Bob Marley & The Wailers – Kaya (Album Review)

Few reggae albums are as relaxed as Kaya, but this easygoing styling is what makes this 1978 release a timeless classic. While many would point to their 1977 release, Exodus, as being their musical opus, Kaya is more consistent, accessible, and plays like a greatest hits release whereas Exodus only comes alive during the second half of the album. It’s a minor variation, but other than the exceptional Legend collection, when I want to just sit back and relax, Kaya is one album that’s always at the top of the list. 

The problem is, as is the case with many albums from the 70s, there are too many editions to contend with. Physical media fans will understand this only too well, but even on streaming we’re met with the standard lossless release, the Dolby Atmos mix, the 40th Anniversary remix, and the Deluxe Edition that contains a barebone live recording from 1978. It simply becomes a troublesome matter of deciding which version to listen to.

Longtime readers will note my general disinterest regarding bonus tracks (even if they’re live, as is the case here) as they’re rarely worthy of listening to more than once and a new mix, particularly one not sanctioned by the original artist, is questionable at best. Hence, I appreciate that The Island Def Jam Music Group has ensured that the original LP track listing and mix remains available on Apple Music, as an Apple Digital Master, as it is superb and highlights the top-notch production values and musicality of the recording. It’s imperative to note that the CD reissue series that accompanied Kaya 40 was released as a double CD and the original mix and Kaya 40 are subsequently placed on different discs; just the way it should be! 

Delving a little deeper into the different editions, I find the Dolby Atmos mix isn’t anything to get excited about. It isn’t poor, by any standards, yet it doesn’t add anything to the album that wasn’t already there. Yes, some musical elements are clearer via this surround mix, but others are a little more subdued compared to the stereo counterpart. Perhaps it is simply a case that I’m more familiar with the stereo mix and subsequently prefer to stick with it as I seemingly know every note and instrument placement within the recording. I’ve no doubt, however, that those who are new to Bob Marley & The Wailers will likely find their preference leans towards the surround mix as it is a little more in line with modern recording styles and techniques. 

While this review is predominantly focused on the original stereo mix, Kaya 40 is interesting. Believe it or not, that is a compliment! However, as with the surround mix, it changes Kaya and not necessarily for the better. Although, I can appreciate some of the mixing choices on this release, as there are elements that are more pronounced than ever before, that does come with a downside as other elements are minimised or hidden. As with all music, it is subjective and your perspective may, and probably will, differ from mine. Is there a wrong way to listen to Kaya? No, it’s an incredible album with a rich heritage, I just prefer my original releases and mixes far more than modern interpretations. 

Easy Skanking is a relaxed mood setter and is an incredible opening tune. It helps that it was mixed and recorded impeccably well, for each musical element is identifiable throughout the soundstage.

Kaya is a solid title track but this wasn’t the first time the song was recorded for it also made an appearance on the, now out-of-print, 1971 album Soul Revolution Part II. That original recording is about as bare bones as you can get and plays like a demo. Still, if you track it down, you’ll hear the essence of the original tune in this excellent re-recording. 

Is This Love, as I’ve said before, has a simple, yet complex beat, combined with vocals and an overall tonality that will get your body moving. As the most well-known song from Kaya, and one of Bob Marley & The Wailer’s all-time greatest hits, Is This Love remains a timeless classic that will live on well beyond the demise of humanity. Magnificent!

The music video is solid, particularly for the era, but the most magical moments arise from Marley’s incredible smile. You can’t help but see the joy and love on his face and even after all these years, it remains infectious and capable of brightening up your day. 

Sun Is Shining is a re-recording as this song initially appeared on the 1971 release Soul Revolution Part II and African Herbsman in 1973. The Soul Revolution Part II version is fantastic. It’s not as polished as the interpretation on Kaya, but the unique underproduced style is mind-blowingly good. The African Herbsman edition adds a little more spit and polish to that original recording and it’s exciting to hear the evolution of the song. Now, while these are out-of-print, if you head across to YouTube, you can easily find these early recordings. In this case, it is most certainly worth your time. 

