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

Released in 1974, KISS, the self-titled debut from the iconic rock band, marked the explosive start of their journey to superstardom. Combining hard rock with glam elements, the album introduced the raw energy and attitude that would come to define the band and despite not being an instant commercial success, KISS laid the groundwork and established their incredible legacy with this release.

That legacy was the result of a collective band effort, for KISS as we know them today, or in 1974, wouldn’t have achieved their desired outcome had each member not brought their distinctiveness to the album. From Paul Stanley’s soaring vocals to Gene Simmons’ commanding stage presence and heavy bass lines to Ace Frehley’s inventive guitar solos and Peter Criss’ powerful drumming, they crafted a raw, yet melodic, hard rock style that set them apart from their peers.

As it pertains to the lossless Apple Digital Master, available via Apple Music, it’s stunning with a bold presentation that will envelop and reward you no matter what volume you listen to the album at. Every musical element is clear and defined, yet the mastering is anything but fatiguing. There’s plenty of mid to low-end, that is in many ways a prerequisite to any hard rock album, but it isn’t overly boomy. The result is that the stream is most certainly worthy of consideration as one of the best-sounding versions of this self-titled debut for it not only sounds right, but it rocks.

Strutter opens the album with an upbeat swagger and attitude. Combining a catchy guitar riff, a confident vocal delivery by Paul Stanley, and a full-fleshed rock and roll rhythm, Strutter was the ideal song to launch the album on as it embodies the rebellious spirit of rock and roll.

Nothin' To Lose is an infectious rock tune that is both edgy and playful. However, it is far from the strongest song on this debut and other than the catchy chorus, I remain confused as to why Nothin’ To Lose was chosen as KISS’ first single as there are so many better choices such as Firehouse.

Firehouse, with its heavy mid-tempo groove and killer bass and guitar riff, is one of the very finest songs KISS ever recorded.

Cold Gin, with its riff-heavy structure and gritty lyrics, make it a quintessential KISS song and as with Firehouse would have been a far better lead single than Nothin’ To Lose. Granted, it is unlikely that these songs would have charted much better, given the era’s styling, but they’re more representative of KISS.

Let Me Know is a little more laid-back than most of the other songs from the album, and while it isn’t in tune with KISS’ hard rock styling, it’s a solid album-only rock number.

Kissin' Time, originally missing from the very first pressings of the album, was recorded and added post-release in an effort to increase the band’s exposure after the song was released as a single. Given I usually dislike changes to the original tracking of an album, particularly the inclusion of bonus tracks tacked onto the end of a record, it would be logical to suggest that Kissin' Time is out of place. However, having never heard the original sequencing, and not being willing to try (even via a streamed playlist), it’s fair to say that I’m set in my ways and Kissin' Time is official canon; from my perspective, at least. As a reworking of the 1959 original, by Bobby Rydell, it’s fantastic, but let’s all agree that it isn’t the strongest song, even if it aligns with the fun-loving persona that KISS would cultivate over the years.

Deuce is a hard rock anthem driven by a pounding rhythm and killer riff and is one of Gene Simmons’ greatest penned and sung songs. Additionally, the dual guitars of Frehley and Stanley give the song its punch, while Criss’s drumming provides a relentless backbone. Between the raw energy and attitude of this tune, it’s one of the best songs in KISS’ extensive catalogue.

Love Theme From Kiss is a killer instrumental that showcases the strength of the band’s musicianship. Granted, it’s unlikely that you’ll seek this song out on its own, but as part of the album’s structure, the laid-back groove and melodic approach offer a reflective respite from the lyrical delivery heard throughout.

100,000 Years is bass guitar heaven and is the driving force behind the song’s heavy groove. It’s also one of Criss’ best drumming performances, with some killer guitar work from Frehley, and while Stanley’s vocal performance is dynamic, it is far from his best. The result is that 100,000 Years is musically interesting but is ultimately more akin to a demo than a fully-fledged recording.

