Grace Jones – Nightclubbing (Album Review)

Released in 1981, Nightclubbing stands as a remarkable testament to Grace Jones’ artistic prowess, avant-garde sensibilities, and genre-blending expertise. As an album that defies categorisation, effortlessly blending elements of new wave, reggae, funk, post-punk, and electronic music, it’s remarkably memorable and will appeal to audiences with broad musical preferences. Nightclubbing, Jones’ fifth studio album, offers a seductive and atmospheric experience that has left an indelible mark on the music landscape, not only in the 80s but in all of recorded music history.

Of course, it wasn’t only the music that was influential for the original album artwork is striking, to say the least. Sadly, due to a rights issue, the original album artwork, created by Jean-Paul Goude, is absent from streaming services and digital download stores. As there haven't been any worldwide reissued physical releases, since 2014, it’s unknown if this will impact the physical counterpart moving forward. What I can say, however, is the replacement artwork Island Records decided to put in its place isn’t all that bad. Okay, so if you look at all of the album covers, created by Goude, that are currently missing, it’s a little irritating, but on its own, however, I really like the design that somewhat replicates a compact cassette sleeve design. As such, and given the rights element, I won’t be utilising the original artwork within this review but you can always check it out on the various editions added to Discogs.

Speaking of different editions, while I’m extraordinarily happy with the Apple Music stream, an Apple Digital Master, I was fortunate to have owned the Blu-ray Audio release and with an extended runtime, on a single disc, that matched the sequencing of the Deluxe Edition, it was a party album that extended beyond the record’s original intent. While memory may be the most fallible way to recall the sonic quality of music, I find that I much prefer the fullness of the Apple Music stream as the Hi-Res Lossless version on the Blu-ray format could sound a little too accurate and subsequently clinical. Some music lovers will appreciate that style, but I prefer a warmer and smoother presentation and the Apple Music stream thankfully doesn’t disappoint in that regard. 

Walking In The Rain kicks the album off with a moody funk vibe that is truly captivating while Jones’ sultry vocal takes centre stage as she navigates through the electronic soundscape. While Walking In The Rain is most commonly associated with Jones, and it’s perfect for her style, the song is actually a cover by the Australian band Flash And The Pan from their 1978 self-titled debut. While that album is out-of-print, it can be heard via the 1995 release, Collection and is most certainly worth checking out if you appreciate Jones’ interpretation. 

Pull Up To The Bumper is an uptempo standout with a funky bassline. Jones’ suggestive lyrics, throughout this song, have often resulted in controversial interpretations, but as someone who appreciates the human vocal as another instrument in the mix, rather than a storytelling device, that aspect fails to be a contentious issue in this listener’s mind. Plus, the song's infectious rhythm, coupled with unconventional sound effects, creates a tune that is irresistible. 

If you simply can’t get enough of Pull Up To The Bumper, may I suggest you check out Coolio’s Ooh La La, from 1997, for this classic tune is sampled beautifully. Deni Hines' interpretation is also worth checking out if you’re after a smoother edition. Of course, there are also additional remixes and extended versions to be heard from Jones, herself, on the Deluxe Edition of Nightclubbing.

Use Me introduces a little reggae and showcases Jones’ versatility as an artist as she’s capable of infusing diverse musical genres to express emotive elements. As a cover of Bill Withers’ original, from the 1972 album Still Bill, Jones’ interpretation builds upon the original (an exceptional piece of music in its own right) while making it her own.

Nightclubbing is the album’s centrepiece and what a remarkable song it is. Iggy Pop and David Bowie certainly wrote a masterpiece when they penned this tune. Encapsulating the essence of nightclub escapades, Jones’ cool vocal glides above the electronic arrangement, evoking a mysterious and entrancing atmosphere. It’s without a doubt one of Jones’ greatest recordings, but it’s also an audible treat for listeners as the repetitive rhythm, both musically and within the vocal, forms a structural foundation that holds, together, all other musical elements. 

As captivating as Jones’ cover of Nightclubbing is, may I suggest you check out the original from Iggy Pop’s The Idiot; an incredible recording in its own right. 