Original releases aside, Sun Is Shining is a great tune that fits well within the context of the album. I would have, however, loved to have heard the guitar tracking placed more prominently in the mix as it needs to be upfront with Marley to achieve the required impact. Yes, doing so would have diminished the laid-back styling of the song, but it would have been better nonetheless. The Kaya 40 mix somewhat addresses this element, while also ensuring the bass guitar is more prominent in the mix, but the other elemental aspects, of this particular edition, detract from the soul of the original Kaya mix. 

Satisfy My Soul is a landmark Marley & The Wailers tune, but this version is another that wasn’t originally released on Kaya as it was recorded for Soul Revolution Part II and was titled Don’t Rock My Boat. The original recording isn’t great so save your time and simply listen to this exceptional re-recording.

She’s Gone is toe tapping, head bopping, gold. While some may lament the slower styling heard throughout Kaya, and on She’s Gone, I love it as it’s akin to a meditation session. 

Misty Morning has some lovely horn work, but as with Sun Is Shining, it would have been fantastic had the brass been more prominent in the mix. Yes, the Kaya 40 mix helps a little but it’s also not as relaxed as the original release. All that said, it becomes apparent that Misty Morning could have been recorded with two completely different tempos, both being equally exceptional. Misty Morning is a great tune, regardless!

Crisis has a killer groove and as good as Marley’s vocals are, Crisis is all about The Wailers’ musical layering for there’s so much detail present on the recording that you’ll hear something new every time you listen to it. Incredible!

Running Away is so underrated it’s criminal. This is one reason why listening to albums, rather than compilations or playlists, is essential, otherwise, you run the risk of missing out on some stunning music; Running Away being one such example. Admittedly, Running Away has made an appearance on Bob Marley & The Wailers’ Essentials Playlist but it was left off Legend – The Best Of Bob Marley & The Wailers; an unforgivable omission!

Time Will Tell closes out Kaya beautifully, although Running Away would have been a stronger closer. Nevertheless, Time Will Tell leaves me in a contemplative mood and is great for late-night listening sessions where placing the album on repeat isn’t of paramount importance.

Overall, Kaya is a timeless reggae classic that showcases Marley's prowess as a singer, songwriter, and performer. With its upbeat, feel-good, tunes and Marley's unique blend of political and spiritual themes, combined with his smooth, soulful voice and catchy melodies, Kaya becomes a must-listen for any reggae music fan. 

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Bob Seger & The Silver Bullet Band – Stranger In Town (Album Review)

There are classic albums and then there is Stranger In Town; an album that was monstrously successful in the United States but flew well under the radar worldwide. While releases were different and often region-restricted, back in 1978 when Stranger In Town was released, our modern interconnected world breaks down those barriers allowing us to all appreciate the masterpiece that is Stranger In Town; Bob Seger’s greatest musical achievement.

One aspect that isn’t so good, especially in the era of streaming, is the lack of acknowledgement of The Muscle Shoals Rhythm Section. Seger obviously had his own band, The Silver Bullet Band, but they would only play on four of the nine tracks heard on Stranger In Town, whereas The Muscle Shoals Rhythm Section played on the other five. Granted, Bob Seger & The Silver Bullet Band, at that time, was sold as more of a band than a solo project for Seger, but while The Muscle Shoals Rhythm Section were respectfully highlighted in liner notes on all physical mediums, streaming offers music-lovers no such acknowledgement which is a shame considering their input to Seger’s creative output. 

Perhaps it shouldn’t bother me as much as it does, but The Muscle Shoals Rhythm Section was an exceptional group of session musicians that recorded hundreds of songs, many of which you’d know immediately by hearing their trademark R&B meets soul with a touch of country; a hallmark sound of the southern United States. One such song, and their most successful hit, was Respect. Yes, Aretha Franklin’s Respect! 

Naturally, this is one aspect of streaming that leaves me cold towards the flexible format, despite its convenience, for it generally lacks information for those of us who deem such knowledge to be imperative. Most music listeners wouldn’t consider this a point of contention, but when you listen to Stranger In Town, you can most certainly hear the different styles between The Silver Bullet Band and The Muscle Shoals Rhythm Section. Hence, Stranger In Town would not be the album it is without the involvement of The Muscle Shoals Rhythm Section. 

While I’m lamenting the absence of liner notes from digital counterparts, I also have to note that Stranger In Town hasn’t seen a physical media release since the 2001 CD remaster; most likely the source of the Lossless Stream on Apple Music for it isn’t an Apple Digital Master and is only delivered in 16-bit 44.1 kHz CD-quality sound. Truth be told, there’s nothing fundamentally wrong with the stream that a little EQ or tone control manipulation can't fix.

