Herbie Hancock – Monster (Album Review)

Released in 1980, Monster would be the 29th studio album from one of Jazz’s greatest pianists. Although, it is somewhat void of the jazz styling that many Hancock fans would have been looking for. Instead, what we have is an album with jazz elements scattered throughout and a little jazz fusion, pop rock, and what was an included aspect to stay relevant in the era, a rhythmically charged disco undercurrent. Purists will no doubt dislike the album because of this genre-crossing aspect. I’d argue that it perfectly suits Hancocks’ style and is worthy of sitting alongside Head Hunters; a bold claim, certainly, but part of Hancocks’ charm was in his ability to innovate, thereby ensuring his music never became stale or limited to a particular era. That said, Feets Don’t Fail Me Now, Hancocks’ 1979 release, which was in a similar sonic vein, failed to impress and subsequently remains absent from The Best Albums Of 1979. 

Perhaps the greatest compliment I can give to Monster is that it is compelling. From the insane cover art to the sweeping music, I find it difficult to play this album only once for it’s simply magnificent. 

Part of its appeal, no doubt, is due to its high-quality recording and impeccable mix. Add to that the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, and you’ve got an album that is sonically perfect and arguably as good as you’re ever going to find. While I’d love to own a copy on vinyl for the cover art alone, when a digital counterpart sounds this good, there’s no need to go to the additional expense, and hassle, of tracking down a physical version that may or may not offer a superior, or even comparable, sound. 

Saturday Night has a funk-driven sound that will get you on the dance floor. The highlight here, however, is Carlos Santana’s trademark guitar licks. His inclusion is complementary but is used to great effect throughout the solo. It’s a great start to the album and certainly sets the tone of expectation regarding the type of music you’re about to hear.  

Stars In Your Eyes is a true sonic wonderland. The rhythm, the spacing between musical elements, and the immersive soundstage ensure Stars In Your Eyes is not only the highlight tune on Monster, but it’s one of the greatest songs Hancock has ever released. Seriously, try to listen to this song by sitting still. I bet you can’t do it. My body moves involuntarily to every beat and rhythm and I never want it to end. A masterpiece in every sense of the word. 

Go For It really increases the tempo. A great song, but there’s a small shift in the senses when going from the smoother Stars In Your Eyes to the upbeat Go For It. Nevertheless, the difference lasts for mere seconds as your mind adjusts to the speed shift. Once you’ve settled into the groove, Go For It is a great little tune that doesn’t forge new ground, but it doesn’t need to as it fulfils its role as an album tune perfectly. 

Don’t Hold It In has a killer distorted grind that launches the tune and reoccurs throughout the song even after the funk-disco style has taken hold. Hancock and co certainly didn’t hold back with this tune. It, and many other songs from Monster, are right up there with the very best of Stevie Wonder; that is a true testament to how good this album is.

Making Love slows the tempo and is a well-positioned intermission-styled tune that has smooth soulful influences throughout, particularly with regard to the rhythm and harmonious backing vocal. 

It All Comes Round has some serious rock-inspired moments. Yes, it is as far removed from traditional jazz as you can get, but that doesn’t matter as it’s a great tune. I only wish Santana had been included on this track as his performance would have taken it to the next level. Although I have to admit, Hancock utilising his Clavitar to create the synthesised distorted guitar is not only experimental, especially for the time, but works remarkably well upon reflection. My only criticism, however, is that the chorus is fatiguing as the vocal component repeats ad nauseam. An interesting dichotomy as Go For It has a similar style yet it remains fresh throughout. 

Overall, Monster is, pun intended, a monster of an album. It’s the perfect length, at approximately 42 minutes and its six songs are amongst the very best Hancock has ever recorded. Yes, Monster isn’t his most successful, nor is it extremely well-known, but if you give it a chance, I’ve no doubt you’ll find the same musical bliss I have for when I listen to Monster, it reminds me of why I love music. 

