Art Garfunkel – Breakaway (Album Review)

Released in 1975, Breakaway, Art Garfunkel’s second solo release, showcases the artist's remarkable vocal prowess, emotive storytelling, and timeless appeal. While fans may have been hoping that a resolution would once again see the legendary duo of Simon & Garfunkel record and release another album, that wasn’t to be, but Breakaway does include the Simon & Garfunkel duet; My Little Town. That duet aside, we are blessed to have Breakaway; an album that can be best described as a classic record. 

While music lovers will declare that the music is the most important aspect, by the mid-70s, albums were primarily released on the vinyl format and Breakaway’s cover art would have looked exceptional, and would have stood out from the crowd, in any record store. It’s album covers such as this that make me wonder how many people would have purchased the record based on the artwork alone, without knowing or having heard the music at all. Nevertheless, the imagery is spectacular and there likely isn’t a straight man alive who wouldn’t have wanted to be vicariously ensconced between actresses Helena Kallianiotes and Laurie Bird. Unfortunately, by the time 1979 rolled around, Bird had taken her own life but her spirit continues to live on via Breakaway’s artwork. 

As it pertains to the sonic qualities of the release, the CD-quality lossless Apple Music stream is exquisite. While I don’t have access to another edition of this classic album, I can’t imagine seeking one out for the stream is more than anyone could expect as the soundstage is wide and enveloping and every musical element is perfectly positioned within the mix. Flawless, is one way to describe it, yet one can’t help but wonder how the album would sound quadraphonically. 

When released in 1975, quadraphonic vinyl and 8-track releases were issued alongside the stereo edition. While the quadraphonic mix was out-of-print for decades, a Hybrid Multichannel SACD was reissued in 2018 by Vocalion (under license from Sony Music Entertainment UK Limited) and was extremely well received by quadraphonic music aficionados. Due to the numerous glowing reviews, I wish that Sony Music would issue the quadraphonic mix to Apple Music for the streaming service supports Dolby Audio which can deliver up to 5.1 channel mixes. An Atmos mix need not apply, especially when the existing quadraphonic mix is already so well respected. 

While I understand that Sony Music may wish to hold onto certain editions, for a variety of reasons, I’m the type of music lover who would like to see the most compelling versions of an album released everywhere so that everyone can enjoy it. While the SACD release is not overly priced and is still available, not every fan will have access to an SACD player; particularly one that is capable of multichannel playback. Apple Music, however, has the potential to allow many more people to listen to, and enjoy, these multichannel mixes; even if in a semi-psuedio playback environment for those without extensive surround sound systems. 

As previously mentioned, the lossless CD-quality stream is thoroughly enjoyable and it is the music, after all, that is the most important aspect, not the delivery format. With that in mind, join me as we take a look at the songs that make up this incredible release. 

I Believe (When I Fall In Love It Will Be Forever) is a magnificent cover of Stevie Wonder’s original from his 1972 release Talking Book. As pleasurable as Wonder’s recording is, however, it pales in comparison to the masterpiece that Garfunkel has recorded. It isn’t just in the chosen vocal styling, but in the musicality, as Garfunkel’s interpretation is bolder, smoother, and more uplifting than the original. It’s a perfect opener that sets the tone for the music that is to follow. 

Rag Doll is a beautiful tune that’s perfectly suited to Garfunkel as it showcases his ability to infuse music with emotion and sincerity. Rag Doll is, subsequently, a timeless, and somewhat hidden, gem. 

Break Away is a stunning upbeat ballad that is worthy of being the album’s title track. The inclusion of David Crosby and Graham Nash, on backing vocals, particularly on this recording, enhances the song and creates a captivating atmosphere to go along with the pleasing musical backdrop. 

Disney Girls, a Beach Boys cover, is stunning! The original, however, is quite the song in its own right. It’s so good that, at times, I prefer the original. Let’s just say that it’s a killer tune and both The Beach Boys and Garfunkel performed it masterfully. 

Waters Of March is one of those songs that you’ve most likely heard on numerous occasions for it has a long legacy and many artists have recorded it. While it’s a perfectly adequate song for the album, and I wouldn’t like to see Breakaway sans Waters Of March, I’m not entirely convinced that it was worthy of Garfunkel, or that his interpretation added anything new to this classic tune. I, therefore, have a love/hate relationship with the song for it flows well within the album’s context, but it isn’t a song that I would seek out on its own. 

My Little Town, a collaboration with Paul Simon, was also released on Simon’s 1975 studio release; Still Crazy After All These Years. While we can lament the cessation of the duos’ collaboration, My Little Town is a lovely tune that harks back to a beloved era. No, it isn’t the strongest song that Simon & Garfunkel ever recorded, nor is it a standout, but it’s lovely nonetheless.  

I Only Have Eyes For You is another well-known tune for this soppy love song has been recorded and aired ad nauseam. Still, Garfunkel’s interpretation is lovely as his vocal control is utterly perfect and the lush, but tepid, orchestration provides a dreamy atmosphere that not only perfectly suits the song but also captures the essence of love and devotion.

Looking For The Right One is a Stephen Bishop composition that Bishop would later record beautifully and release on his 1978 studio album Bish. As for Garfunkel’s original recording, it too is stunning and is another example whereby either version can be thoroughly appreciated.

99 Miles From L.A. is a cover of Albert Hammond’s recording; also released in 1975. Hammond’s is a lovely interpretation, but it isn’t quite as fulfilling as Garfunkel’s rendition. Garfunkel’s musical bed is a little more recessed while his vocals were recorded with an ethereal echo. The result is a thoroughly more pleasing musical experience. 

The Same Old Tears On A New Background closes the album with a reflective ballad that continues to showcase Garfunkel’s emotive vocals. Add to that the beautiful instrumental backing and the amalgamation creates a poignant conclusion to the album's emotional journey; one which will encourage you to play the record again.