Dialling up the mid to low-end bass gets the album rocking a little more as it’s a rather clinical reproduction without this boost to the signal path. Purists, however, will likely point to the clarity and soundstage which is most certainly present, but it doesn’t allow for turning the volume up as the overall sound becomes even more brittle when doing so. A shame considering Stranger In Town is an exceptional, timeless, album that deserves to be played loud. 

Hollywood Nights is a great high-energy opening track that sets the tone for the entire album. Bill Payne’s piano and organ elements are perfectly suited to the song, but I can’t help but wish that they had been more prominent in the mix as I feel it would have taken Hollywood Nights to another level. 

Still The Same is a simply gorgeous soft rock ballad that flows perfectly from Hollywood Nights despite the tempo change. While I don’t know about you, dear reader, Still The Same is one of Seger’s greatest tunes, if not his greatest, as I never tire of listening to it. The inclusion of backing vocals by Venetta Fields, Clyde King, and Sherrie Matthews gives this song an additional, and much appreciated, soul element for it simply wouldn’t be the same song, sans these master vocalists. 

Old Time Rock & Roll is one of Seger’s most memorable recordings and every time it comes on, I can’t help but smile from ear to ear before rocking out. Before even knowing who Bob Seger was, I recall experiencing the song on the 80s television series, Alf. As I aged and began to explore music further, it was with great pleasure that I came across the original recording and subsequent album. While many will take issue with the way music can be appropriated into other mediums, the silver lining is that had I not had that childhood experience, I may not now be so enthralled, or have come across this song at all, for that was an era well before we had almost every album ever recorded at our fingertips. 

Back to the music, however, while we’re rocking out to this upbeat tune, it’s imperative to acknowledge Howie McDonald’s guitar solo and Alto Reed’s saxophone solo for both make Old Time Rock & Roll the timeless classic it is.   

Till It Shines maintains the tempo from Old Time Rock & Roll with a little southern rock influence. The result is a thoroughly enjoyable tune. However, Glenn Frey’s guitar solo should be a highlight, but the tuning sounds off, in relation to the rest of the song, that is. Don’t get me wrong, the riff throughout is great, it’s the mid-song solo that I’m suggesting has a problem. 

Feel Like A Number has some soaring guitar elements and the band is on fire ensuring that they’re not just another number in the grand scheme of things. It’s intriguing to note that even in 1978, being treated like a number was an issue; one that we find ourselves still dealing with to this very day. Whether you identify with the lyrics, or not, this is one of the best songs in Seger’s extensive catalogue of music. 

Ain’t Got No Money is classic Seger with his guttural, yet smooth, vocal. While Seger is front and centre in the mix, Ain’t Got No Money will see you toe tapping and head bopping and it’s fair to say Don Felder’s guitar solo trumps that of Frey’s on Till It Shines. That said, neither is truly exceptional. Given the boys from the Eagles, by this stage, were at the peak of their creativity, I would have expected more. Subsequently, I can’t help but wonder what Joe Walsh would have come up with on a song like Ain’t Got No Money; likely a little more distortion and gruffness that would have better suited the song.

We’ve Got Tonight is simply magnificent and it’s songs such as this that remind me why I love music as much as I do. We’ve Got Tonight is a timeless soft rock ballad love song that is incomparable and fits with the overall style of Stranger In Town perfectly.

Brave Strangers isn’t the greatest song to follow We’ve Got Tonight, unfortunately, for the tempo is mismatched. Nevertheless, Brave Strangers is a solid album-only rock tune.

The Famous Final Scene is a magnificent closing tune, a hidden gem and one of Seger’s finest recordings. I do believe, however, that We’ve Got Tonight would have been a stronger closer for Stranger In Town but that is a minor quibble and should not be seen as a reflection on the song itself. 

As music lovers, we are so incredibly fortunate to have music that is this good. Stranger In Town is a must-listen classic rock album that contains some of Seger’s greatest hits. With its intentionally meaningful lyrics, and a blues-based rock sound signature, it is also Seger’s most accessible creative work and offers newcomers a wonderful introduction to the American singer/songwriter. 

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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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