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Queen – The Game (Album Review)

It isn’t erroneous to consider Queen as an artist better known for their hits than their albums, but as it pertains to their 1980 release, The Game, it’s all killer, no filler. Naturally, the songs are the key element here as there is more cohesion between chosen tracks, but the shorter runtime also assists with the tightness of the album; one that you’ll find yourself compelled to put on repeat. Yes, it’s an up-and-down motion for those amongst us who appreciate vinyl, but when the music is this good, it’s worth the trouble. 

While I consider myself incredibly fortunate to own the superb Queen Studio Collection vinyl box set, the lossless Apple Music stream, an Apple Digital Master, is the perfect counterpart. Yes, the vinyl reproduction, a half-speed master out of Abbey Road Studios by Miles Showell, is the pinnacle as it relates to sonic reproduction, but it would be shortsighted to ignore the streaming digital counterpart. Let’s just put it this way, Queen’s albums were not only recorded and mixed with kid gloves but they’ve been mastered to the very highest standards. Subsequently, as much as I appreciate the vinyl re-issue of The Game, I don’t miss it when playing the stream, thereby further validating just how exceptional the stream is. 

Despite the cohesive nature of the music presented on The Game, this release is a shift of form for the band that heralded “…and nobody played synthesiser…(again)”,  “No synths!”, and “No Synthesisers!” with pride on prior albums. I don’t know about you, but I’ve never been too concerned with the specific techniques or instruments used, for change isn’t always a bad thing, especially if handled with respect. The Game subsequently changes the rules by allowing synthetic instrumentation; to great effect, I might add. Queen, however, didn’t hide this inclusion touting instead that “This album includes the first appearance of a Synthesizer (an Oberheim OBX) on a Queen album.”

Play The Game doesn’t have the greatest opening, but it’s classic Queen! As soon as the introduction subsides, however, the song comes into its own with some gorgeous guitar work by Brian May, but it’s the rock meets pop styling, as well as Freddie Mercury’s piano backdrop and the additional synthetic elements that take Play The Game to another level perhaps best described as prog rock in style.

The music video is about as corny as music videos can get. Of course, at the time they were revolutionary and weren’t considered with such disdain, but if anyone was seeing the music video for Play The Game for the first time, in the modern era, they’d likely run for the hills and never give it a second thought as it does nothing to amplify the song or stature of Queen. It’s so bad that it undermines their musical talents. 

Dragon Attack is a bass lover’s dream come true; thank you, John Deacon! Dragon Attack has such an addictive funk-driven groove that it hooks you from the very first note. An exceptional tune and one of Queen’s most underrated with some stunning guitar and drumming mixed in.

Another One Bites The Dust continues the funky bass-driven sound. There’s so much that could be said about Another One Bites The Dust but nothing really needs to be said for it’s one of those songs that when you hear it, you get it! That said, it is one of those 70s tunes with suspected backmasking. Truth be told, I’m not going to play my record backwards just to see if I can confirm this and it befuddles me as to who, in their right mind, would listen to records backwards. Yes, our inquisitive nature finds it appealing, but I like to listen to and experience music, not find hidden elements that may or may not have been intentionally placed there. 

Need Your Loving Tonight is simply a killer rock and roll tune. It was never going to be a hit, but it’s barebones, thereby lacking the usual fanfare of later Queen records and somewhat harking back to their origins.

Crazy Little Thing Called Love is part rock and roll, part rockabilly, and undoubtedly inspired by Elvis Presley. What a great little tune!

The music video for Crazy Little Thing Called Love is a hoot. Seriously, it’s cringeworthy, but it’s so much so that if you can watch it, without bursting into laughter, you’re much more in control of your emotions than I am. 

Rock It (Prime Jive) has one of my favourite Queen openings, ever. The mix and otherworldly spaciousness, particularly in the vocal, is magical. Roger Taylor does a solid performance on lead vocals, but it is Mercury’s introduction that is the real drawcard here. That shouldn’t take anything away from Taylor, for it’s a great song as it is, it’s just that Mercury is one of the, if not the greatest, vocalists of all time. Hence, he’s hard to beat! 