Breakaway, subsequently, stands as a timeless masterpiece showcasing Art Garfunkel's exceptional musical talent. With its captivating melodies, heartfelt lyrics, and impeccable craftsmanship, Breakaway continues to resonate with audiences decades after its initial release, solidifying Garfunkel's legacy as one of the preeminent voices in the history of recorded music.

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America – Hearts (Album Review)

Released in 1975, Hearts is a masterpiece of 1970s soft rock, showcasing America during their most prominent years. While it’s another impressive collaboration with George Martin, in the production chair, Hearts is most notable for seamlessly blending acoustic guitar-driven compositions with lush harmonies and subtle instrumental arrangements. The result is an album that, much like the rest of their 70s catalogue, is easy listening soft rock folk music that will appeal to just about any music lover. 

As previously mentioned, Martin’s contribution here, along with Geoff Emerick's engineering of the album, ensured that the production quality of Hearts was top-notch, with each instrument and vocal harmonisation meticulously arranged to create a cohesive and immersive listening experience. Hearts, subsequently, has a timeless appeal and while not presented as an Apple Digital Master, sounds lovely via Apple Music. It is, of course, up to Warner Records as to which edition of an album is delivered to Apple Music, but one would expect more with Apple Music not only supporting Hi-Res Lossless delivery but also Spacial Audio; particularly as Hearts had been released in the 70s as a quadraphonic edition alongside the stereo release.

Given the classic album status of this record, Warner may wish to keep additional versions in the archives for anniversary releases on physical media. However, one can’t help but wonder if this isn’t a missed opportunity for a Dolby Atmos mix need not apply as Apple Music fully supports Dolby Audio; a legacy surround format that can deliver up to 5.1 channel mixes via the streaming service.  

Given Hearts has been reissued for the audiophile fans amongst us, higher-quality versions of this album do exist. That said, some of these releases are now out-of-print and command significant prices on the secondhand market. Interestingly, however, Qobuz has a Hi-Res Lossless 24-bit / 192 kHz edition of the album available to stream or purchase so if attaining the highest quality reproduction is the most important aspect to you, you may wish to check out that version. As to why Apple doesn’t have access to the same version as Qobuz, I’ve no idea. It is yet another minor quizzical frustration that streaming-focused music lovers must contend with. 

Turning our attention back to the Apple Music stream and what you get is a CD facsimile that reproduces the album’s analogue-era warmth and fullness with lovely separation between instruments and a pleasurable stereo soundstage. While I’ve no doubt there are advantages to the other, aforementioned, releases, the stream is so lovely that I question if I need to seek out other editions. At any rate, it’s all about the music, so join me as I take a look at the songs that make up this incredible mid-70s release. 

Daisy Jane sets the tone for the album with its gentle acoustic guitar intro and soft melodic vocals. It’s one of America’s most beautiful ballads and the song's catchy chorus and lush harmonies ensure that it’s not only a standout from the album, but is amongst the greatest songs that America ever recorded.

Half A Man shifts the tempo slightly and while the initial shift presents a jolt to the senses, you quickly meld into the soft rock elements that are, in some ways, reminiscent of Alice Cooper; particularly in his solo ballad-styled 70s and 80s recordings. Whether or not Half A Man is an exceptional song will be determined by your subjective tastes, but it’s ideal for the era in which it was released as the upbeat horn delivery and backing vocals pigeonhole it perfectly to the sounds that were prominent during the mid-70s. 

Midnight is captivating with its dreamlike haunting melody and atmospheric instrumentation. The vocal harmonies are stunning and when merged with the musical bed, it makes for a standout tune that’s a hidden gem of, not only, America’s back catalogue, but of the 70s. 

Bell Tree flows beautifully from Midnight as this song continues the serene atmosphere with gentle acoustic guitar melodies, subtle percussion, and delicately delivered vocals. It may not be a standout, but it’s songs such as Bell Tree that make for an exceptional album experience. 

Old Virginia has folk-focused instrumentation that combines seamlessly with America’s vocal delivery and harmonies; a beautiful song! 

People In The Valley features a more upbeat tempo and rhythmic groove than the prior songs, yet the catchy chorus and infectious melody make it a compelling listen and showcase America's ability to craft memorable pop-rock tunes; even if it presents a minor shock to the senses when listening to the album in its linear structure.

Company is an interesting tune for it isn’t the greatest song America ever recorded, yet there’s an intriguing aspect to it that I can’t quite explain. It isn’t a B-side, nor is it filler. It does, however, work perfectly within the flow of the album and I like it; even if I can’t communicate why. 

Woman Tonight, with its energetic rhythm and infectious groove, is a standout tune as the musicality is off-the-charts good. While it doesn’t seem that it should work on paper, the Caribbean and reggae-influenced undertones work surprisingly well with America’s style.

The Story Of A Teenager slows things down again and while I don’t mind the uptempo numbers, more melodic tunes, such as this one, are much more well-aligned with America’s vocal-focused presentation.

Sister Golden Hair is, arguably, the most iconic track from Hearts. Featuring a catchy guitar riff, and memorable chorus, Sister Golden Hair is a timeless classic and a standout within the classic rock sub-genre. 

Tomorrow is the perfect song to follow on from Sister Golden Hair as it doesn’t detract from the brilliance of the previous track but is magnificent in its own right. While the musical bed is stunning, it is the harmonious vocal delivery that makes Tomorrow an exceptional tune. 

Seasons is an interesting closer as part of me would suggest that Tomorrow would have been a stronger final track, if for no other reason than to allow the listener time for contemplating the music they’ve just heard. Instead, Seasons will pique your attention with its theatrical nature that sounds as if it would have been better placed in a different sequenced position. Nevertheless, Seasons is a lovely album-only tune that will encourage you to play the record again. 