Art Groupie shifts the style slightly, yet it isn’t detrimental to the album listening experience for Jones’ spoken word-styled delivery, remains at the forefront of the mix ensuring that aside from the electronic elements, Art Groupie is most certainly a worthy addition to Nightclubbing; even if it is an album-only tune.

I've Seen That Face Before (Libertango) is a reimagining of Astor Piazzolla's excellent Libertango, and between the atmospheric driving beat and melody, the fusion of styles provides an utterly compelling piece of audible art. As with Art Groupie, this is a song that is best described as an album-only tune, but it’s songs such as this that make Nightclubbing so compelling.

Feel Up returns us to a playfully infectious reggae-infused groove. While there isn’t much in the way of lyrics, instead a focus on repetition and spoken aspects, the mix of all elements is so compelling that, much like the rest of Nightclubbing, it is difficult to not be sucked into the musical void when listening to Feel Up.  

Demolition Man injects a little rock and roll into Nightclubbing but its funky bassline is the greatest defining element here. It’s, subsequently, surprising that it failed to garner much attention when released as a single for it’s a perfect song for the era in which it was released and has over the years become a signature tune for Jones. Originally written by Sting, and featured on The Police’s Ghost In The Machine post Jones’ recording, I much prefer Jones’ interpretation of the song.

I've Done It Again slows the tempo and overall style of the album considerably, but it’s a beautiful contemplative tune to close the album on.  

Nightclubbing is a masterful work of musical art that defies genre conventions and pushes the boundaries of musical expression. Jones' distinctive style, combined with innovative production and diverse influences, results in an album that continues to captivate and inspire listeners; inviting them into a world of sophistication, intrigue, and sonic experimentation.

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Ronnie Milsap – There's No Gettin' Over Me (Album Review)

Released in 1981, Ronnie Milsap’s thirteenth studio album, There’s No Gettin’ Over Me, is a remarkable collection of country and pop-infused tunes that showcase his signature blend of storytelling, soulful vocals, and impeccable musicianship. 

As you listen to There’s No Gettin’ Over Me, you’ll find yourself singing along as you toe-tap and head-bop to the rhythm, for this album is thoroughly engaging and will touch your soul from the very first note to the last. The smoothness of the recording also plays a key role and it was recorded, mixed, and mastered beautifully. Yes, the edition available on Apple Music is merely the CD-quality counterpart, but don’t let that deter you for it is a mid-80s digital release that was done well. 

Despite the success of There’s No Gettin’ Over Me, it hasn’t seen a reissue or re-release on any format for decades. Granted, there was a four-album double cd reissue in 2017, but I loathe those types of compilations. Yes, at 35 minutes, the album is short, but I would much prefer to have the albums separated and presented as they were originally intended. Nevertheless, that is what streaming services and digital download stores are perfectly suited to deliver. The unfortunate reality is that should a reissue be made available, such a release would likely be remastered and as any music fan can attest to, that can either be a success or a dismal failure. Plus, when a CD-quality stream sounds as lovely as this one does, I really don’t want to see it being modified. That all said, I would welcome a vinyl reissue at some stage for this is one album that needs to live on in the social consciousness beyond the hear today/gone tomorrow uncertainty of music streaming.

Everywhere I Turn (There's Your Memory) is an incredible opener. Milsap knocks it out of the park with this tune. While you may be thinking of it as being nothing more than crooner music and a Barry Manilow-styled song, I’d argue that there’s absolutely nothing wrong with that style of music for Everywhere I Turn (There's Your Memory) is a vocal and sonic masterpiece.

(There's) No Gettin' Over Me was one of the most successful songs Milsap ever recorded and for good reason, it’s simply wonderful!

It's All I Can Do is a lovely tune and perfectly suited to the overall style of the album. 

Two Hearts Don't Always Make A Pair is easy listening country music 101. A beautiful song!

Jesus Is Your Ticket To Heaven may be a little too preachy for many, but this is one seriously addictive tune that quickly merges into an earworm; a thoroughly enjoyable one I might add.

I Wouldn't Have Missed It For The World is a singalong tune if there ever was one. Like many of the songs from There’s No Gettin’ Over Me, Milsap’s music is simply irresistible and if you can resist breaking into song, you’re more restrained than I am. 