Black Diamond starts delicately, but as soon as Criss enters the mix, on vocals, the song explodes. Criss’ raspy, soulful voice, delivers the song’s emotive punch, while Frehley’s blistering guitar tracking, particularly his solo, rips through the track with ferocity. No matter which way you look at it Black Diamond is an epic closer; one that would ultimately become a fan favourite and one of the very best songs KISS ever recorded.

KISS’ self-titled debut album laid the groundwork for their eventual domination of the rock world and while it didn’t rise to the top of the charts, the album introduced their unmistakable sound—a blend of hard rock, glam, and raw energy. With numerous standout tracks, the album remains a fan favourite and an essential piece of the KISS catalogue. Showcasing the band’s early chemistry, musicianship, and commitment to theatrical, larger-than-life rock, this self-titled debut defined their career for decades to come and is a must for any hard rock fan.

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

Kansas’ self-titled debut album, released in 1974, represented a bold and confident entrance into the burgeoning world of progressive rock, a genre that, at the time, was primarily dominated by British acts like Yes, King Crimson, and Genesis. However, Kansas brought something unique to the table with their distinctly American blend of rock, incorporating elements of folk, jazz, and classical music with a heavier, almost Southern rock edge.

Emerging from the Midwest, the band honed their sound playing countless live shows before landing a record deal, and this self-titled release reflects the tight chemistry and musicianship they had developed on the road. Their signature style, where violin, keyboards, and guitars weave into intricate tapestries of sound, was already taking shape and is apparent throughout the album’s eight tracks, which effortlessly switch between driving rock anthems and sprawling, multi-part epics.

Naturally, with such a cohesive and dynamic sound, the sonic reproduction needs to replicate the production values and in this instance, the 2004 remastering, from which the streamed Expanded Edition derives is perfectly balanced and thoroughly enjoyable. It isn’t the greatest mastering, however, for it sounds a little concealed in places. Of course, that could be due to the recording and mixing styles, and I’ve certainly heard Kansas’ music, in the past, sound a little too thin for my liking. That said, I’d suggest that the mastering for this self-titled debut is one step above what I hear on my beloved Monolith, but you’ll still need to adjust your EQ or tone controls to get the very best out of the album.

Can I Tell You opens the album with a punchy dynamic fusion of hard rock and prog with a touch of funk. Highlighting the band’s tight musicianship right from the start, particularly between Robby Steinhardt’s fiery violin work and Steve Walsh’s powerful vocals, Can I Tell You is a hidden gem that introduces Kansas’ signature sound, balancing melodic hooks with a sense of musical adventure.

Bringing It Back is a solid J.J. Cale cover, but I’d argue that Kansas’ strengths lie in their original compositions. Still, it showcases the band’s ability to groove while simultaneously delving into prog-rock territory.

Lonely Wind is a simply magnificent ballad. Driven by the piano, and featuring a lush arrangement, Lonely Wind is one of their greatest recordings; one that makes this debut album worthy of any music lover’s collection.

Belexes is a quintessential Kansas track, blending progressive rock complexities with hard rock aggression. Belexes is, subsequently, another of the album's highlights as the intricate musical bed magnificently shifts through a series of time signatures and tempo changes, all while maintaining a cohesive driving force.

Journey From Mariabronn is an epic tune that showcases Kansas’ progressive rock ambitions in full force. Musically, the track is akin to a tour de force, with dramatic shifts in dynamics and tempo, but it’s the interplay between all musical elements that not only captivates but creates the song’s expansive soundscape.

The Pilgrimage has a jazz-inspired introduction that initially makes one wonder if they’re listening to the right album. That is, until the folky upbeat nature of the song enters into the mix with a strong emphasis on melody and harmony. While The Pilgrimage is unlikely to be anyone’s favourite Kansas tune, it offers a nice reprieve from the heavier, more intricate songs, thereby showcasing Kansas’ versatility.