With its memorable melodies, heartfelt lyrics, and impeccable production, Hearts continues to captivate audiences and stands as a testament to the band's enduring legacy; one that has its peers but one that sees America at the very top of the folk-rock movement of the 70s. 

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Alice Cooper – Welcome To My Nightmare (Album Review)

There are classics and then there is Welcome To My Nightmare. Going solo, after the official disbandment of the Alice Cooper Band, Cooper would return with a debut solo album that not only built upon his previous successes but also took his musicality to new and unexpected heights. While it was familiar, yet different, Welcome To My Nightmare delves into the dark and twisted recesses of Cooper's imagination, taking listeners on a journey through the nightmares of a troubled mind. As far as concept albums go, this is amongst the greatest and stands as a cornerstone in the history of rock music.

While one of the most appealing aspects of Welcome To My Nightmare is its story-driven approach, you need not worry if you’re not interested in that style of album for I’m sure Steven, the album’s protagonist, won’t mind as the songs are exceptional in their own right. From the haunting opening track, to the chilling finale, this album immerses listeners in a theatrically surreal world filled with macabre imagery and unsettling melodies that will leave a lasting impression for it is nothing short of a musical masterpiece.

Being a master storyteller is but one part of Cooper’s musical skill, for his ability to deliver emotive vocals, alongside poignant lyrics, is profound and elevates his music to another level entirely. Welcome To My Nightmare, along with so many of Cooper’s solo albums, pushed the boundaries of what was possible with music and the album format and while we’ll take a look at the songs that make up this incredible release, I dare say that it is best heard in its linear structure for it’s a textbook example of how to write, record, and release a concept album.

While the music is one aspect, the record's iconic cover art perfectly encapsulates the album's theatrical spectacle. Drew Struzan’s illustrations pop off the canvas and as much as it can be appreciated on the smaller screen of a smartphone, this is an album cover worthy of vinyl ownership. Speaking of which, I’ve been fortunate to own the 2018 Limited Purple Vinyl Edition; a visually stunning and thoroughly enjoyable reissue with a relatively low noise floor and a rich dynamically charged sound stage that has plenty of clarity, oomph, and analogue warmth to captivate most music lovers. However, is it the final word in sonic quality for this classic album? That is, naturally, subjective and while I’m aware of the Analogue Productions reissue and respect what Chad Kassem and his team do with their remasters, as I own quite a few, I am growing weary of 45rpm releases.

Granted, I acknowledge that the entire Atlantic 75 Audiophile Series is being delivered exclusively on 45rpm 180-gram heavyweight vinyl, as well as Hybrid SACD releases, but with an album such as this one, the flow naturally suffers from being placed across four sides rather than two. For instance, Years Ago flows nicely into Steven but these songs are separated on Sides 3 and 4. Perhaps I’m being pedantic as I can see how a separation here would be appropriate, but after so many years of hearing this album in its original sequencing, I fear it would detract from the flow of the album.

Additionally, I strongly believe that if a mastering job is done properly, the benefits are also noticeable when released at 33rpm. For instance, as incredible as the Analogue Productions edition of Aaron Neville’s Warm Your Heart is at 45rpm, the Acoustic Sounds Series (also supervised by Chad Kassem) of Nina Simone’s I Put A Spell On You at 33.3rpm is every bit the aforementioned contemporary, once the recordings differences are taken into account, and it’s simply extraordinary.

Given all the praise I’ve seen directed at the Atlantic 75 Audiophile Series reissue, I really should pick up a copy, but it still amazes me that these releases are exclusive and limited. If they are the very best that these albums have ever sounded, and I have no reason (based on my own experience) to suggest otherwise, then why don’t they become the definitive standard henceforth; on every format, future release, and digital delivery platform? I don’t know about you, dear reader, but I feel it’s gatekeeping at its finest and unnecessarily feeds the FOMO attitude that is prevalent within music-collecting circles.

Turning our attention to the lossless Apple Music stream and what we’re presented with is the same mastering as that available on the standard CD counterpart. It’s a solid facsimile, with adequate dynamics and detail, but it’s also a little underwhelming and brittle, particularly in the treble range. Yes, EQ settings can address some of these shortcomings, but if a better master were available, such as the most recent reissue, we wouldn’t need to make these accommodations.

Welcome To My Nightmare serves as an ideal ominous introduction to the album’s central theme with eerie effects and haunting vocals. It’s surreal and is one of those songs that builds masterfully as it progresses. Additionally, the soundstage is immersive and by the time the brass instrumentation enters the mix, you’ll be in sonic heaven. Welcome To My Nightmare is, subsequently, a killer 70s tune, embracing various aspects of funk, jazz, and disco.

Devil’s Food is interesting in its delay to get started following the quiet final moments of Welcome To My Nightmare. It may be a minor aspect, but it’s a technique that I wish was applied more as it allows the senses a moment to reset. Nevertheless, Devil’s Food continues the dark and brooding atmosphere that flourishes when Vincent Price’s role as the curator enters the mix. In many respects, Price’s inclusion shouldn’t work, yet it does and provides an astonishing segue into The Black Widow.

The Black Widow is one of the best songs from the album and perhaps one of the most underrated. With a menacing guitar riff, sinister lyrics, and dramatic delivery, The Black Widow is one of the finest songs from Alice Cooper’s back catalogue.

Some Folks offers a departure from the album’s overall darker musical style by injecting a dose of dark humour with some killer swing, big band, and jazz-inspired elements.

Only Women Bleed is, arguably, Cooper’s greatest musical accomplishment. His emotive vocals and the song’s haunting melody combine to create a powerful ballad that knows few peers.

Department Of Youth aims to be a high-energy anthem that celebrates the rebellious spirit of youth culture, yet it isn’t a standout and I question if the inclusion of The Summerhill Children’s Choir was beneficial or detrimental to my appreciation, or lack thereof, of this tune. Let’s just say that I wouldn’t seek Department Of Youth out, on its own, outside of the concept album structure.