Too Big For Words is a beautiful vocal ballad. Milsap’s vocal is stunning and it’s album-only songs such as this that ensures this is a masterful album and landmark release. 

It Happens Every Time (I Think Of You) is a little campy, but it is Ronnie Milsap and is therefore perfectly acceptable and is actually quite lovely; if you can get past the corniness of the song.  

It's Written All Over Your Face is a lovely tune with a country twang. As I listen, I can’t help but wonder how it would sound had Willie Nelson recorded this song. That isn’t to suggest that I dislike Milsap’s version, but there are certain songs that when you listen to them, you can hear other artists performing them and this is one such example. 

I Live My Whole Life At Night probably isn’t the strongest closer, for swapping it with It's Written All Over Your Face likely would have offered a more compelling reason to play the album again. Nevertheless, due to the record’s length, I find myself frequently playing the album on repeat and appreciating every minute. As solid as I Live My Whole Life At Night is, it is an album-only tune that is unlikely to be memorable, yet it simultaneously ensures the album as a whole remains thoroughly enjoyable. 

Overall, There’s No Gettin’ Over Me remains a standout album in Ronnie Milsap’s illustrious career. With its mix of heartwarming ballads, upbeat tunes, and soulful performances, you’ll be swept into a musical wonderland that is most certainly one of the best albums released in 1981 and one of Milsap’s greatest recordings. 

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Earth, Wind & Fire – Raise! (Album Review)

Released in 1981, Earth, Wind & Fire’s 11th Studio album, Raise!, delivers the band’s trademark blend of funk, disco, R&B, and soul so well that you’d be mistaken for thinking this is a greatest hits compilation. Filled with infectious and uplifting tunes, Raise! sounds as fresh today as it was when it first hit record stores in the early 80s and is bound to captivate modern audiences, as much as their legacy counterparts, for Raise! is ultimately timeless. 

What is also enduring is Earth, Wind & Fire’s compelling artwork for they rarely disappoint in that regard as their albums are all worthy of presentation via the larger vinyl canvas. It’s disappointing to note that Raise! hasn’t been reissued on vinyl at all, despite some of their other albums seeing a reissue on the format. Given the modern resurgence of vinyl records, it seems like a missed opportunity and it isn’t as if Raise! is one of their lesser-known albums. That all said, the lossless Apple Music stream, an Apple Digital Master, is exquisite in every way imaginable. When streaming sounds this good, it makes one wonder why they should invest in the physical counterpart. 

Let’s Groove opens the album with a dance-floor vibe that sets the tone for the entire record. With an irresistible tempo, catchy melody, and some powerful instrumental elements, Let’s Groove will get you moving. 

Lady Sun continues the upbeat feel but is a little more soul focused than Let’s Groove. Don’t let that deter you, however, for the party has just started. In fact, if you were having a party, Raise! would provide the perfect background music for such an occasion. 

My Love slows the tempo a little but the disco vibes remain ever-present. The band's instrumentation and tight harmonies are nothing short of pure sonic bliss and while My Love may be overlooked as an album-only song, it’s one of the greatest groove meets funk meets disco tunes in Earth, Wind & Fire’s extensive catalogue. 

Evolution Orange is a lush musical experience. That said, it’s a quirky little tune that takes a few listens to fully appreciate. Part of the slow appreciation process is due to Maurice White’s vocal style, on this particular tune, as it differs considerably from the vocal tracking on the rest of the album. Subsequently, while the Apple Digital Master ensures his high notes remain tamed, I can only imagine how fatiguing Evolution Orange could be, especially if the CD, for instance, was mastered with loudness in mind. 

Kalimba Tree is a mesmerising musical interlude that could barely be called a song, due to its length, but it’s a perfect introduction to You Are A Winner.

You Are A Winner is infectious. Its sheer energy and positive message, while maintaining the core groove-fused musicality, is a trademark of Earth, Wind & Fire and is a core component that makes Raise!, and their music in general, so compelling. 