Don’t Try Suicide is an odd little song. As you may imagine, it’s very literal as there’s little need to interpret meaning, but I’d argue that as well as it works within the album’s sequencing, it is one song that wouldn’t have been missed had it been omitted. 

Sail Away Sweet Sister is an unsung masterpiece! Brian May knocked it out of the park from both a composer’s standpoint and that of a lead vocalist.

Coming Soon has an interesting flat backbeat that I remain, to this day, unsure of. It’s as if my mind doesn’t know which element of the rhythm it should attach itself to and I, therefore, consider it more as a transitional tune than a song in and of itself and in that role, it perfectly aligns with the album structure. 

Save Me is the perfect closing track and while it isn’t the greatest ballad I’ve ever heard, it’s perfect for Queen and compels me to play the album again.

The music video for Save Me is far better than those for Play The Game and Crazy Little Thing Called Love and is truly worthy of Queen and their legacy. 

Overall, The Game is one of Queen’s greatest and most coherent album experiences and is rightly shortlisted as one of the best albums released in 1980. If you don’t have this album in your collection, give it a listen and reflect as to why for it’s worthy of the aforementioned accolades. 

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Stevie Wonder – Hotter Than July (Album Review)

When you think of Stevie Wonder, you’ll often be drawn to Talking Book or Songs In The Key Of Life, but as I reflect on Hotter Than July I’m amazed that this was Wonder’s nineteenth studio release. Perhaps such shock is derived from the fact that so few of us have explored Wonder’s extensive catalogue of music, instead focusing on the aforementioned titles, and while Hotter Than July may not be a landmark release, like these other records, there is little doubt that it’s one of Wonder’s best albums.

The same could not be said, however, for the Hotter Than July 2011 vinyl reissue from Mobile Fidelity Sound Lab. It was cold, clinical, and lacked any resemblance to Stevie Wonder’s unique sound signature, depth, and overall spaciousness. Think for a moment about the worst recording you’ve ever heard and you’ll come close to that monstrosity. Even though this review is penned post the MOFI debacle, I had this experience years before and sold the record well before it became clear that the once highly touted reissue label was being less than honest with their process. Of course, it’s important to note that this was a Silver Series release; one that has always been declared as being mastered from a production master rather than the original master tapes. Still, with that in mind, it simply wasn’t good and I would strongly advise that you avoid it like the plague. 

As a result of being bitten once, I’m naturally a little hesitant to pick up another vinyl reissue of this album and have found that the lossless Apple Music stream, an Apple Digital Master, is exquisite with a sound reproduction that I feel is not only perfect for the style of music but arguably as good as this album is ever going to sound. There’s a warmth in the digital stream that was sorely lacking from the aforementioned vinyl reissue. Interestingly, Apple Music also has the non-Apple Digital Master edition; essentially a CD facsimile. That particular edition is comparable to the aforementioned digital master, but it’s a little shallower in the mid and low end and, therefore, as someone who appreciates a solid authoritarian thump to their Stevie Wonder music, the Apple Digital Master is just that little bit more refined and makes for a more immersive listening experience. Essentially, you’ll feel your body wanting to move involuntarily to the rhythm whereas the CD equivalent lacks that aspect and you’ll find yourself listening rather than being absorbed by the music. It’s a minor variation, but one that’s important to music lovers the world over.

Did I Hear You Say You Love Me is a perfect opener but wasn’t necessarily the best choice of song to launch Hotter Than July with. While I acknowledge my contradiction, I am a strong proponent that something can both be and not be at the very same time for it depends on one’s subjective feeling at the moment when the song, in this case, is being experienced. Subsequently, there are times when I consider it to be too harsh as an opener and other times when I consider it sets the tone of the album. Yes, dear reader, I’m a complicated man but if I’m not in a funk or upbeat mood, then Did I Hear You Say You Love Me will prevent me from listening to the rest of the album. It’s a divisive track, as will be my opinion of it, but at least we’re talking about it for it could simply be an adequate opener. 

