing, but there is no doubt at all that this is one of those hidden gems that deserves more respect than it is given. It really should be in every music lover’s collection; even yours! 

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The Cars – The Cars (Self-Titled Album Review)

1978 was an exceptional year for music and no more is that true than when looking at The Cars’ self-titled debut. Recorded in February of the same year, The Cars would ultimately be released on June 6th and was an immediate success amongst critics and music lovers. While it lacked a Top 10 position on the charts, The Cars has continued to sell throughout the preceding decades; so well that it has exceeded 6 million shipped units. Granted, it has been reissued ad nauseam and that has contributed to its sales success, but when an album is this good, akin to a compilation release celebrating an artist’s legacy, on their first outing, it is a record that you really need to sit up and take notice of, for The Cars is the epitome of new wave, pop rock, and power pop genres. 

One recurring element keeps showing up when looking at successful debut bands. The majority of the time these bands have sharpened their skills as live performers well before entering the studio. The Cars are no exception, in this regard, and it shows when listening to this debut for they are a cohesive unit. I mention this more for posterity than any other reason as live performances prior to a recording contract, or the recording of an album, seems to be increasingly rare in the modern era and I can’t help but wonder if this is one reason why the music from the 60s to the 90s, from a band perspective, have remained so synonymous with classic album status.

Seriously, and maybe I’m living under a rock, but can you name a single debut release, from a band (particularly in the rock genre) that was released post-Millennium that is a landmark release? There has to be one, surely, just none come to mind as I write this. Regardless, when you look at the pre-Cars era, for all band members, combined with the live refinement of their sound, there is little doubt as to why The Cars has remained such a notable release. 

One of the most appealing aspects of The Cars is that the sound, while firmly planted in the 70s, is unique for the musicality is a culmination that extended beyond mere instruments and musicians. Yes, the synthetic aspects are as important to the compositions as the core unadulterated instrumentation is. Yet, despite the implementation of new techniques and associated technology, it wasn’t taken too far as to detract from the songs themselves. Roy Thomas Baker, in the production chair, certainly ensured this aspect remained in check but engineers, Geoff Workman and Nigel Walker, should similarly be acknowledged for contributing to a marvellous sonic experience that has neither dated nor feels contrived. 

Sonically, the (Hi-Res) Lossless Apple Music Stream, an Apple Digital Master, sounds respectable even if it’s a little concealed. It’s as if there’s a thin sheet that’s been placed over your speakers. Yes, early recordings can have this quality about them, and I admit to having no additional edition to compare to, but it just doesn’t sound as dynamic and bombastic as I believe it should. Don’t get me wrong, there are no major flaws to note, and it is enjoyable, but the way it sounds on Apple Music makes me want to seek out various well-regarded physical counterparts to compare to the stream. 

One example that stands out the most is on I’m In Touch With Your World. It’s a sonic masterpiece but the separation between sonic elements, combined with a shallow soundstage, means that the atmospheric styling isn't as spectacular as I believe it should be. Naturally, one of the challenging aspects is that streaming services, such as Apple Music, rarely state the particular master that was used. This is particularly poor considering Apple touts its own Apple Digital Master program but, of course, this wouldn’t be an issue had the album never been remastered time and time again. 

Visually, while Nataliya Medvedeva is sadly no longer with us, her grace on the cover will forever ensconce her in the social consciousness and while it shouldn’t detract from her other creative endeavours, there is little doubt that this is her most notable. Plus, it’s just a great cover, released at a time when cover art, on the large vinyl canvas, reigned supreme. How I miss those days when the artwork was done so well that it would sell you on the music well before you had a chance to hear it. Yes, cover art still exists today, but as with the polish of their sound on this debut, compared to modern counterparts, I similarly can’t recall many album covers in the last few years that have truly stood out from the crowd.

Good Times Roll not only magnificently launched The Cars with its memorable rhythm and guitar licks, but it’s a killer tune with incredible layering techniques, particularly with regard to the vocal harmony. One must remember that this was pre-digital editing capabilities and was as much about skill as it was about pushing the limits of the available technology. Good Times Roll was also the third single that, despite charting, never rose to the top of the charts. A shame considering it’s such an addictive tune. Nevertheless, it has remained a fan favourite and a mainstay in the band’s back catalogue since its release. 

My Best Friend’s Girl, the second single from The Cars, failed to set the charts on fire, outside of the UK where it peaked at #3, but whoever was Ric Ocasek’s best friend must have been worried when the lead vocalist and guitarist penned this classic. Not only is this tune synonymous with The Cars, but it contains one of the greatest lyrics ever penned in the history of recorded music:

"She's my best friend's girl, but she used to be mine.” – Ric Ocasek, The Cars

My Best Friend’s Girl is perfectly suited to The Cars and this debut, but the sonic style has a 60s feel to it and you could subsequently be forgiven for assuming it was released earlier than 1978.  