Aperçu is the second of the album’s extended tracks and is another deep dive into the band’s progressive style. Clocking in at nearly ten minutes, Aperçu is a sprawling journey through multiple musical landscapes and is one of Kansas’ most ambitious tunes.

Death Of Mother Nature Suite flows seamlessly from Aperçu and is a killer tune that encompasses all aspects of Kansas. From their ballad style to their hard rock and progressive approach, Death Of Mother Nature Suite has it all and is an ideal closer for it allows for reflection as well as compelling the listener to play the album again. It’s also amongst Kansas’ greatest compositions and it’s, therefore, a shame that casual listeners likely won't hear this exceptional tune; for it’s a deep cut, one that all music lovers should listen to.

Kansas’ self-titled debut is a fascinating introduction to a band that would go on to become one of the defining acts of American progressive rock. The raw talent and ambitious songwriting, heard on this release, is undeniable and the band’s ability to balance accessible melodies with complex arrangements sets them apart from their contemporaries. The result is that Kansas is an essential listen for fans of 70s prog rock and rock in general.

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Eagles – On The Border (Album Review)

Released in 1974, On The Border was the Eagles’ third studio album and marked a pivotal moment for the Eagles, transitioning from their country roots to a more rock-oriented sound. While it wasn’t a complete departure and reinvention of themselves, On The Border has a delicate balance of styles that take influence from their first two records whilst simultaneously evolving the Eagles’ signature sound. Add to that the introduction of guitarist Don Felder, whose arrival gave the band a new level of energy, and you’ve got an album that is representative of the best of both worlds; the before and after, if you will.

Perhaps most interesting, however, is that On The Border is my least-played Eagles album. I honestly can’t tell you why as each time I spin the record, I’m blown away with not only the song selection but the entire recording, mix, and mastering. Yes, there are songs that I don’t feel are necessarily perfect on their own, but when combined On The Border is most certainly an album experience from start to finish.

It isn’t a lack of sonic reproduction either, that determines the lack of playback, for it sounds just as good as any other Eagles’ release, regardless of whether or not you listen to the Hi-Res Lossless Apple Music stream, an Apple Digital Master, or in my case the 2014 vinyl reissue that I’m fortunate to own.

While vinyl collectors would love to hear that the 2014 reissue offers a lovely facsimile to the original release, thinking that would likely yield a little disappointment. Yes, the reproduction is respectable. However, in this instance, the album artwork is reissued on a smooth canvas rather than the rough texture of the original releases. It’s a minor thing, granted, but one that fans and collectors care about. At least, as you can see from the photos, the foldout poster is included, so all is not lost. Frustratingly, had I attained the 2014 US reissue, that version has the textured cover art. Yes, dear reader, you read that correctly. The same edition released for the US market, in 2014, was different to the UK release. Sometimes it’s incredibly annoying to be a music collector for small variances such as this make no sense at all.

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Of course, you’re probably more interested in how the 2014 reissue sounds. Well, Eagles’ albums are generally pristine with regard to their sonic quality and while this vinyl reissue isn’t bad, the Apple Music stream is smoother and fuller with a more analogue sound that is more laid back in its delivery. It’s ironic, I know, given that it’s almost certain that the vinyl re-issue was sourced from a digital master as well. That said, this isn’t the first time an Apple Digital Master has left me impressed and made me question the purpose of my beloved record collection. Hence, for those who disregard digital offerings without ever actually comparing them, all I can say is you’re missing out for it isn’t always the case but digital has come a long way over the years and is considerably more affordable than vinyl reissues; particularly in the modern era.

To give you a little more context, the song My Man loses the bass and drum emphasis on the vinyl reissue when compared to the Apple Music stream, yet Ol’ 55 sounds a little better on the vinyl reissue. It really is a bit of a mixed bag and while I generally don’t give numeric ratings for sonic quality, I’d place the vinyl reissue as a 3 out of 5 and the Apple Music stream as a 4.5 out of 5. If I could get the Apple Digital Master on vinyl, I’d be one happy fan. And, yes, I acknowledge the ludicrous nature of that statement.