All I Do is a fantastic song and while the backing vocals are recessed a little more than I’d like, Michael Jackson’s inclusion is notable and is a perfect complement to Wonder and the music itself. 

Rocket Love is a beautiful tune if you don’t listen to it for its literal meaning as it becomes a sombre song of love lost. Still, it’s one of my favourite songs on the album and I can generally block the lyrics from my mind when I listen to it, instead focusing on Wonder’s harmonies and allowing me to appreciate his vocal as if it were another instrument in the mix. 

I Ain’t Gonna Stand For It sees Stevie Wonder delve into Country Music territory, yet it’s masterfully performed and showcases just how exceptionally talented Wonder is. Seriously, few musicians could take cues from so many varied genres and merge them in a manner that not only makes sense but sounds as if it should have always been that way. Yet, Wonder knows no limits in this regard; a master musician!

Eric Clapton recorded the song, but as much as I generally appreciate Slowhand’s musicality, this cover is an abomination. 

As If You Read My Mind is a sharp flow from I Ain’t Gonna Stand For It and while it delivers a shock to the senses, you quickly get past it and even expect it if you’ve listened to the album often enough, but it isn’t until the chorus that the song really comes into its own removed from the jolty transition. Wonder’s harmonica on this track is of particular note as it’s the perfect solo that’s also complementary to the song itself. As If You Read My Mind may not be a standout tune, but it’s funky and sometimes that emotive element is all a song needs in order to be thoroughly enjoyable.  

Master Blaster (Jammin’) has so much of a reggae feel to it, you’d swear it was a Bob Marley tune. As a fan of Marley, this tip of the hat is thoroughly appreciated and Wonder certainly captured not only the musical style but the core of what makes reggae music so compellingly addictive. While there’s a little of Marley’s Jamming influence here, Wonder’s funk and pop styling drove the song’s direction; the result of which is nothing short of exceptional.  

Do Like You returns us to your more traditional Stevie Wonder-styled song. While Master Blaster (Jammin’) was exceptional, Wonder has certain techniques that are standouts in their own right and when listening to Do Like You, the intricate layers of musical elements culminate into a classic Stevie Wonder song. Plus, that ending is not only hilarious but further validates that Do Like You is Stevie Wonder 101. Brilliant!

Cash In Your Face has a more mellow tone compared to Do Like You, but it’s appreciated as it gives the senses a chance to downshift. Cash In Your Face is a perfect toe-tapping head-bopping tune that also has a social element pertaining to racial inequality. I’d like to say that since 1980 the song is no longer relevant but that would be a blatant lie for discrimination is sadly alive and well. For all the influence musicians have, it is truly disappointing to note that societal changes move at glacial speeds, despite their endorsements. 

Lately is a magnificent, albeit sombre, ballad. Wonder has a stunningly beautiful vocal presentation and while it’s always present in his songs, it takes a ballad for it to come alive and for the approximate 4-minute runtime, you’ll swear he’s in the room with you for the mix perfectly places him on top of the musical backdrop. It really is a masterful recording and one of Wonder’s greatest songs. 

Happy Birthday can be seen as an upbeat politically fused song but regardless of the noble intent to honour Martin Luther King Jr., I find Happy Birthday to be the most cringeworthy song on the album; from an audible, not literal, perspective. The problem is that my mind has settled into the stunning Lately and the shift detracts from that relaxed reflection. Having listened to Hotter Than July countless times, over the years, you’d expect that I would be familiar with it and accept it, and to a certain extent I do, but I do wish that Happy Birthday was positioned earlier in the album.

There is little doubt that Hotter Than July is one of the better albums in Stevie Wonder’s extensive catalogue of music. Songs In The Key Of Life, however, is his musical opus, but Hotter Than July is difficult to ignore for its upbeat musicality will compel your interest well before his dictums do. Of course, that is Wonder’s gift for his music can be appreciated by those who look for deep lyrical meaning as well as those, such as myself, who wish to experience and enjoy music in a more ethereal manner that merges with the musical aspects of our soul. Stevie Wonder’s Hotter Than July is subsequently one of the more compelling releases of 1980 and should be in every music lover’s library. 