Cold Ethyl is a killer rock tune containing infectious rock riffs and tongue-in-cheek lyrics that create a twisted love song unlike anything else on the album. It’s original, you’ve got to give it that, and Cooper’s theatrical delivery adds a macabre charm to the song’s already gleefully morbid subject matter.   

Years Ago is a perfect interlude-styled haunting ballad that tends to drive anxiety directly into the soul of the listener. Yet, it’s compelling and is one of the best songs from the album.

Steven is one of the record's most ambitious tunes. Not only is the storytelling compelling but every musical aspect is perfectly positioned in the mix. The result is a song that is the sonic equivalent of an Alfred Hitchcock film. It is, without a doubt, one of the greatest Alice Cooper recordings of all time.

The Awakening flows beautifully from Steven and is somewhat of a musical interlude, but it’s a little too short for my liking as I feel it should have been extended. Nevertheless, the atmospheric music and eerie sound effects, merged with Cooper’s extraordinary vocal presentation, ensure that The Awakening is memorable.

Escape is a great closer, but it doesn’t flow as well from The Awakening as the other songs throughout the record have. Yes, there’s a delay between songs, but I’m not sure it’s enough to ignore the shift in style. Despite that aspect, it’s an epic finale that will compel you to play the album again.

Welcome To My Nightmare is not only one of Cooper’s best albums, but it’s one of the greatest records, concept or otherwise, from the 70s; particularly 1975. It really is a triumph of creativity and innovation that pushed the boundaries of the concept album to the very limits of what such a release could achieve. After more than four decades, it remains a timeless classic that continues to captivate and inspire music lovers and Alice Cooper fans alike.

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ABBA – ABBA (Self-Titled) [Album Review]

ABBA’s self-titled studio album, their third, is a landmark release that distanced itself from the somewhat whimsically juvenile B-sides that littered Ring Ring and Waterloo. No, ABBA isn’t a serious album, by any stretch of the imagination, but where it separates itself from its predecessors is, in part, due to the higher production values and synergy between not only the songwriting team of Benny Andersson, Bjorn Ulvaeus, and Stig Anderson, but with the core ABBA members themselves. While ABBA is most certainly a standout release amongst their formative years, it remains one of their very best, and most underrated, albums and is also amongst the best records released in 1975.

While I always focus on the album experience, first and foremost, this eponymous release gave music lovers seven riveting singles, some of which have become staples in ABBA’s extensive back catalogue. Songs such as Mamma Mia, SOS, and I Do, I Do, I Do, I Do, I Do showcase the band’s ability to craft infectious pop and disco melodies that would not only solidify their status as one of the most influential acts of the 20th century but would ultimately make them timeless.

As already alluded to, the production qualities increased significantly upon this release but as longtime fans will note, not all editions of the album are created equally. It’s all in the mastering and it was unfortunate that I purchased one of the most brittle vinyl editions; the 2011 Back To Black (POLS 262) vinyl re-issue. The lossless Apple Music edition, an Apple Digital Master, is leaps and bounds ahead of that 2011 vinyl reissue as it has a far greater sense of space and clarity.

The ABBA fan within, however, couldn’t let one edition forever tarnish this great album. As such, when the ABBA – The Studio Albums box set was reissued in 2020, I couldn’t pass up the opportunity to dump all previous Back To Black reissues and give this one a shot. Impressed, by the entire box set, would be an understatement. It’s the very definition of perfect and while your subjective preference may differ from mine, I consider the box set, and the version of ABBA, to be the final word in sonic quality as it’s flawless.

Of course, I can’t take the record everywhere with me, so for that purpose, the lossless Apple Music stream remains a highly respectable digital counterpart that is every bit as pleasurable as the 2020 vinyl reissue. Yes, the vinyl reissue is blessed with the renowned warmth of the format, but the Apple Music stream suffers from no digital glare and has the same smooth and dynamic presentation as its counterpart, so it’s likely to appeal to most music lovers.

As you head into the breakdown of the songs that make up this incredible release, it’s important to note that only the core songs, from the album’s original release, are featured below. This is because I’m a purist at heart and while I’m aware of the bonus tracks that have been made available via subsequent digital reissues, I much prefer listening to the album in its original linear structure. Thankfully, the additional tracks can be heard at any time via the Bonus Track Version, but for some reason, the Deluxe Edition is no longer available on Apple Music. Nevertheless, sit back, relax, and let’s take a look at the songs that make up this landmark release.

Mamma Mia is a perfect album opener. Iconic and catchy, this lively tune perfectly encapsulates ABBA’s signature sound. It also helps that it’s got an infectious melody and irresistible chorus, for you’ll find yourself captivated from the very first note to the last.

Hey, Hey Helen is a little quirky when compared to Mamma Mia, but it works with its spirited tempo and vocal delivery. It can, however, get a little monotonous throughout the chorus, but as a fan of ABBA’s rock-focused tunes, I can live with that aspect, in part, because the riff is simply incredible.

Tropical Loveland shifts the tone of the album and adds a touch of reggae. This isn’t up to Bob Marley & The Wailers' standards, but it’s a solid tune and further showcases ABBA’s diverse musical arrangements. Plus, it does give you a sense of being transported to a sun-soaked paradise, thereby making it memorable, relaxful, and thoroughly enjoyable.

SOS is what I call a disco ballad for its combination of haunting melody, heartfelt lyrics, and emotional depth are regularly associated with ballad-styled music. Yet, add in the uptempo musical elements and you’ve got the disco component. Either way, and no matter how you choose to enjoy SOS, one thing is for certain; ABBA doesn’t get much better than this!

Man In The Middle is a dynamic and energetic track with impeccable harmonies and infectious rhythms that are ideally suited to the era. The song's catchy chorus and driving beat make it a standout track on the album and is, arguably, one of ABBA’s best, lesser-known, tracks.