Just What I Needed was the first single from this self-titled debut and is the first song to  feature bassist, Benjamin Orr, on vocals. While the multi-vocalist approach was extremely common within bands throughout the 60s and 70s, I couldn’t imagine Ocasek singing this tune even though he wrote it. This is an excellent example of where the chosen vocalist best suits the song and Orr’s vocal is the perfect driver along with the rhythm and those killer guitar licks. 

I’m In Touch With Your World is one of the most visual songs you can imagine as Greg Hawkes (keyboards and percussion) paints each and every sonic element into the mix. As mentioned earlier, however, this is one song where I feel the digital stream lets it down for it should be much more immersive than it is. Regardless, what an incredible piece of musical art! 

Don’t Cha Stop has a catchy rhythm and chorus and while it isn’t necessarily a standout, something is compelling about Don’t Cha Stop that makes it perfect for its placement in the album’s structure. All songs on an album don’t have to immediately standout and Don’t Cha Stop is one of those tunes that grow on you, particularly once the chorus kicks in. Plus, there’s a great guitar solo (albeit in the background) to be heard on this tune.

You’re All I’ve Got Tonight is moody; I love it! There’s most certainly a Skyhooks vibe going on here, particularly with the guitar tuning and associated licks. Intentional, or not, I simply adore this style of rock music as it is always uniquely fresh and doesn’t feel at all dated to the era. 

Bye Bye Love is a great tune that keeps the album flowing. It’s also one of the few songs in that I prefer the verse to the chorus. This is most likely due to the repetitive and simple nature of the chorus, but that is a subjective element and to be honest, the entire song is compelling. 

Moving In Stereo is the greatest tune on this self-titled debut and I can’t fathom why it wasn’t released as a single. It has the late 70s vibe written all over it and I don’t know about you, dear reader, but I believe it would have been a chart-topper. 

All Mixed Up segues beautifully from Moving In Stereo and, in some ways, can be seen as an extension of the previous song. All Mixed Up as a standalone track, however, is simply stunning. It’s a perfect bookend closer to a flawless album. 

From start to finish, The Cars is an exceptional debut that has absolutely no filler. With a modest runtime of 35 minutes, there aren’t any superfluous recordings added to the album to simply fill up the available space on the record. The adage of sometimes less is more certainly rings true, with this release, and while The Cars would go on to unveil other exceptional albums, such as Candy-O and Heartbeat City, this self-titled debut can be seen as their most cohesive body of work. 

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The Jacksons – Destiny (Album Review)

Destiny is aptly named, for the Jackson 5, sans Jermaine, found creative freedom with their move to Epic Records. As their third album on the new label, Destiny cemented their legacy and is without a doubt their strongest and most enjoyable record. The song selection, musicality, and production values make Destiny not only a landmark disco-pop album, but an incredible example of the merging of electronic, funk, and soul. 

While it’s easy to dismiss the importance of album artwork, in the modern era where streaming reigns supreme, Destiny was released during the heyday of the vinyl era and Gary Meyer’s painting would have certainly stood out from the crowd. While I’ve never been fortunate to own a copy on vinyl, I’ve appreciated the CD reissues and have found myself staring into the album artwork for the entire length of the album as it can transport you to another realm. 

Disappointingly, when Destiny was reissued in 2021, there was no physical release for either the original album or the Expanded Version. Subsequently, the only releases that were made available were to streaming services and digital stores such as iTunes. While you may not be fussed by this omission of the physical formats, The Jacksons’ prior albums on Epic Records (The Jacksons [Self-Titled] and Goin’ Places) were both reissued beautifully on vinyl in 2018. Hence, for collectors such as myself, it’s a disappointing blow as I was hoping that these releases would mark a broader reissue campaign. 

Aside from lamenting the absence of reissues from physical releases, I’ve got to admit that the lossless Apple Music Stream, an Apple Digital Master, is sonically exquisite. It has a full analogue-styled sound signature that requires no EQ adjustments to sound its very best. To say that it’s a pleasure to listen to is an understatement for I took a listen to the CD version (EK 35552) and it pales in comparison. Yes, the CD is crystal clear, but it is too clinical, resulting in a more fatiguing listen as well as lacking the mid to low-end oomph that these songs deserve. Unfortunately, there’s little detail available regarding this specific edition for the aforementioned catalogue number has been used on various releases. Either way, it’s one of those budget reissues that were advertised under the hype sticker of “The Nice Price” and one can’t help but wonder if a less-than-optimal master was used in the manufacturing process. 