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Flowers – Icehouse (Album Review)

Flowers would soon become Icehouse and the rest, as they say, is history! 

Released in 1980, Icehouse catapulted Flowers to the top of the Australian and New Zealand charts with songs that have forever become part of the social consciousness. With their unique New Wave feel, songs such as Can’t Help Myself, We Can Get Together, and Walls would ensure Flowers, and later Icehouse, had a body of work to build upon ultimately culminating in the highly successful, Man Of Colours. 

Not only has Icehouse returned to the live touring circuit but the humble record is also experiencing a renaissance and Icehouse was thankfully reissued on the format despite Davies’ disinterest in vinyl. Printed on a textured print stock, Icehouse is one vinyl record that you’ll appreciate holding as the music plays, for the tactile nature of the material used ensures a greater connection to the artwork. It’s as if you’ve been allowed to hold a painting, touch the brushstrokes, and generally appreciate it in a manner that can’t be easily expressed. The gatefold layout is also greatly appreciated as it mimics the original Regular Records release. Nothing is missing for it’s a perfect replica and the attention to detail can’t be understated.

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Physical media fans will rejoice as there’s also a double CD/DVD 30th Anniversary edition that has been released that mimics the design and layout of the vinyl counterpart. It’s stunning and was in my collection before moving away from the format to focus on and embrace my vinyl collection. Streamers, however, miss out on the visual component; a problem that I’d like to see corrected with the release of a Visual Album.

As it pertains to the sonic quality, one thing that’s been widely applicable to Icehouse is that their records, regardless of format or mastering, have often been exceptional. While not an Apple Digital Master, the lossless Apple Music stream is on par with what I remember the CD/DVD edition sounding like. The vinyl mastering, I believe, is from the same 2011 Steve Smart (Studio 301 Mastering) sessions that the 30th Anniversary (2CD+DVD) reissue is based on, meaning that you can thoroughly appreciate Icehouse regardless of format and mastering concerns. That said, purists will lament a digital master being pressed to vinyl, but that is their loss for Icehouse has never sounded better with an immersive soundstage, exceptional detail retrieval, and a warm analog sound that draws so many of us to the format. There’s an increase in both high-end and low-end frequencies and bass notes are more three-dimensional when compared directly to the digital counterpart. That, of course, isn’t to suggest that the digital editions are compromised in any way, for they also sound magnificent, but it is merely an acknowledgement that the vinyl reissue offers a slightly more refined sound. This 2017 vinyl pressing is also extremely quiet and kudos needs to be given to Universal Music for manufacturing a record that Icehouse fans can be proud of. 

Subsequently, while the Apple Music stream presents the album as a double CD equivalent, with bonus tracks exclusive to the digital releases, this review will focus on the core 11-track release; just as it was originally released in 1980 when Flowers captivated audiences across Australia and New Zealand.

SIDE 1

Icehouse has one of the most immersive introductions you’re ever likely to hear on a debut album. The theatrical entrance continues throughout the entirety of the song as an undercurrent that pulls you into the eerie soundstage and won’t let you escape. It’s an experience in and of itself! 

We Can Get Together is one of the band’s most identifiable songs. The presentation is incredibly basic, yet complex. I know I’m contradicting myself, but as predictable as the song is, it isn’t until you sit and listen that you can appreciate the intricate layering of sonic elements. Truth be told, this could be said about their entire catalogue and is likely a core reason why I’ve been a lifelong fan of the band.

Fatman is straight-up New Wave rock and roll with a touch of blues; I love it!

Sister is one of my favourite songs of all time. Davies’ vocals, mixed with the electric keyboard and incredible guitar tuning, make this song truly memorable. Even the mid-song instrumental interlude is exceptional and shows a level of musicality that is normally absent from debut recordings. Admittedly, Davies had classical music training and Flowers was a pub act well before the release of Icehouse, but the quality presented on this first showing never ceases to amaze me. 