Bang-A-Boomerang is a joyous and infectious tune that harks back to ABBA's origins. With its catchy melody and playful lyrics, Bang-A-Boomerang is guaranteed to put a smile on your face as you dance along to the irresistible rhythm. Perhaps the only negative aspect of the song is that there’s a little too much distortion present and it comes across as a demo, rather than a complete tune. It isn’t a dealbreaker, but it’s one song that can be jarring on the senses if you have too much treble dialled into your stereo.

I Do, I Do, I Do, I Do, I Do is a jubilant number with an upbeat tempo and infectious chorus. The song's catchy hooks and spirited vocals make it a standout and while it may not be everyone’s favourite, I’ve no doubt most would agree that the alto saxophone tracking that Ulf Andersson laid down is simply exquisite.

Rock Me is dynamic and electrifying. With its driving beat and energetic vocals, this song is guaranteed to get you on your feet, dancing along to the infectious rhythm.

Intermezzo No.1 is a captivating instrumental masterpiece that highlights ABBA's talent for crafting lush and evocative music. With its sweeping melodies and intricate arrangements, this song is a testament to the band's creative vision.

I’ve Been Waiting For You is one of Agnetha’s most beautiful vocal performances and is another song that showcases the emotional depth and musical sophistication ABBA brought to their music via this album.

So Long isn’t the strongest closing tune, particularly after I’ve Been Waiting For You, as it feels out of place within the flow of the album. Where it could have been placed instead, I’ve no idea. It’s a low point but, one thing is certain, it will leave you with a spirited and upbeat feeling that will compel you to listen to the album again.

Overall, ABBA's self-titled album is a minor masterpiece that showcases the band's unparalleled talent and musical innovation. Their skills in both increased production quality and songwriting are notable, resulting in infectious melodies, heartfelt lyrics, and dynamic performances that are timeless and are a must-have for any music lover's collection.

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Stevie Wonder – Songs In The Key of Life (Album Review)

Songs In The Key Of Life is one of those unique album experiences that comes along once in a generation. Billed as a double album, part of the uniqueness of this release was that it originally shipped with a bonus EP called A Something's Extra that included the four final tracks that you’ll find on all digital counterparts. While this additional element could be seen as unnecessary to the core album experience, I couldn’t imagine Songs In The Key Of Life sans these bonus tracks as some of them are representative of Stevie Wonder’s most creative output. Granted, in the modern era, bonus tracks are nothing special but we must remember that we’re talking about 1976; a year when the vinyl record reigned supreme and rather than have a third full-size record, with nothing pressed on the sixth side, the additional 7-inch record seems to be the perfect compromise between maintaining artistic vision and the vinyl record’s limited runtime. 

Even with such an abundance of music, as incredible as it is, Songs In The Key Of Life can, at times, be a little too long; particularly if you wish to listen to the album in its entirety. Of course, that is part of the appeal for it is an audible journey that needs to be experienced in its intended sequencing, at least once, as you’ll be amazed at just how fluid and spectacular this release is. Yes, it ebbs and flows throughout, and some songs may touch your soul more than others, but as an album experience, there really isn’t a bad song to be heard. Yes, there is the occasional extraneous moment, but if we believe in artistic license, then these aspects must remain unaltered, unchallenged, and ultimately appreciated.

As it pertains to the sonic presentation of this release, Songs In The Key Of Life was masterfully mixed and recorded with kid gloves, yet all releases should not be considered equal. I was flawed by the sonic reproduction on the High Fidelity Pure Audio (HFPA) Blu-ray release as the DTS-HD Master Audio lossless codec added a sense of presence that had always been absent from the CD counterpart. The presentation is fuller and more three-dimensional in its soundstage (despite being only delivered in stereo). Most importantly, however, the clarity of the Blu-ray release wasn’t as bright as the CD editions, thereby eliminating listener fatigue. Correcting these previous flaws makes for a thoroughly enjoyable listen ensuring that you still get the sparkle in the top end but it's never so prominent that it overpowers the mid or low-range aspects of the recording. 

Turning our attention to streaming and we have a Hi-Res Lossless Apple Music stream which is also an Apple Digital Master. While it is anything but shrill, sharing the reserved nature of the Blu-ray release, it’s also not quite as dynamic while also sounding a little concealed by comparison. That said, if you’ve never heard any other edition of the album, then the Apple Music stream will likely offer you a perfect facsimile. However, if you are looking to go that additional mile, the Apple Music stream may not be the best choice as songs that are meant to pop, such as As, are ultimately a little too relaxed. Interestingly, Qobuz has a different master, and it’s incredibly similar to that heard on the Blu-ray release, hence it may be the direct counterpart minus the physical container; an important aspect seeing as the Blu-ray release has been out-of-print for a considerable time. 

While it’s clear that I prefer the Blu-ray release, for it encourages my body to move involuntarily to the music, I just don’t feel the Apple Music stream is connecting with my soul. That doesn’t mean the Apple Music stream isn’t enjoyable to listen to, but it subjectively isn’t the perfect release of this classic album.

While mastering always plays a role in the appreciation of music, whether you pay attention to that aspect or not, Songs In The Key Of Life is really all about the music and as you listen you’ll come across a collection of songs that can best be described as a kaleidoscope of musical genres. Wonder effortlessly weaves through jazz, R&B, funk, and even classical elements with each tune being a testament to his versatility and mastery across various musical styles. Yes, the album is synthesiser-heavy, but Wonder’s inclusion of groundbreaking technology, at the time, was used to enhance the music rather than being implemented simply because it was available. The result of this refrain was that Songs In The Key Of Life is timeless and there’s little doubt as to why this 1976 record remains Wonder’s most celebrated release. 

Of course, the sonic aspects of the album would be for nil had Wonder’s songwriting not been up to snuff, but in Songs In The Key Of Life we find a lyrical approach that is nothing short of poetic genius. The storytelling is vivid and emotionally resonant, painting a rich tapestry of the human experience while simultaneously addressing social and political issues. 