Perhaps the best way to explain what I’m hearing is that I find myself distracted when listening to the vinyl reissue. If my phone is nearby, I’ll reach for it. Yet, I’ll happily sit and listen to the stream, on repeat, for hours on end. Subsequently, my advice would be that if you’re considering picking up a vinyl reissue, give the stream a listen first and consider what advantages a vinyl edition would offer you.

Already Gone is a solid opener with an addictive rhythm and twang, although it isn’t the strongest song on the album. Not only do I feel it launches the record on an abrupt note, but I find the woo-hoo-hoo vocal elements to be distracting. Yes, the guitar work throughout is a redeemable quality, and overall it is far from the worst song that the Eagles ever recorded, but it’s most certainly an album-only number that contributes to the solidity of this classic record.

You Never Cry Like A Lover slows the tempo down and is a masterful tune. The soundstage depth and air surrounding each musical element is an experience in and of itself as it will surround you in a captivating sonic presentation. The accompanying guitar solo reminds me fondly of America's style, but it’s the delicate vocal harmonies that are layered with typical Eagles’ precision that truly sets this tune apart as being one of the greatest songs the Eagles ever recorded.

Midnight Flyer would have been perfect for Desperado but isn’t necessarily out of place on On The Border. Full of bluegrass and authentic Americana influence, the lively banjo, infectious rhythm, and vocal delivery ensure that this fun tune is memorable and balances out the ballads and heavier rock elements heard throughout the album.

My Man is a beautiful vocal-focused ballad. It’s one of the best songs from On The Border, despite never receiving the recognition it deserved.

On The Border has a killer rock intro that I adore. The tempo shifts a little when Don Henley’s vocal comes into the mix, but as the song progressively builds it becomes an incredible blues-based rock and roller with a touch of funk that makes this a standout and an ideal title track.

James Dean as a song on its own isn’t fundamentally flawed, but I’ve never felt that it was suited to the Eagles or On The Border. Yes, it's energetic and fun and could be seen as a precursor to Glenn Frey’s 80s output, but it also sounds as if it belonged on a 50s-era release; by another band or artist.

Ol’ 55 is a stunning cover of Tom Waits' original. Turn the volume up, close your eyes, and sing along if that brings you joy for Ol’ 55 is one of the best songs the Eagles ever recorded. The gentle musical bed and steel guitar enhance the melancholic feel, and the harmonies soar in a way only the Eagles can deliver.

Is It True is another song that has never received the accolades it deserved, for its catchy melody, jangly guitars, and easygoing rhythm make it one of the lighter, more pop-oriented tracks on the album. Randy Meisner’s lead vocals are particularly notable for they add to the song’s overall charm and blend ideally with the Eagles’ mid-70s sound.

Good Day In Hell is one of the Eagles’ greatest rockers with gritty guitar work, incredible vocals, and the addition of Felder’s exceptional slide guitar, resulting in a timeless and exceptional tune.

The Best Of My Love closes the album with one of the Eagles’ most beloved ballads; a masterpiece by any metric. The vocal harmonies are pristine, and the acoustic arrangement is warm and lush, creating a soothing, reflective atmosphere. The bottom line is that this classic tune is an ideal closer for it encourages reflection whilst simultaneously compelling the music lover to play the record again.

On The Border stands as one of the finest achievements in the Eagles' catalogue and is one of the standout albums from 1974. The album expertly blends their signature country-rock sound with a more assertive rock edge, creating a dynamic and cohesive collection of songs. Its balance of heartfelt ballads, upbeat anthems, and introspective storytelling, elevates it above many other releases of the time and remains one of the most iconic albums of the 70s.