Walls returns to the, similarly, eerie sonic signature that was present on the title track. The vocal presentation is magnificent and adds depth and character to the song. In modern recordings, Autotune would be used to achieve this effect, but that wasn’t available at the time of this recording and I’d love to know exactly what vocal compression technique was used during the production of the song. 

SIDE 2

Can’t Help Myself, in production terms, is one of the rawest songs on the album. It’s straight-up New Wave rock and while the drum beat is akin to a click track for the mind, the guitar interlude is simply gorgeous.

Skin has an intricate composition. The drum beat, guitar riffs, and synth additions make Skin incredibly addictive and the sound layering ensures that the listener, upon each play, will appreciate newfound elements in the song. 

Sons slows the tempo of the album with a bold sound and beautiful soundstage. It isn’t my favourite song, but the album wouldn’t be the same without it and I would be lying if I didn’t say that it grows on you the more you listen to it. 

Boulevarde has a killer guitar riff that introduces the song, although I simultaneously feel that it is too drawn out. It very well could have been an instrumental track, but after the initial jolt, when the lyrical component enters the mix, the song settles and becomes a killer rock tune with some incredible guitar soloing to close it out.

Nothing To Do has a beautiful bass introduction. Seriously, the bass guitar is an under-utilised instrument in many recordings. While we all know the bass guitar sound, we rarely hear it represented as well-defined as it is in the introduction of Nothing To Do. Overall, Nothing To Do is rather eclectic with numerous musical influences. If nothing else, it’s certainly unique.

Not My Kind is the perfect closing bookend with a driving rhythm and raw rock sound that you’ll either love or loathe. It’s important to note that it’s a little too shrill on the digital editions whereas the vinyl reissue rounds out the sound thereby making it more compelling and encouraging the listener to flip the record back to Side One.

While technically still a Flowers album, I consider Icehouse to be the band and while it can certainly be a little confusing for new fans, Icehouse is one of those must-own albums as it has become a classic record of the Australian 80s music scene. If I had such a list, Icehouse would most certainly be regarded as one of the greatest debuts of all time but for the time being, it will certainly make its way to the upcoming Best Albums List Of 1980 as there isn’t a bad song to be heard on this release. 

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Elton John – 21 At 33 (Album Review)

We all know the classic tunes, but it never ceases to amaze me just how prolific Elton John has been throughout his career. Sadly, much of it has gone unnoticed, having never been played live or included on John’s various career perspective releases, while also receiving limited radio coverage. It’s a travesty, for 21 At 33 should be a classic, but most listeners would have only heard the song, Little Jeannie. While Little Jeanie is exceptional, in its own right, one shouldn't ignore 21 At 33 for there are numerous hidden gems to be heard on this 1980 release.

Unlike his previous Disco-based release, Victim Of Love, 21 At 33 sees John return to his pop-rock roots. Although, if you listen closely, there are a couple of songs that have a definite disco vibe; a byproduct of the era.  

Given 21 At 33 is so overlooked, it should come as no surprise that the album isn’t presented as an Apple Digital Master on Apple Music. Instead, we get the remastered edition. Don’t let that deter you, however, it’s magnificent! The entire soundstage is beautifully presented, allowing for complete stereo immersion, while simultaneously having a sense of clarity and warmth that puts 21 At 33 alongside Elton John’s best-sounding records. I could argue that there is room for improvement and that a vinyl reissue would trump the stream, but when the lossless Apple Music stream is this relaxing and enjoyable to listen to, it becomes a non-issue.  

Chasing The Crown starts the album off with plenty of energy, but isn’t necessarily the ideal lead track. No doubt, it would have been far better positioned later in the album structure but it is what it is. While Chasing The Crown is thoroughly enjoyable, if you’re familiar with Victim Of Love, you’ll be wondering if this tune was left over from those sessions as it is one of the songs with a slight disco vibe. Nevertheless, it’s a great upbeat tune!