Love's In Need Of Love Today opens the album with a beautiful vocal harmony before launching into a soulful ballad that, in many ways, sets the tone for the journey ahead. It, as so many of the songs from this album are, is masterful and is amongst the greatest tunes Wonder ever recorded. 

Have A Talk With God is a spiritual and introspective track that blends soul, jazz, and gospel elements. Wonder's vocals are accompanied by a celestial choir, creating a transcendent atmosphere that is extremely compelling. 

Village Ghetto Land is a socially conscious piece that uses orchestral arrangements to paint a vivid picture of urban struggles. The juxtaposition of classical elements with Wonder's soulful delivery adds a powerful dimension that is difficult to ignore. While it may not be a standout song, and would have never been considered for release as a single, it’s the quintessential album-only tune that is perfectly suited to the overall style of the record. 

Contusion is an instrumental jazz-fusion piece showcasing Wonder's prowess as a multi-instrumentalist and genre-bending artist. Featuring intricate melodies and a dynamic interplay between all musical elements, Contusion is an exceptional work of audible art that had it been released by one of the jazz greats, would have become a renowned jazz standard.

Sir Duke is simply magnificent with an introduction that Duke Ellington would have been proud of for Sir Duke was a tribute to the jazz legend. While the entire song is spectacular, the infectious horn arrangement and upbeat rhythm ensure Sir Duke remains a timeless classic.

I Wish is a funky, upbeat, energetic number that captures the essence of the funk and soul music throughout the 70s.

Knocks Me Off My Feet is a soulful and romantic ballad that showcases Wonder's vulnerability and emotional depth. The tender lyrics and melodic arrangement make it a standout and it's one of the best songs from the album.

Pastime Paradise is musically incredible. That instrumental styling, along with the lyrical delivery, stays with you well after the song has ended. Most modern music lovers will likely be familiar with Coolio’s reworked interpretation of the song as Gangsta’s Paradise from his 1995 album, Gangsta’s Paradise; an interpretation that I dare say is spectacular and better than this original. Nevertheless, the core Stevie Wonder tune has a haunting quality that, when combined with the choir element, represents some of the greatest music ever released.

Summer Soft, by contrast, is more mellow but flows seamlessly from Pastime Paradise. Summer Soft, however, isn’t a standout, but as another album-only tune, it’s simply incredible as it ensures the flow of the album is maintained. 

Ordinary Pain is a lovely mellow ballad, until it picks up the tempo midway through, which delves into the complexities of love and heartbreak. Wonder's emotive vocals, and the soulful arrangement, contribute to the emotional impact of the song, but it’s the mix that I find myself continually drawn to for the backing vocals are perfectly positioned in the mix and never detract from Wonder’s vocals or the musical bed. If Ordinary Pain isn’t a textbook example of a good mix in audio engineering circles, I’m not sure what would be.

Isn't She Lovely is a joyous celebration of the birth of Wonder’s daughter, Aisha who also happens to appear on the track as she’s the baby crying at the beginning of the song and the young child featured towards the end. It’s a fitting tribute to his daughter and while I would love to have a version sans these child elements, simply because I feel they detract from the core song a little too much, the song wouldn’t be the same if it were edited in such a way. 

Joy Inside My Tears is a contemplative and soulful ballad that explores the theme of finding joy amid life's challenges. The emotional depth of Wonder's vocals and the intricate arrangement make it a standout tune.

Black Man is a socially and politically charged track that addresses issues of racial identity and pride. The powerful lyrics and dynamic musical arrangement contribute to its impact as a statement on social justice. That said, it’s difficult to dance to so while it resides in a lyrically important place within music history, had it not been so lyrically powerful, it likely would have fallen flat. 

Ngiculela-Es Una Historia-I Am Singing blends Latin and African rhythms with Wonder's signature sound. The multilingual lyrics convey a message of love and unity and while most English language speakers would be unaware of the specific words sung, that doesn’t alter the fact that this song is thoroughly enjoyable.

If It's Magic is a delicate and enchanting ballad with a simple arrangement that highlights the timeless beauty of the harp and Wonder’s soulful tones. 

As is one of Stevie Wonder’s greatest songs. The rhythmic tempo, perfectly cemented in the 70s, is timeless and connects with your soul. The sweeping musical arrangements and heartfelt lyrics provide the backbone to a song that continues to build to its climactic and triumphant conclusion, showcasing Wonder's musical prowess. 

Another Star is a dynamic and energetic fusion of Latin, funk, and jazz influences. As another of Wonder’s extended musical journeys, there is little doubt regarding his skill as a musician for he’s able to capture your attention and hold on to it, whilst simultaneously ensuring that you’ll want to listen to the music time and time again.

Saturn is a cosmic and experimental track where the use of synthesisers and atmospheric sounds contribute to its otherworldly quality. It’s the first of the EP songs to be included on the album, and while I’m normally not a fan of bonus material, Saturn is magical and fluidly continues the brilliance that has already been present throughout the album thus far.

Ebony Eyes is amazing, brilliant, sensational…you get the idea. Flowing perfectly from the closing moments of Saturn, the rhythm reaches into your soul and ensures that your body will move involuntarily to the beat. It is, arguably, the best song from Songs In The Key Of Life and is severely overlooked. 

All Day Sucker has a lively rhythm and playful lyrics that further showcase Wonder's ability to create infectious grooves with not only his music but also his lyrical delivery. 