I’ve Had Enough will see your body moving involuntarily to the rhythm. Its smooth, laid-back, style, combined with elements of R&B and funk, ensures that I’ve Had Enough is not only magnificent but that it remains another hidden gem. Despite charting satisfactorily when released as a single, it simply doesn’t get the recognition it deserves.

Wanna Be With You initially slows things down, but its funk, disco, and R&B elements show their true colours rather quickly. While the tempo doesn’t reach the pace heard earlier in the album, Wanna Be With You is perfect in its own right while also being thoroughly relaxing. 

The Changing Times, in a similar manner to Wanna Be With You, has an introduction that is somewhat different to the core song and while it’s a style, I find it to be a little distracting. Nevertheless, as the closing track, The Changing Times allows for contemplation as well as compelling listeners to listen to the album again.

Raise! is a testament to Earth, Wind & Fire's incredible artistry and their ability to create timeless music. The album seamlessly blends different genres while maintaining a cohesive and infectious sound throughout. From the energetic and irresistible Let's Groove to the quintessential closer, The Changing Times, each song showcases the band's unmatched musical prowess and their ability to uplift and inspire listeners. Raise! is, subsequently, a must-listen for any fan of the band as well as being a perfect entry point for those who are new to Earth, Wind & Fire.

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Alice Cooper – Constrictor (Album Review)

Released in 1986, Constrictor was Alice Cooper’s first album in three years since the release of the masterpiece that is DaDa. Although, Cooper would likely contest that declaration as part of the reason for the break between album cycles was to deal with his addictions; some of which nearly consumed the shock rocker and influenced his prior releases. Subsequently, Constrictor is a very different album to Cooper’s “blackout” releases (Special Forces [1981], Zipper Catches Skin [1982], and Dada [1983]) as it’s less artsy, thereby returning Cooper’s style to a more traditional hard-hitting rock album with radio-friendly tunes. That aspect alone shouldn’t deter fans, or newcomers, for his artistry has always been diverse, but Constrictor can be seen as a significant turning point in his career; a shift that would ultimately send him back to the top of the charts a few years later with Trash.

Visually, it’s one of Cooper’s more comical album covers and the snake still looks fake. That’s a good thing for it’s not only indicative of the era but also showcases Cooper’s more light-hearted persona. While I’ve yet to own a copy on vinyl, Constrictor is one album that needs a reissue on the format as the larger album artwork would look incredible amongst his other albums. 

On the topic of sonic quality, however, Constrictor is in desperate need of a remaster. It’s 80s rock, raw ,and hollow sounding, resulting in a little too much treble and not enough mid to low-end oomph. Some may suggest that it is perfect the way it is as many classic 80s rock albums have a thinner sound, but I find that I have to apply some EQ to get Constrictor to sound half decent. Granted, it’s not the end of the world, but it would be nice to hear what the master recording sounds like for the CD quality stream is merely adequate. 

Teenage Frankenstein kicks things off with a thunderous roar. Cooper’s distinctive snarl combined with the gritty guitar riffs and a rock-solid rhythm perfectly captures the spirit of the album. 

Give It Up has an infectious chorus and catchy hooks, but it’s the memorable pop-rock styling that is most notable. 

Thrill My Gorilla is an incredible tune. The soaring guitars with a playful tongue-in-cheek lyrical perspective ensure that Cooper’s combination of humour and shock rock remains at the forefront of the music.

Life And Death Of The Party slows the tempo, but it’s one of the greatest songs on the album and is a hidden gem in Cooper’s back catalogue. Additionally, that solo is what air guitar dreams are made of. Brilliant!

Simple Disobedience with its infectious hooks and drilling rhythm injects a dose of energy into the record. It’s one of those songs that has rarely been heard outside of the album and it’s a shame for Simple Disobedience is a stadium-filling tune. 

The World Needs Guts has a driving rhythm, anthemic chorus, and powerful guitar solos that create an empowering atmosphere that encourages listeners to face life's challenges head-on. I love it!

Trick Bag may channel the spirit of classic rock 'n' roll with a bluesy undertone and groovy rhythm, but it isn’t the strongest song on the album. While the musicality is solid, there’s too much vocal processing that makes Cooper sound as if he’s singing in a silo. 