Yet, my 90s edition CD, the 1991 Australian reissue with a red jewel case tray (468875 2) offered a much more pleasurable experience; from memory. It too was a budget release, under the Red Hot series from CBS Records, but was reproduced at DADC Austria; a highly reputable CD production plant throughout the 80s and 90s. No, dear reader, I haven’t gotten that confused for despite it being an Australian release, the disc itself was the European edition. If my research is correct it was released in Europe under the EPIC Records catalogue number: 468875 2; the same catalogue number as the Australian release despite a different artwork/liner notes presentation. 

Disappointingly, however, these budget releases also botched the liner note reproduction. Yes, this is a common aspect amongst price-restricted reissues and while the Red Hot edition from the 90s lacked any form of liner notes, everything is replicated on “The Nice Price” release, except for the back cover art featuring the peacock design and a statement from Jackie and Michael that concluded with one of the most important and moving declarations I’ve seen on an album:

"Through the ages, the peacock has been honored and praised for its attractive, illustrious beauty. Of all the bird family, the peacock is the only bird that integrates all colors into one, and displays this radiance of fire only when in love. We, like the peacock, try to integrate all races into one through the love of music.”

This isn’t, nor should it be seen, as an artist's declaration designed to placate and influence fans, for it’s true. The Jacksons’ music, love it or loathe it, reaches everyone. In fact, I’ll take it one step further and declare that not only The Jacksons, but music in general, is universal.

Returning to the mastering woes, there is then little wonder why so many go in search of nirvana for not all releases are created equal. While the Apple Digital Master further complicates the situation, despite its perfect sound, I find that it simultaneously simplifies matters for comparing masterings, on various formats, is a chore that rarely yields greater enjoyment of the music itself. With that in mind, join me as I take a look at the songs that make up Destiny; the original album tracking rather than the Expanded Version. 

Blame It On The Boogie is so synonymous with The Jacksons’ uptempo sound, one could be forgiven for assuming that it had been written by The Jacksons. In actual fact, Blame It On The Boogie was written by the English singer/songwriter Mick Jackson, his brother Dave Jackson, and Elmar Krohn. Of course, when you look at the songwriting credits and you see M. Jackson, you naturally assume that is a reference to either Michael or Marlon but that isn’t the case here. It’s an interesting case of mistaken identity but one which made music history. As enjoyable as Mick Jackson’s original is, the additional sparkle of The Jacksons’ rendition takes the song up a notch and ensures that it goes beyond its funk/soul roots by ensuring you’ll want to get on the dance floor. 

The music video is fantastic and was revolutionary for the era, but you’ll feel like you’ve taken some magic mushrooms when watching it. Yes, upon reflection, the trailing image technique is overdone, but I can only imagine how well it would have been received when shown on television in the late 70s. If nothing else, the visual elements played into the disco era and subsequently are perfectly suited to the music. 

Push Me Away shifts the tempo and should you have already been on your feet, you may wish to find your significant other and embrace each other as you move to the slow rhythm. Yes, the sonic shift is immediately noticeable, but I’ve found over the years that it is less of an issue as you get used to the chosen sequencing of the album. Additionally, Push Me Away is a lovely tune!

Things I Do For You has a jazz-funk feel to it and if you haven’t returned to your feet, you’ll likely be singing along to Things I Do For You as it's one of the best songs The Jacksons ever recorded. 

Shake Your Body (Down To The Ground) continues the funk vibe with a seamless transition while adding a touch of disco that ultimately gives the song its unique, and instantly recognisable, sound. While a group effort, this is Michael’s song as his lead vocal can be seen as a precursor to his style heard on Off The Wall. While Quincy Jones would add spit and polish to Michael’s sound, on his first solo outing on Epic Records, the production quality for Shake Your Body (Down To The Ground) is as good as anything Jones ever produced with Jackson. Yes, that may be controversial to some but Jones didn’t make Jackson any greater than he already was. He simply helped him to refine the sound and direction of his music. 

Destiny has a country twang to it and while you’d think there is no way this could follow the disco funk of Shake Your Body (Down To The Ground), you’d be mistaken. The multiple styles applied throughout the mix are extraordinary and just go to show that The Jacksons were more than capable of producing a masterpiece.

Bless His Soul is a lovely album tune. While you’re unlikely to seek it out on its own, Destiny wouldn’t be the same without Bless His Soul. 

All Night Dancin’ is a quirky little disco tune. It’s not bad, but I feel the tempo is a little too fast for the song. Any faster and we would have been listening to The Chipmunks! Joking aside, I can see what The Jacksons were trying to achieve, but it just doesn’t connect with my soul and I struggle to find a rhythm to connect to that would ultimately return me to the dance floor. Let’s just say, especially with regards to its length, it’s a little more filler than killer. 