Little Jeannie is a lovely ballad and would have been the ideal lead track for 21 At 33. Upon its release, it charted highly in the United States but failed to set any records in the United Kingdom. Thankfully, Little Jeannie was included in his latest career perspective, Diamonds, but John has rarely performed it live since the early 80s thereby making it even more obscure. A shame, as it’s one of his best, but a magnificent find for those who dare scour John’s extensive back catalogue. 

Sartorial Eloquence has a superb and catchy chorus. Whenever I think of songs that showcase Elton John's core style, Sartorial Eloquence is certainly at the top of the list. The vocal, piano, and all backing elements are so perfectly mixed that it captivates the listeners’ attention, the way his most popular tunes always have. It’s disappointing to note that Sartorial Eloquence failed to be a chart-topping success for it is one of the best songs John has ever recorded. 

The music video, however, isn’t one of Elton John’s finest moments. While clearly dated to the era, and perhaps we shouldn’t expect too much, it is difficult to watch and not notice his scruffiness and bald spot. Seriously, couldn’t they have picked some better camera angles? 

Two Rooms At The End Of The World is one of my all-time favourite Elton John songs. The rhythm is off-the-charts and it gets me toe-tapping and head-bopping every time. Sensational!

White Lady White Powder is a solid tune. Nothing to write home about, but if you’re an Eagles fan, you may be interested to know that Don Henley, Glenn Frey, and Timothy B. Schmit provided the backing vocals for this track. That said, the mix fails to highlight this fact and it’s an incredible shame as John had three of the world's greatest vocalists backing him up, yet failed to capitalise on their collective musical talents. Perhaps more disappointing is this was one of the three Taupin/John collaborations on the album. A missed opportunity? Definitely!

Dear God is another lovely ballad that can be seen as a precursor to the sonic qualities John would explore in the late 80s and into the 90s on songs such as Sacrifice. It’s so good!

Never Gonna Fall In Love Again is magnificent and is one of the best songs on the album. When I think of songs that are unfairly overlooked, Never Gonna Fall In Love Again is at the top of the list. While it may sound a little dated to the era, I find that to be part of its charm for John doesn’t make music like this anymore. 

Take Me Back is a country-pop tune that suits John’s style but while it would have been a perfect fit for Tumbleweed Connection, it feels a little out-of-place on 21 At 33.

Give Me The Love is a perfect closing song as it encourages me to listen to the album again and stay within John’s catalogue of music. The musical introduction is simply gorgeous and even though John sings with a slight southern (Elvis-inspired) style, it suits the song. John’s piano work on Give Me The Love is also notable in that it’s subtle but when it comes into focus in the mix, it’s nothing short of exceptional. 

21 At 33 is an incredible album that is severely underrated and really should be in every fan’s collection. There is little doubt, in my mind, that 21 At 33 is one of the best releases from 1980. Seriously, check it out if you haven’t already; it’s astonishingly good!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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John Cafferty & The Beaver Brown Band – Roadhouse (Album Review)

Over the years John Cafferty has had some recognisable hits, such as Hearts On Fire, Voice Of America’s Sons, and C-I-T-Y, but in listening to Roadhouse, Bruce Springsteen is constantly on my mind as John Cafferty & The Beaver Brown Band have an uncanny similarity to the rock legend and the E Street Band. While it may be easy to ignore Roadhouse, as a result, doing so would be of detriment for there are some excellent tunes to be heard on this heartland rock album. 

Released in 1988, Roadhouse failed to chart and reach the heights of their previous album, Tough All Over, but rightly maintained a cult following of dedicated fans. While physical releases of Roadhouse are long out-of-print, the lossless Apple Music stream will likely fill the void for many music lovers. The reproduction is most certainly what one would expect from the era the album was recorded in. It isn’t brick walled, as the album, to my knowledge, has never been remastered and subsequently you’ll experience a solid soundstage with a clear separation between all players. The mastering itself is a little thin but not distractingly so. Certainly, a small boost in bass and a slight reduction in the treble would address that element. Naturally, your preferences may vary but I tend to lean towards a warmer sound signature.