Crawlin’ is a dark and brooding track with haunting guitars and eerie synths. Cooper's vocal delivery adds a touch of menace but it’s the song's heaviness that ultimately makes it a standout tune on Constrictor.

The Great American Success Story has a catchy melody and is a solid tune, but it’s too campy in the chorus to be notable.

He's Back (The Man Behind the Mask) embodies the essence of '80s glam metal with its driving guitars, synthetic elements, and anthemic chorus. As it was recorded for the Motion Picture, Friday the 13th Part VI: Jason Lives, it perfectly captures the dark and mysterious allure of the film. Yet, it also provides listeners with a perfect album closer; one that allows for reflection as well as encouragement to spin the album again. 

Overall, Constrictor showcases Cooper's ability to adapt to a changing musical landscape while maintaining his signature style. The album strikes a balance between catchy radio-friendly tunes and darker introspective moments. While it may not be considered one of his greatest releases, Constrictor is severely underrated and is a thoroughly enjoyable album that captures a pivotal moment in Cooper’s career.

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ABBA – The Visitors (Album Review)

Released in 1981, The Visitors marked a significant turning point in ABBA's career. After all, it would be their eighth and final studio album before returning with Voyage, some four decades later, in 2021.

While many may disagree, I don’t consider Voyage to be a natural evolution and subsequently don’t consider it to be a follow-up to The Visitors. I much prefer to consider Voyage as an independent album; one that is ABBA at its core, but one that also doesn’t belong in their foundational back catalogue. It’s much the same as my opinion of the Eagles’ Long Road Out Of Eden; an excellent album in its own right, but one that is incapable of following The Long Run. Sometimes the fundamental aspects contributing to the specialness of an artist, or band, are void when decades elapse between releases. We want to be enthralled, but it is also as if our expectations can only be met with disappointment for it’s rarely, if ever, what we had always hoped for.

Subsequently, The Visitors is not only one of the greatest recordings ABBA ever made but it is the quintessential closing chapter and no matter what the Swedes release henceforth, I consider that their classic era ended with The Visitors.

Showcasing a more mature and introspective side to their music, The Visitors is an album that may not immediately appeal to those who appreciate ABBA’s catchy tunes such as Dancing Queen, Gimme! Gimme! Gimme! (A Man After Midnight), or Mamma Mia. It certainly wasn’t up to the same commercial standards as their highly successful mid-career releases, but success at the cash register is rarely an indication of quality and while sales weren’t to ABBA calibre levels, The Visitors was a monstrous sales success by any metric.

One may think that I’m suggesting that there aren’t any great hooks to enjoy when listening to The Visitors. That is certainly not the case, but the lighthearted off-the-cuff pop style, which had previously been an ABBA trademark, was largely omitted for a more serious style; one that I thoroughly appreciate.

This seriousness also extended sonically to The Visitors for it’s a master recording and arguably ABBA’s most sonically pleasing release. While I’m fortunate to own the Studio Albums vinyl boxset; the Apple Music stream, an Apple Digital Master, is the pinnacle digital release for I’ve never heard the album sound better.

Yes, I thoroughly enjoy the aforementioned vinyl reissue for it is smooth with a thoroughly pleasing tonal warmth, while also ensuring that every element is clearly present within its soundstage. However, it isn’t convenient. Vinyl purists likely have their pitchforks at the ready but when an Apple Digital Master release sounds this good, and I can enjoy it anywhere, at any time, there’s something incredibly freeing in acknowledging that reality.

The Apple Digital Master edition is of particular note given that ABBA’s catalogue, including The Visitors, has been remastered numerous times, yielding different results each time. It has understandably left fans and collectors frustrated for the differences are noticeable and not to everyone’s tastes. That said, I feel that the Apple Digital Master solves many of the problems associated with prior masterings and is subsequently the perfect way to listen to and appreciate not only The Visitors but ABBA’s back catalogue.

Speaking of digital releases, all post-1997 editions have been issued with bonus songs. As long-time readers will note, I generally favour the original sequencing of albums. This is, unfortunately, not currently available on Apple Music, so I’ve had to share with you a playlist that replicates the original 9-track album. Of course, you can also appreciate the bonus tracks or the Deluxe Edition by clicking on the previous links if you wish. Interestingly, for those paying attention to such things, the Deluxe Edition is the non-Apple Digital Master release of the album.