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Captain Beefheart & His Magic Band – Bluejeans & Moonbeams (Album Review)

Released in 1974, Bluejeans & Moonbeams stands as one of Captain Beefheart's most controversial and divisive works, as it presented a departure from the avant-garde experimentalism he was known for. Yes, Bluejeans & Moonbeams was an attempt to embrace a more accessible, mainstream sound, and despite failing to set the charts on fire, this classic album achieved that goal, from a sonic perspective, at least. That said, the record maintains elements of Beefheart’s unique style, albeit while leaning toward a more melodic and softer approach; a shift that alienated some long-time fans. However, to dismiss it based on difference is to miss out on the wonder of this classic release. Hence, I implore you to give it another shot for Bluejeans & Moonbeams grows on you the more you listen to it.

Apart from the music, the album’s cover art is an ideal accompaniment and indicative of the era’s cover art designs that would stand out on the shelf of your local record store whilst simultaneously being a piece of visual art worthy of an art gallery. Of course, as captivating as the artwork is, can you really tell an album by its cover? Well, considering that The Magic Band had quit on mass, following the recording and release of Beefheart’s other 1974 release, Unconditionally Guaranteed, billing the album as Captain Beefheart & His Magic Band seems somewhat disingenuous, especially to longtime fans. However, if you consider The Magic Band as a container for the musicians that would accompany Beefheart, and those musicians were subject to change, then it isn’t necessarily misleading. That aspect alone would likely irritate some as the individual musicians are often as iconic as the lead vocalist, but it isn’t as if the replacement musicians were second-rate; anything but.

As it pertains to the sonic prowess of the CD-quality lossless Apple Music stream, it’s stunningly beautiful. Every musical element is given room to breathe and the soundstage is well-developed and all-encompassing. You’ll find yourself being carried away on a musical journey as this album has been recorded, mixed, and mastered exceptionally well. So well, in fact, that I hope Virgin Records never remasters the album, beyond this most recent edition, for it’s sonically one of the most pleasing albums you’re ever likely to hear.

Party Of Special Things To Do sets the tone for the album, featuring a bluesy groove with a funky undercurrent. Beefheart’s trademark growl is present, but the easy-going rhythm and more structured approach will likely deter those who prefer his earlier works. Nevertheless, it isn’t so far removed from his experimental core that it would deter listeners; although I’m certain some would challenge that statement.

Same Old Blues is a cover of J.J. Cale's I Got The Same Old Blues and this interpretation is nothing short of a masterpiece. The melancholic, slower, and almost lethargic tempo works incredibly well with Beefheart’s vocal styling and his emotive delivery not only adds depth to the song but it’s amongst Beefheart’s finest recordings.

Observatory Crest is beautifully serene. Beefheart’s vocals are subdued and tender, but the musical bed and psychedelic ambience make this a standout and in many respects a hidden gem.

Pompadour Swamp blends blues-based rhythms with a quirky vocal presentation. The gritty earthy quality of Beefheart’s vocals perfectly complements the music and while it may represent his traditional style, Pompadour Swamp has just enough spit and polish to ensure that it remains accessible whilst appealing to those looking for Beefheart’s more experimental output.

Captain’s Holiday is an incredible, and ideally titled, instrumental track that showcases the skill of Beefheart's Magic Band. It’s a relaxed jazzy piece that offers a reprieve from Beefheart’s vocal intensity but is ideally situated in the album’s sequencing. While this track doesn’t aim to be notable, it provides a lovely interlude to the album’s middle section that should be celebrated for it’s one of the most exceptional instrumental tunes you’re ever likely to hear.

Rock ’N’ Roll’s Evil Doll has a fun, upbeat vibe, with a touch of rockabilly that will get you toe-tapping and head-bopping. Though much more straightforward than much of Beefheart’s earlier works, it’s another song from the album that could be best associated with his experimental era.

Further Than We’ve Gone slows things down considerably with this soulful number that has a melancholic beauty to it, with tender instrumentation, and a compelling melody that captures a softer side of Beefheart. Further Than We’ve Gone also has one of the very best piano and guitar performances that I’ve ever had the good fortune of hearing, for the musical bed heard on this tune is some of the very best in all of recorded music history, thereby making this not only a highlight from the album but a hidden masterpiece from the 70s.