Easy Goin' Evening (My Mama's Call) was an interesting choice as the closing tune. It’s reflective, yes, but its tempo is so different to the previous three tracks that it feels like it would have been better suited in another sequenced position within the album with the energy of All Day Sucker closing out the collection of songs. Nevertheless, it’s a lovely album-only tune and while I always feel compelled to listen to the album again, following this song, I also find myself more than satisfied to move on to the next record in my library as the length of Songs In The Key Of Life can be a little too long. While there’s no such thing as too much Stevie Wonder, this classic album puts that statement to the test and sometimes it is best to appreciate the album and come back to it at a later date rather than to immediately repeat the journey.  

Overall, Songs In The Key Of Life stands as Stevie Wonder's crowning achievement and is a landmark release in the landscape of popular music that continues to resonate with audiences worldwide. It’s a breathtaking musical odyssey that spans a myriad of genres, showcasing Wonder's unparalleled musical skill, innovative production, and profound lyricism. It, ultimately, is nothing short of a masterpiece! 

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The Rolling Stones – Black And Blue (Album Review)

By 1976, The Rolling Stones were already synonymous with rock ’n’ roll. Leaning even further into their blues-based rock styling, The Stones would also add influences from funk and reggae music, thereby showing their willingness to experiment with various styles. This adaptability has, arguably, been a core reason for their success throughout the decades, but it logically isn’t the only reason for the Stones’ continued relevance within the music industry.

Part of the shifting style can be attributed to Mick Taylor’s departure and the need to find a replacement guitarist. Black And Blue’s uniqueness, as a result, is that it became a testing ground for several very talented guitarists prior to the Stones bringing Ronnie Wood into the fold. Yes, Wood’s inclusion would forever change the direction of the Stones, but before that transition took place, the songs that Wood would play guitar on included Cherry On Baby, Hey Negrita, and Crazy Mama. He also appeared as a backing vocalist throughout the record, but the Stones also worked with guitarists Harvey Mandel (Hot Stuff and Memory Motel) and Wayne Perkins (Hand Of Fate, Fool To Cry, and Memory Motel); each to much success. The result of these varied collaborations is that Black And Blue is not only a standout within the Stones’ extensive discography, but is an eclectic mix of songs that make it one of the most compelling releases of all time. 

While there is no doubt as to The Rolling Stones' musical talent, Black And Blue is also notable as being self-produced by Mick Jagger and Keith Richards under the pseudonym The Glimmer Twins. Yes, it wasn’t the first time the Stones would self-produce themselves, but it’s their most impressive self-produced album. Naturally, that is a subjective opinion, but as you listen to the album, consider the strengths of the songs and the way they flow haphazardly throughout as the album’s sequencing shouldn’t work, yet it grows on you the more you listen to the record. 

Speaking of the listening process, while I was fortunate to have owned, for a period of time, the Studio Albums Vinyl Collection 1971-2016, I can say that while the half-speed master of Black And Blue was lovely, and I also didn’t mind the 2009 CD reissue, but the 2009 lossless remaster from Apple Music is in every way the physical counterparts’ ideal peer. Granted, the vinyl re-issue may have had a little more of a rounded sound, due to the format’s mastering requirements, but what’s telling is that every time I listen to Black And Blue, via the stream, I’m not missing the physical releases that I once owned. That may be blasphemy to some, but as the Apple Music release is also an Apple Digital Master, I find them to be incredibly enjoyable to listen to and in some cases, such as this, they match or exceed the physical counterpart. The takeaway is that regardless of how you choose to listen to this classic album, you’ll have a thoroughly enjoyable musical experience.

Hot Stuff kicks the album off with a disco/funk feel that makes you question if you’re really listening to a Rolling Stones album. Well, you are, and that genre-bending approach works exceedingly well; particularly as it embraced the musical trends of the 70s. No doubt, fans will forever be torn regarding Hot Stuff as it was quite the departure from their traditional blues-rock roots, but the guitar soloing throughout ensures that elements of their core styling remained intact. Perhaps the only criticism that can be directed at the song is that it’s a tad long and is, subsequently, a little repetitive.

Hand Of Fate brings the Stones back to their bluesy roots with a gritty and powerful sound. Keith Richards' signature guitar riffs propel the track forward, while Jagger's lyrics paint a vivid picture as the song's raw energy and relentless pace make it a standout blues-rock anthem.

Cherry Oh Baby shifts the sonic direction of the album, yet it’s extremely compelling and the detour into reggae demonstrates the Stones’ ability, and willingness, to experiment with different influences. If nothing else, Cherry Oh Baby adds an eclectic mix to an album that can’t easily be pigeonholed.

Memory Motel is one of the album’s highlights and is one of the greatest ballads ever recorded, by anyone. As the narrative and musical bed slowly unfold, you’ll be swept away by Memory Motel as it’s simply unforgettable. 

Hey Negrita was always going to be a tough sell following the smoothness of Memory Motel, but by the time Jagger’s lyrics enter the mix, the upbeat nature of the song transitions the mind to this solid album-only tune; one that is a little overproduced and would, arguably, have been more appealing had it been exclusively a rock-only tune.

Melody, with a touch of blues and jazz influences, again shifts the tone of the album but it works so well that you likely won't skip a beat when Melody comes on. It’s also a song that I dare say Charlie Watts would have thoroughly enjoyed recording; due in part to his love of jazz music.

Fool To Cry is another of the Stones’ incredible ballads and is a perfect companion to Memory Motel. There’s no doubt in my mind that Fool To Cry and Memory Motel are core reasons why Black And Blue remains a standout release amongst the Stones’ incredible discography. 

Crazy Mama closes the album on an energetic note with a blues-infused rock number that has some killer riffs, a thoroughly enjoyable overall rhythm, and dynamic vocals that, when combined, become a fitting conclusion to the diverse musical journey of Black And Blue.

No matter how you view Black And Blue, it stands as a testament to the band's enduring musical legacy. With a dynamic fusion of blues, funk, and rock, each track unveils a different facet of their versatile sound, yet there isn’t a bad song to be heard. Black And Blue, subsequently, remains a must-listen, showcasing the Stones' ability to adapt and experiment while maintaining their timeless rock essence and status as true pioneers within the music industry.