Returning our thoughts to the musical presentation, and associated artwork, the cover art design is also indicative of the maturity the band were presenting via their music. However, knowing what we know now about the marriage breakups of the band members, one can read more into the album artwork than on any other ABBA release for the band members are separated and independent. Intentional, or not, I can’t imagine a better album cover for what was, at the time, to be their final album for it visually reflected their emotional status, their maturity and independence as well as their need to be taken seriously.

The Visitors was an interesting choice to open the album with. The somewhat spacious synthesised introduction will either capture your attention or you’ll wonder if it was at all necessary. I fall into the latter category but once the song passes the first-minute mark, you get a real sense of direction as the music continually builds its melody until the harmony hits with memorable effect. It’s, therefore, simultaneously, ABBA’s weakest and strongest opener. I’ll let you decide as to which you feel it is but suffice to say that it’s worthy of being the album’s title track.

Head Over Heels is an upbeat catchy tune that will appeal to longtime and casual fans alike. Agnetha Fältskog’s lead vocals are utterly perfect with Anni-Frid Lyngstad (Frida) entering the chorus seamlessly, ensuring that their vocal interweaving is as captivating as ever.

When All Is Said And Done is a poignant reminder of the relationship breakdowns within the band. Where The Winner Takes It All grappled with Björn Ulvaeus and Fältskog's divorce, When All Is Said And Done is a direct commentary on the split between Benny Andersson and Frida. While music often deals with relationships, ABBA differs from many others in that they were working with each other to make these exceptional recordings all while their personal lives were unravelling. It takes courage to bare it all in such circumstances and as you listen to Frida’s lead vocal, you can hear the emotion in her voice for such heartache is rarely easy to restrain. When All Is Said And Done is, subsequently, one of her greatest vocal achievements.

Soldiers is powerful and thought-provoking. Containing a blend of rock and pop elements that had not been heard since the release of The Album in 1977, Soldiers showcases a level of versatility that makes for a captivating listen.

I Let The Music Speak is a beautiful and introspective ballad showcasing the songwriting prowess of Ulvaeus and Andersson. The delicate piano arrangements and heartfelt lyrics make it a landmark tune and while it may not be ABBA's most notable song, it is the one that will forever live in the annals of music history.

One Of Us is memorable, due in part to the pensive pop verses and catchy chorus. It’s also one of Fältskog’s greatest vocal recordings and reminds me fondly of her recording style throughout Arrival.

Two For The Price Of One is one of ABBA’s classic quirky tunes, with a little controversial subject matter, but Ulvaeus vocalises it so well that you’ll forget the literal interpretation and be captivated by the hook and harmonious intertwining, all of which is nothing short of musical perfection.

Slipping Through My Fingers is another stunning vocal performance from Fältskog. Yes, I acknowledge that she’s always been my favourite of the four core musicians in ABBA, but when heartfelt lyrics are met with tender vocals, music simply doesn’t get much better than this.

Like An Angel Passing Through My Room is a gorgeous ethereal tune to close the album on and is one of the reasons why I’m less than impressed with the reissues that offer additional tracks. It’s not that the bonus material is bad, but Like An Angel Passing Through My Room is the quintessential closer that allows one to contemplate the music they’ve just heard while also encouraging the listener to play the album again.

With a unique blend of pop, rock, and electronic influences, The Visitors stands as a testament to ABBA's enduring legacy and their ability to evolve with the times. The Visitors is subsequently deeply introspective and musically diverse, showcasing ABBA's ability to create memorable pop songs while tackling deeper themes. The culmination of this makes The Visitors a must-listen for both ABBA fans and those looking to explore the evolution of pop music in the early '80s.

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Midnight Oil – Diesel And Dust (Album Review)

Ian McFarlane's Encyclopedia of Australian Rock And Pop references Diesel And Dust as “groundbreaking and one of the greatest Australian albums of all time”. I dare anyone to challenge that claim as Diesel And Dust is the quintessential album Midnight Oil should be remembered for.