Twist Ah Luck features a killer rhythmic groove with a touch of funk that is extremely engaging. It’s songs such as this that make one question why this is one of Beefheart’s most disliked releases and all I can suggest is that one should not contrast it with his other works for isolating this release on its own will likely yield greater acceptance and appreciation.

Bluejeans And Moonbeams is a surreal ballad-styled piece that features one of Beefheart’s most gentle, yet exceptional, vocal performances. If nothing else, Bluejeans And Moonbeams is an ideal title track and a perfect closer that will not only leave you in a reflective mood but will encourage you to spin the record again for once Bluejeans & Moonbeams captures your soul, you can seldom listen to it only once.

Bluejeans & Moonbeams, while often regarded as one of Captain Beefheart's most controversial albums, also appeals to his traditionally unpredictable nature for it, in itself, is a musical experiment that stands out in Beefheart’s eclectic catalogue. Fans of Beefheart’s chaotic genius may find the simplicity and accessibility of this release to be too far removed from his broader catalogue, but Bluejeans & Moonbeams reveals a different side of Beefheart—a more melodic, introspective artist capable of crafting gentle and emotionally resonant songs. For listeners willing to embrace this softer approach, this album offers a rewarding experience; one that is amongst the greatest released in 1974.

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Blue Magic – Blue Magic (Self-Titled) [Album Review]

Released in 1974, Blue Magic’s self-titled debut album, Blue Magic, is an essential release in the continued development of 70s soul, showcasing the smooth vocal harmonies, lush orchestration, and romantic themes that would define their style. Blending elements of Philly Soul and classic R&B with tender ballads and infectious grooves, Blue Magic, the album and the band, became adored within the genre. While the album may not have had mainstream success, aside from the chart-topping results of its second single Sideshow, it’s a masterpiece that should be in every music lover’s collection.

The question about which version one should have in their collection therefore naturally arises and while opinions will differ, and I prefer not to seek out pre-owned releases, it has been well over a decade since the album was reissued (on CD) and that Japanese release is difficult to get a hold of, as is the 2009 vinyl reissue. Granted, Blue Magic isn’t the household name that would continuously drive sales, so I can understand the hesitation when considering a reissue. However, it would be lovely to see this classic album re-released, in the near future, thereby allowing new music lovers to discover this timeless classic.

In the absence of readily available physical releases, it is fortunate that we have digital delivery options. As it pertains to the Apple Music stream, the standard lossless edition is sonically lovely. The Remastered Bonus Track Version is also available and has a bolder sonic presentation, thereby bringing it more in line with modern standards, but I find it loses a little of the smoothness from the original recording. Subsequently, as I’m not drawn to bonus tracks, my preferred version of this classic album is the original mastering heard via the standard release that I’ll share with you below.

Sideshow is arguably the crown jewel of Blue Magic and an ideal album opener. The over-the-top ballad styling will appeal to those of us who appreciate such tunes, but as the song’s orchestration builds, so does the wonder of the song and its signature falsetto for its addictively good and it’s no wonder that it ended up being a chart-topping hit when released as a single.

Look Me Up is more upbeat with a funky groove, showing Blue Magic’s versatility that combines their silky harmonies with funk-influenced rhythms. While not a dance song, per se, the beat and catchy chorus will see you toe-tapping and head-bopping along. For those who don’t have two left feet, like yours truly, I’ve no doubt that the dance floor is waiting as Look Me Up is a sensational mid-70s tune.

What's Come Over Me is another standout track, especially with its lush, orchestral arrangement. The adage that they don’t make music like this anymore certainly applies to What’s Come Over Me as the falsetto vocal, backed by elegant harmonies, is hard to resist.