Bound For Glory sets the tone for the entire album with a blues-based rock tune that will get you moving. Bound For Glory’s groove is infectious and that bass track, thanks to Patrick Lupo, is the driving force behind the song. Bottom line: it’s a rocking tune! 

Victory Dance is a little loose and is more Caribbean than you may expect following Bound For Glory. Victory Dance is one of those songs that will grow on you. It’s catchy and a little cringeworthy. You may even find yourself turning the volume down, ensuring that no one else hears you play it, for it becomes a guilty pleasure, but that sax solo is a redeeming aspect that ensures I look forward to the song every time I play Roadhouse.

Song & Dance sounds so close to Springsteen that you’d be forgiven thinking that it was his song. That said, Song & Dance is magnificent and is on par with Springsteen’s greatest output. Although, it’s a shame that it has never received the recognition it deserved for if Springsteen had recorded it, it would have been a chart-topping hit. 

Killin’ Time has an introduction that reminds me not only of Springsteen but U2 before blasting into the core of the song. It’s a nice build-up and Killin’ Time follows Song & Dance perfectly and offers further validation that had Cafferty & The Beaver Brown Band received more recognition, Killin’ Time would have been a success on the level of those aforementioned great artists. Another exceptional rock tune, yes, but I’m not fond of the abrupt ending. 

Wheel Of Fortune is heartland rock gold. It has a little bit of everything and nothing that you don’t need. Perfect is perhaps too strong a word, but it’s textbook solid. 

Burn The Roadhouse Down is country pop and won’t be to everyone’s tastes, especially considering it reminds me of Shania Twain. Yes, Roadhouse predated Twain’s sound, but it’s a correlation nonetheless. Burn The Roadhouse Down is on par with Victory Dance; a solid addition to the album that fans will likely appreciate but a song few will seek out.

Penetration has a guitar tuned introduction that reminds me of Dire Straits’. Again, Cafferty’s vocal is too similar to Springsteen’s but the more you listen to him, the more you’ll notice the subtle differences that separate the artists. Despite artist correlations, Penetration is a great song. 

Wishing Well is a solid album tune, but where I loved Lupo’s bass track on Bound For Glory I find it too loose, and subsequently distracting, on Wishing Well.  

Customary Thing is groove-filled and will get your body moving involuntarily. While it isn’t the strongest song, it still works well amongst this collection of tunes. It also reminds me of another song but I can’t put my finger on which one; perhaps you know, dear reader? 

Hard Way To Go has a killer drum track and as with Customary Thing, Hard Way To Go isn’t forging new ground. It’s album filler, but sometimes when filler merges into a greater body of work, it’s an incredible addition for we’ve all come across albums with a couple of awesome songs and the rest are largely forgettable. Roadhouse doesn’t fall under that category because it is a sum of its parts rather than an album backing up a couple of singles. 

Higher Ground is a sonic bliss having been mixed and recorded perfectly. By all rights, it should have been a massive hit as it’s anthemic. Higher Ground is most certainly one of the best songs on Roadhouse and in my opinion, is a candidate for Cafferty & The Beaver Brown Band’s greatest song and should have been not only the title track but the closing song. Magnificent!

Road I’m Runnin’ is a great rock closer, with some killer guitar licks, but it’s no Higher Ground. It’s catchy and encourages me to listen to the album again and that, dear reader, is sometimes all that is required of a closing track. 

Overall, an interesting thing happens when you listen to John Cafferty & The Beaver Brown Band, on repeat, you become more entranced with Cafferty & The Beaver Brown Band and forget the similarities to Springsteen. At that moment, the music takes on a life of its own and becomes a thoroughly enjoyable musical experience in its own right. Therefore, I implore you to put Roadhouse on repeat, perhaps in the background, and wait until that moment when you’re no longer comparing but appreciating what can only be described as a killer underrated rock album. 

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