John O'Donnell, Toby Creswell, and Craig Mathieson also thought so highly of Diesel And Dust that it was awarded the No.1 Australian album in their book, The 100 Best Australian Albums. They go on to say “in the process of reinventing themselves, Midnight Oil has crafted an album of brilliant, passionate, and intelligent songs that carry a message”.

Following these greats with any additional commentary on Diesel And Dust would be seemingly superfluous, but bear with me as I take a look at the music that makes up Diesel And Dust.

Beds Are Burning is iconic! With its catchy guitar riffs and anthemic chorus there’s little doubt as to why it has remained as revered as it has over the years. Addressing the plight of Australia's Indigenous people and their stolen lands also adds to the emotive element of the tune and while politically-charged lyrics are not everyone’s cup of tea, few would gripe about Midnight Oil’s lyrical direction as the music is off-the-charts good.

Put Down That Weapon is sonically gorgeous. In fact, while the lossless Apple Music stream is from the 2008 remastering sessions, you won’t be disappointed for Put Down That Weapon, in particular, is mastered with kid gloves meaning that the pounding drums and infectious guitar hooks give the song a rebellious edge, while Garrett's vocals convey a sense of urgency and conviction.

Dreamworld shifts the tempo and tone but the driving rhythm section and memorable melodies ensure that Dreamworld remains a captivating listen. That said, Dreamworld is one song that can be a little jarring on the senses, especially when listening repeatedly as it isn’t quite as smooth, from a sonic perspective, as the other songs featured on Diesel And Dust.

Arctic World is an atmospheric marvel and while some may dislike the styling of the song, the evocative nature of Arctic World ensures the listener sits up and takes notice of a song that addresses climate change; an issue that is still plaguing modern society.

Warakurna flows seamlessly from Arctic World with rhythmic perfection. It’s one of my all-time favourite Midnight Oil songs as it blends traditional rock elements with indigenous influences to deliver a song with a poignant message.

The Dead Heart is another sonic standout from an album that defines Midnight Oil. The combination of all musical elements and Garrett's passionate vocals creates an emotionally charged atmosphere that is both captivating and deeply moving from both literal and musical perspectives.

Whoah is sonically beautiful. Close your eyes, relax, and enjoy.

Bullroarer picks up the pace with driving guitar riffs and a rhythmic and infectious chorus that ensure Diesel And Dust is remembered for its high-energy sound as much as it is for its sociopolitical messaging. With a tip of the hat to Midnight Oil’s Punk roots, Bullroarer is a musical masterpiece and one of the best songs they have ever written and recorded. If you haven’t already, turn the volume up to 11.

Sell My Soul is a hidden gem with introspective vocals and a melodic arrangement. While it was never destined to be a standout hit, Diesel And Dust is all the better for Sell My Soul’s inclusion.

Sometimes showcases Midnight Oil’s Punk roots and while there’s absolutely nothing wrong with that, it isn’t the strongest song on the album, particularly with regards to the verses. The chorus, however, is another issue entirely for it’s thoroughly enjoyable and captivating.

Gunbarrel Highway, while not featured on the vinyl and cassette releases of Diesel And Dust, made it to many of the CD editions as a bonus track. While I’m normally dismissive of bonus tracks, Gunbarrel Highway is one exception as it is a perfect closing tune to the album; one that encourages me to play it again.

Midnight Oil’s Diesel And Dust is timeless from both the perspective of sociopolitical issues and musicality. This is one album whereby each track stands on its own but the collective nature of the album experience further amplifies a cohesive musical statement. While some will turn to it for literal meaning, others such as myself will prefer to enjoy the album for its masterful musicality. No matter how you choose to appreciate Diesel And Dust, one thing is for certain, this is one album that you need to have in your collection.

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Quincy Jones – The Dude (Album Review)

Released in 1981, The Dude stands as a timeless masterpiece that incorporates elements of Funk, Jazz, Pop, R&B, and Soul, yet Quincy Jones isn’t the only star here for the lineup of studio musicians chosen is not only extensive but impressive. While you may be most familiar with Jones for his production of classic albums, including Big Band Bossa Nova, Off The Wall, and Thriller, to name a few, his legacy continues well beyond these signature releases as The Dude represent some of his most creative works.