Just Don't Want To Be Lonely is soul meets pop with an incredibly catchy chorus and upbeat tempo. What’s not to like? Just Don't Want To Be Lonely is not only one of the most radio-friendly tracks from the album, but it's a hidden gem from the era and one of the best songs Blue Magic ever recorded.

Stop To Start features smooth, velvety vocals against a backdrop of lush strings and a gentle arrangement. As a ballad, it’s stunning, but it’s also one of the album’s most soulful offerings with a Motown influence that is undeniable.

Welcome To The Club has a playful and energetic vibe, with an infectious groove, that not only contrasts nicely with the ballads on the album but leans into funk and early disco styles. While it’s most certainly an album-only tune, it’s a toe-tapper that adds further variety and showcases Blue Magic’s musical diversity.

Spell is another ethereal ballad full of dreamy orchestrations and the group’s signature harmonies. That said, the chosen mix isn’t the greatest as the vocals are on par with the musical bed and while harmonically beautiful, the lyrics sound somewhat concealed as they’re overshadowed by the instrumentation. The result is that the vocal tracking sounds a little muffled, in comparison, to the rest of the songs on the album. Granted, that could be attributed to a recording style, as it isn’t the first time music has been mixed in this manner, but the problem that exists is that the mind struggles to separate both instrumental and vocal elements, particularly as it sounds as though the vocals are being played via terrestrial radio.

Answer To My Prayer brings fresh energy to the album, following Spell, with its compelling rhythm and impassioned vocals. It’s a lovely song and despite not being a standout is one reason why this debut album is one of the greatest released in 1974, for an exceptional album experience is more than just the hits; it’s the sum of its songs.

Tear It Down closes the album with a lush ballad that is not only the ideal closer but will stay with you long after the album has concluded. Yes, Tear It Down causes the infamous earworm, but it not only permits reflection but also compels the playing of the album again due to its emotional depth and musical sophistication.

Overall, Blue Magic is a quintessential soul album that showcases the smooth harmonies and romantic themes that made the group a force in the 70s soul scene. With the mega-hit Sideshow leading the way, the album offers a beautiful mix of soulful ballads and up-tempo numbers that keep the listener engaged from start to finish. Blue Magic’s ability to blend vulnerability with lush orchestration, all while maintaining tight, polished harmonies, makes this album a timeless classic. Whether you’re a fan of Philly Soul or simply appreciate well-crafted R&B, Blue Magic is an essential listen, particularly for those who love songs delivered with sincerity and class.

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Bee Gees – Mr. Natural (Album Review)

When you think of the Bee Gees, Mr. Natural is likely not an album that instantly comes to mind. Still, the more you listen to this classic release, the more you realise that it’s one of the greatest hidden gems in not only the Bee Gees’ illustrious career but in all of recorded music history.

Released in 1974, Mr. Natural marks a transitional period in the group’s evolution, as they began exploring a more contemporary soulful sound that incorporated elements of rhythm and blues, funk, and rock. Interestingly, it’s not entirely representative of their earlier works nor the disco-driven vibe that would catapult them to superstardom and define an era. Mr. Natural sits precariously in between their old and new styles, yet there is connective tissue to be heard throughout and it’s thoroughly enjoyable and perfectly suited to the trio.

While Mr Natural didn’t achieve commercial success, it remains a pivotal album in the Bee Gees’ discography and demonstrates their willingness to experiment with new directions; an essential aspect should the world of music long to hear sensational disco-driven releases such as Main Course and Spirits Having Flown.   

As we’ll come to see, as we peruse the songs that make up this hidden gem, the music is but one part of the album experience for the album artwork, much like the music, grows on you the more you look at it. Initially, it appears a little drab and uninspiring, but it melds perfectly with the chosen selection of songs and adds to the overall album experience.

Of course, the greatest album artwork would be for nil if the music contained within was lacklustre and while it is anything but, the lossless CD-quality Apple Music stream also sounds exquisite. There are no glaring omissions to concern ourselves with and you’ll find a soundstage that is wide and enveloping, with enough space between each musical element, allowing every aspect of the recording to shine. While mastering is essential, and in this case, it is ideal, when music is recorded and mixed this well, then the only thing left to do is to grab a coffee, sit back, and enjoy.