That’s What You Get (For Being Polite), by comparison, is a little more up my alley and is a lovely song to close out the album with. It is both contemplative and encouraging thereby allowing you to decide to play the album again or further enjoy The Jacksons’ extensive catalogue of music.

With a runtime of 41-minutes, Destiny is concise and purposeful and while I don’t find a connection with All Night Dancin’, there’s little doubt in my mind that Destiny is not only one of the greatest albums to come out of the Jackson clan, but it’s one of the best albums released in 1978 and should be in every music lover’s collection. 

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Willie Nelson – Stardust (Album Review)

Prolific would be one way to describe Willie Nelson for few artists exhibit such an incredibly vast back catalogue of music. I often wonder, with such output, if it’s possible to proclaim a single album as a definitive release that is not only exceptional in its own right but is telling of an artist’s greater body of work. Yes, Stardust saw Nelson deliver music in a somewhat different style than he was renowned for, by that stage in his career, but the cross-genre approach was done remarkably well and is, in my opinion, Nelson’s greatest musical achievement. 

Released in 1978, Stardust was Nelson’s twenty-second studio album and was comprised of ten standards, encompassing music from folk, jazz, and pop genres, that made the album instantly marketable to audiences outside of his usual country music genre. Remarkably, Nelson’s vocal prowess showcased that he could be considered in the same light as Frank Sinatra, Ray Charles, and Bing Crosby. However, when comparing Nelson’s recordings to the greats of yesteryear, an interesting dichotomy presents itself for Nelson arguably performs many of these songs to a superior standard than those who came before. If nothing else, he matches their brilliance and while it isn’t unheard of, it’s exceptionally rare that an album of music can be so perfect as to know no peer. Well, Stardust is one such album.

It wasn’t only the music, however, that was striking for the cover art is gorgeous and works incredibly well with the music itself. Painted by Susanna Clark, the Pleiades constellation has never looked better. While the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, is sonically exquisite, I’ve got to get myself a copy on vinyl one day for I simply want to hold and display the artwork on a larger canvas. 

Stardust sets the tone for the album and the subtleness of the organ within the mix, with all other musical elements placed on top, is the epitome of good mixing for every musician is featured clearly within the mix while Nelson is front and centre. The adage that they don’t make music like this anymore certainly applies when listening to not only this song, but the entire album. 

Georgia On My Mind is so incredibly good that there’s no doubt in my mind as to why Nelson won the Grammy in 1979 for the Best Male Country Vocal Performance of this classic song. That said, one can’t forget how incredible the entire band is on the song. Mickey Raphael’s harmonica is certainly a highlight. Yet, interestingly, I can’t help but wonder if other songs from Stardust were more worthy of a Grammy award. Of course, if I had my way, Nelson would have taken out a Grammy for the entire record.

Blue Skies is one of my favourite tunes and is one of the best from the album. I’d even go as far as suggesting that it’s one of the greatest songs Nelson ever recorded, in his entire career. Sit back, relax, and toe-tap to this master recording. 

All Of Me has an old swing to it, and it should for the era from which it came, and while I’d suggest that as a song on its own, it isn’t that strong, I couldn’t imagine Stardust without it.

Unchained Melody is one of the greatest standards ever written and Nelson and the band have recorded one of the very best renditions I’ve ever heard. Magnificent!

September Song is nothing short of a musical masterpiece. Every aspect of the recording is utterly perfect; a statement that I’ve likely repeated for Stardust is a well-crafted piece of audible art.  

On The Sunny Side Of The Street is the ultimate toe-tapping head-bopping tune.   

Moonlight In Vermont showcases, as many of the songs do on Stardust just how magnificent Nelson is as a vocalist. While many fans will already acknowledge this fact, there’s something very special about his vocal performance on this album that I don’t feel necessarily works as well with his more traditional style. It’s as if he was always meant to record these songs. 

Don’t Get Around Much Anymore is a fun little tune and while there are countless examples of incredible recordings, Nelson’s is one of the best. The mix and mastering are incredible and the soundstage is so spacious that you’d swear you were in the room with the band as the song was being recorded. 

Someone To Watch Over Me is a beautiful song to close the album with. While additional releases throughout the years have extended the track listing to include bonus tracks, I’m incredibly grateful to Sony Music Entertainment for not adding those versions to Apple Music as I feel the original 10-track, 37-minute runtime, is perfect as it encourages me to play the album again. 

Part of the strength of Stardust is that Nelson wasn’t merely recording an album of covers, done in the same style as the originators, for Stardust may remind you of the classic recordings but make no mistake about it, Nelson, the band, and Booker T. Jones (in the production chair) made these songs their own and in many cases, if not all, I’d go as far as saying these renditions are superior to the originals. Either way, Stardust is a masterful album and one that should be in every music lover’s collection.

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