Yes, Jones’ collaborations with Michael Jackson will always be what he is most remembered for, but it’s important to note that The Dude was nominated for an impressive twelve Grammy Awards. It would go on to win three; an extraordinary achievement for an album that not only is so varied but also utilised various musicians and vocalists. And, yes, while Michael Jackson appeared on the title track as a backing vocalist his inclusion on this release is minimal at best.

Regardless, there’s little doubt as to the musical chops of The Dude, but what I find most fascinating is the album’s artwork. The morphing “Dude” creates a visual illusion that matches the shifting styles heard throughout the record and is perfectly set against a simple black frame. It’s one of the best album covers from the era and immediately captures one’s attention. You can imagine just how fascinating it would have been seeing it on the shelf in your local record store in 1981.

Sonically, however, all is not perfect. The lossless Apple Music stream is adequate but to get it to sound its best, you’ll likely be fiddling with your EQ settings. It’s a shame considering the music is, otherwise, incredible. The problem is that in its flat presentation, it’s a little too clinical. The result is a sound that lacks an emotive feel; an aspect that is paramount to this style of music. Despite this, once your preferred EQ settings are dialled in, there’s no doubt that you’ll find it encapsulating. A remastered edition, however, would be welcome, but as music is subjective you, dear reader, may find the core stream to be perfectly acceptable. As for myself, I’ll be thoroughly enjoying this particular release until the streamed version is either updated or until I attain a physical release as the music is that good!

Ai No Corrida (feat. Dune) has an infectious rhythm and is the perfect tune to launch The Dude with. With a mix of jazz, funk, and pop stylings, Ai No Corrida will hook you from the very first note. Ai No Corrida, however, wasn’t first recorded by Jones et al as Chaz Jankel (along with Kenny Young) wrote and recorded it for his self-titled 1980 release, Chas Jankel. Jankel’s version is similar in style but as Jones always does, he hears and subsequently refines a tune so that it is greater than the original song. It’s his gift and while Jankel’s recording is excellent in its own right, it pales in comparison to this version.

The Dude blends funk undertones, captivating jazzy brass sections, and memorable hooks to create an unforgettable musical experience.

Just Once slows the album’s tempo but you won’t mind as James Ingram’s vocals are exceptional on this tender love song. Yes, it is very much a song of the 80s, but don’t let nostalgia influence you for Just Once is as beautiful today as the day it was recorded.

Betcha Wouldn't Hurt Me (Extended Version) will encourage you to turn the volume up, if you haven’t already, as its atmospheric musicality is enveloping. Patti Austin vocalises the song perfectly and with a flawless mix of jazz and funk elements, Betcha Wouldn’t Hurt Me remains a standout tune on The Dude.

Something Special is smooth. Austin, once again, performs vocal duties here; she is truly magnificent! One aspect, however, that may be detracting is the slower tempo as it’s unassuming. Granted, the song flows well within the linear structure of the album, but Something Special isn’t a song that is likely to be anyone’s favourite as there isn’t anything here that is truly memorable.

Razzamatazz, however, will have you coming back for more as the 80s funk rhythm is so infectious that you’ll lose yourself in this tune. It’s arguably Austin’s greatest vocal contribution to The Dude for her addition not only amplifies the groovy musical bed but ensures that those looking to sing along will be in good company, especially throughout the chorus.

One Hundred Ways is a timeless masterpiece. Ingram’s vocal is extraordinary and leaves a lasting impact.

Velas calms the senses for this serene tune takes you on a thoroughly enjoyable musical journey. While it could be argued that it could have been a stronger song, it does set up the album well for the closing burst of energy that is Turn On The Action.

Turn On The Action is the quintessential closer as it brings our attention to the Funk elements that are at the core of The Dude. In doing so, it will remind you of the mastery heard and compels you to listen to the album again.

There is little doubt that The Dude is a testament to the exceptional talent and musical genius of Quincy Jones. With its interweaving styles, impeccable craftsmanship, and infectious grooves, The Dude remains not only a landmark release for Jones but is one of the greatest albums released in 1981.

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