Charade isn’t an ideal opener, despite being a lovely ballad. The problem is it lacks a hook, one that will draw you into the music and the album itself. It isn’t, however, until you play the album multiple times that you start to appreciate Charade for its gentle yet melancholic melody that evokes some of the Bee Gees’ earlier 60s-styled recordings.

Throw A Penny introduces a more contemporary, soft rock-influenced sound, building momentum with its smooth groove and layered production. I can’t help but wonder if Throw A Penny would not have been a better opening. Nevertheless, it’s an exceptional song and the shift between the slower delicate verses, and the slightly more upbeat chorus that blends elements of R&B and Soul, is simply exquisite.

Down The Road flows seamlessly from Throw A Penny yet smoothly transitions the mood to that consisting of a bluesy, rock-and-roll vibe. Add to that the carefree swaggering groove, with a lively beat, and you’ve got yet another exceptional hidden gem from the Bee Gees.

Voices shifts the tone with its eerie slow-burning arrangement that makes me immediately think of songs such as Massachussetts and New York Mining Disaster 1941. To say that Voices is a masterpiece would be a just statement for it’s a magical song.

Give A Hand Take A Hand is an uplifting soulful ballad and while the Bee Gees’ vocal prowess is not a point of contention, the vocal skill heard here is second-to-none as Barry Gibb has rarely sounded better. Subsequently, this vocal-driven number is a standout from Mr. Natural and another of those hidden gems that really need to be appreciated for the hits are one thing, but Give A Hand Take A Hand is musical gold.

Dogs will captivate you with its fluid melody, particularly throughout the verses and chorus. Additionally, that mid-tempo shift in the bridge is pure genius. Not to sound like a broken record, but given Mr. Natural was all but ignored when released, it’s songs such as Dogs that need to be shared with fellow music lovers for casual fans of the Bee Gees have no idea of the exceptional music they’re missing out on.

Mr. Natural was an interesting choice as the title track as it’s a solid song with an infectious groove and funky bassline, but it’s most certainly an album-only tune, despite being released as the album’s first single. It just doesn’t hold one’s attention as much as many of the other songs on the album do.

Lost In Your Love slows the tempo down again with this delicate ballad, offering a tender moment. The arrangement is sparse, allowing Barry’s magnificent vocals to take the spotlight, thereby ensuring that Lost In Your Love is another memorable experience.

I Can't Let You Go has a killer riff, as the song brings an upbeat rock-oriented style to the record; one that melds perfectly with the Bee Gees’ overall style and harkens back to their origins.

Heavy Breathing continues the upbeat nature with this jazzy groove-focused tune that is perfectly suited to the era. If you’re not toe-tapping and head-bopping to this number, you’re listening wrong for its rhythmic gold with some exceptional musicality, particularly from the brass section to the ripper guitar licks. The bottom line is that Heavy Breathing is one Bee Gees song that should not be overlooked.

Had A Lot Of Love Last Night is, arguably, the greatest closer, from any album, in the history of recorded music. Not only is it uplifting, but it’s reflective, as well as encouraging the listener to play the album again. It also happens to be the most beautiful song that the Bee Gees has ever recorded that almost no one has ever heard. Had A Lot Of Love Last Night is so beautiful that I’d even argue that it’s the best song the band ever recorded; it’s that impressive!

In conclusion, Mr. Natural was a crucial, though often overlooked, album in the Bee Gees’ discography. It marked a period of experimentation and transition, as the group adapted their sound in preparation for their later success in the disco era. The album’s blend of soulful ballads, rock, and subtle R&B influences helped set the stage for what was to come, and it remains a thoroughly pleasing listen for those curious about the Bee Gees’ musical journey, beyond their chart-topping hits.

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ABBA – Waterloo (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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