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The Jacksons – The Jacksons (Self-Titled) [Album Review]

Released in 1976, The Jacksons’ self-titled release marked a significant turning point in the musical journey of the iconic Jackson family. Formerly known as the Jackson 5, the group changed their name to The Jacksons after leaving Motown Records in search of greater creative freedom. This self-titled album not only showcased the group's evolution but also hinted at the individual talents of each Jackson sibling. 

Speaking of The Jacksons’ evolution, they would embrace a more mature and sophisticated musical style, incorporating elements of funk, disco, and soul. Helping them on this journey was the esteemed American songwriting and production team of Kenneth Gamble and Leon Huff whose main focus, meticulous arrangements, and polished sound demonstrated their commitment to excellence and The Jacksons’ evolving musical style.

Of course, all the production and songwriting prowess would be for nil had The Jacksons not been incredibly talented and while their music immediately resonates with your soul, the impressive vocal capabilities of each sibling are to be celebrated. Michael's lead vocals, as always, are charismatic and soulful, while the harmonies and additional lead vocals, shared by Marlon, Tito, Jackie, and Randy demonstrate the group's tight-knit musicality. It’s also imperative to note that The Jacksons was the first album to include their own material, as they were not given such creative freedoms while being signed to Motown. The songs to look out for are Blues Away (Michael Jackson’s very first published song) and Style Of Life; both exceptional and world-class musical achievements.

While I had been fortunate to have owned the 2018 vinyl reissue, I recently needed to sell a portion of my collection and this reissue was sadly one of those that I had to say goodbye to. Nevertheless, I look forward to the day when I can repurchase it because the pressing was simply magnificent. One may, therefore, assume that the lossless Apple Music stream is a letdown but it is anything but as the Apple Digital Master is exquisite. 

Right or wrong, and frustrating nonetheless, The Jacksons’ back catalogue was remastered and expanded in 2021 but was only ever released to digital platforms. Given that remasters can be hit or miss, the lack of a physical release may not be an issue for those of you who are fortunate to own previous releases, but in this instance, the Jacksons’ back catalogue has never sounded so good, on any digital format, as it does via the stream. For those interested in the fine details, no specific information has been issued regarding the remastering process of the albums, but all you need to do is load up your preferred streaming platform and give them a listen for I dare say you’ll be pleasantly surprised with not only the smoothness of the reproduction, but the detail and fullness across the entire soundstage that will immerse you in this classic recording.

Enjoy Yourself, The Jacksons first single following their departure from Motown, rocketed to the top of the charts with Michael and Jackie sharing lead vocals on this disco-funk tune. It’s a great opening song with an infectious energy that ultimately sets the tone for the album; particularly the upbeat numbers. 

Think Happy is a feel-good track with an optimistic and uplifting message; one that we should all appreciate from time to time in our modern complex, and not always happy, lives. That said, if you're not in a contented mood, it can be an incredibly annoying tune. Nevertheless, as I write this my mood is high so I have a smile from ear to ear and I genuinely hope you do as well for it’s a solid album-only tune from The Jacksons. 

Good Times slows the tempo down for this dynamically arranged vocal-focused number. It’s a beautiful song and while it’s most certainly cemented in the 70s, with that musical arrangement, it doesn’t sound as dated as it could have and I put that down to the incredible vocal performance by Michael and the harmonious perfection of his brothers. 

Keep On Dancing is a high-energy, danceable track that maintains the album's disco and funk influences. The repetitive and catchy chorus, coupled with a driving beat, reinforces the message of letting go and enjoying the moment while Michael's spirited vocals add an extra layer of excitement to the song. Keep On Dancing really should have been released as a single and it’s a shame that it has never received the recognition it deserved, for it’s an incredible tune that sounds as fresh today as it would have when the album was released.

Blues Away slows the tempo of the album with this soulful ballad. The vocal processing is interesting in that you’d think it would get fatiguing, but the mix is done so well, and the vocal distortion is only applied minimally, meaning that it is an enhancement rather than a distractive element. Of course, this was recorded well before autotune and Michael certainly didn’t need such a gimmick. That said, I’d love to know how they achieved the vibrating aspect on his vocal mix as it’s a key reason why Blues Away is one of my all-time favourite songs by The Jacksons. 

Show You The Way To Go is a sophisticated, elegant, and subsequently smooth ballad. The silky-smooth vocals, lush arrangement, and polished production elevate the song to timeless status even though it sounds of the era.

Living Together is a mid-tempo R&B tune with a killer groove and a social message conveying the importance of togetherness. It’s a great song and as with the majority of songs from the album, The Jacksons’ harmonies are what take this song to the next level. 

Strength Of One Man is a solid album-only tune that is thoroughly enjoyable with the brothers sharing lead vocal duties. Granted, Strength Of One Man sounds quite dated, but sometimes that is exactly what the soul expects and being set in the era from which it came is not the worst thing in the world. 

Dreamer is perhaps even more cemented in the 70s than Strength Of One Man, but it’s such a lovely song that I generally don’t reflect on that aspect. Michael’s vocal takes centre stage and the emotive lyrics, combined with a subdued arrangement, create a poignant atmosphere that is not only perfect for the song but works incredibly well for The Jacksons’ style.  

Style Of Life is a great mid-tempo closer that blends soul and R&B elements. The smooth vocals atop a laid-back groove contribute to the song’s depth and appeal, thereby making it ideal for contemplation once the album ends whilst simultaneously encouraging the playing of the record again. That all said, I do feel that the song ends somewhat prematurely. 

The Jacksons is a testament to the enduring talent of the Jackson family. It successfully captures the essence of the 70s music scene while showcasing the group's ability to evolve and adapt. With its memorable tracks and polished production, the album remains a crucial chapter in the musical legacy of The Jacksons and is amongst their greatest releases.

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