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Michael Crawford – Performs Andrew Lloyd Webber (Album Review)

Michael Crawford – Performs Andrew Lloyd Webber (Album Review)

Michael Crawford Performs Andrew Lloyd Webber was not only astonishing when first released in 1991, but it has arguably stood the test of time and I challenge you to find a more complete and concise exploration of Lloyd Webber by an artist that is Crawford’s vocal peer. I’d suggest it is impossible, but I’d be happy to be proven wrong. Yes, it would be easy to dismiss Michael Crawford following his slapstick role as Frank Spencer, but doing so would be detrimental to one’s love of music for his vocal presentation is perfectly suited to Andrew Lloyd Webber’s compositions.

The album, Michael Crawford Performs Andrew Lloyd Webber, is near impossible to pick up on CD these days and while available on streaming services, the Apple Music edition, a non-Apple Digital Master sounds flat and lifeless. Thankfully, TIDAL Hi-Fi has the CD-quality stream that sounds just the way it should. Sonically, the album is marvellous as the soundstage is wide with Crawford positioned perfectly centre and the instrument separation of the Royal Philharmonic Orchestra is consistently clear and not at all congested. If there is one criticism to be had it is that the sound signature is so clean that it can be a little clinical. I prefer a warmer tonality to my music, you may of course differ, but increasing the bass slightly addresses this issue. Either way, it is a lovely recording and one that takes full advantage of your stereo system. 

Any Dream Will Do is a lovely song to open the album with and while I’m not a major fan of Joseph and the Amazing Technicolor Dreamcoat, Crawford does a far better job than Jason Donovan ever did. Yes, their styles are somewhat different, but Any Dream Will Do most certainly appeals to vocalists with a broader classical range.

All I Ask Of You is simply stunning although I’ve always considered the opening to be too long, wishing that the vocals would have been introduced a little sooner. The duet is done with Barbara Bonney and she is nothing short of a musical gift from the gods. 

Wishing You Were Somehow Here Again is beautifully recorded and one of my favourite songs on the album. 

And The Money Kept Rolling In (And Out) is a great song but the tempo is significantly different to that of Wishing You Were Somehow Here Again and it momentarily causes a mental jolt. While I don’t feel there is a bad song to be heard on Michael Crawford Performs Andrew Lloyd Webber, I do question if this was the right song to include at this point in the sequencing for I don’t feel Crawford adequately delivers the vocal on this song as he appears not only distant in the mix but unable to reach the required notes with the authority that has been prevalent on all other songs thus far. 

Nothing Like You’ve Ever Known is simply beautiful; a pleasure to listen to and one to play on repeat.   

Tell Me On A Sunday was the perfect song to follow Nothing Like You’ve Ever Known. It’s a delicate song but one that is handled with kid gloves and perfectly suited to Crawford thereby making this song a thoroughly enjoyable listening experience. 

Gethsemane is one of my all-time favourite Andrew Lloyd Webber compositions and the only time I’ve heard it better was when John Farnham covered it in the 1992 Australian recording of Jesus Christ Superstar and that’s saying something as I feel Crawford recorded an impeccable, albeit different, interpretation to that of the Australian cast recording.

The Phantom Of The Opera is, arguably the greatest song ever written. Okay, I could say that about so many songs that I adore, but it is bold and one that demands you turn the volume up. Bonny once again joins Crawford to conduct this duet and arguably outperforms Sarah Brightman. I’d even argue that Crawford’s reinterpretation here is better than the original performance

The Music Of The Night is stunning!

Memory is another favourite song that Crawford performs well but no-one does it better than Elaine Paige. Barbra Streisand comes in a close second but she sings it in a register that is different to her regular vocal presentation and while it pays homage to the original, it doesn’t sound quite right either, thereby ensuring Paige remains unchallenged. 

Only You is a lovely song and Frances Ruffelle is a welcome addition to this duet. Although, I must admit that I’m not overly familiar with the song but feel that it is rather dated to the era in style and overall sound. That isn’t necessarily a negative viewpoint, but I’d argue that Lloyd Webber’s work is timeless. 

Other Pleasures/The First Man You Remember is lovely and is perfectly suited to Crawford’s style. Also, and I don’t know about you, dear reader, but as a duet with his daughter Lucy Crawford, it has an additional impact and I can’t help but wonder why Crawford’s daughter didn’t do more in music as she has a captivating voice that I’d love to hear more of. 

Love Changes Everything is a great closing song and is one that compels me to listen to the album again and not only stay within Crawford’s catalogue of music but further explore the various interpretations of Lloyd Webber’s masterpieces. 

Few living composers are as masterful as Andrew Lloyd Webber has been throughout his career, but even if you’re only a casual fan, you’ll likely adore this compilation as it arguably showcases his very best works. Crawford as the vocalist is ideal and while he spent four years as The Phantom and therefore masterfully sings the songs from The Phantom Of The Opera, he delivers all other interpretations with equal grace, making them his own, all the while ensuring that music-lovers will be captivated. 

Kenny G – Breathless (Album Review)

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Kenny G – Breathless (Album Review)

Despite a small, but vocal minority declaring Kenny G a sellout, especially following his sensational collaboration with Kanye West on the song Use This Gospel, from West’s JESUS IS KING album, I consider him to be one of the very best contemporary jazz musicians of our time.

Seriously, dear reader, the sellout tag for musicians needs to stop as it is akin to sour grapes and achieves absolutely nothing. I know some very talented jazz musicians, in their own right, that claim Kenny G is a sellout but I don’t recall anyone ever declaring that the stereotypical struggling jazz artist is the epitome of success. Regardless, Breathless was my introduction to jazz-styled music and I fell in love, now considering myself to be a fan of Jazz and, yes, I have Kenny G to thank for that. 

Since its release in 1992, Breathless has amassed sales of over 12 million units. I’ve purchased five of those copies over the years and streamed the album countless times. You may wonder why I purchased so many copies. Well, my mother was a fan upon the album’s release so I gifted her a copy. Then I managed to scratch the disc, by accident, that caused a little more b-bop in G-Bop, so I had to replace it. I then purchased another copy for myself so that I never ran the chance of damaging another prized possession. Oh, and I picked up the cassette release as well for I didn’t have a Discman at the time. After several years, and at the dawn of the MP3 era, I thought it was a good idea to digitise all my albums into this new technological format and sell the CD on eBay. In retrospect, that was an incredibly naive choice so a few years ago when I began building my record collection again, I picked up the CD for the fifth time and other than a misprint, I couldn’t be happier as the mastering of the CD is the same as that originally release in 1992 and shows just how exceptional the humble CD can sound. Yes, I acknowledge there are HDCD, XRCD, and SACD editions available in China and Japan but I think you’d be hard-pressed to notice a difference unless you’ve got a very expensive and very revealing system. Hence, the standard CD should be the epitome of perfection for most music lovers. I also don’t feel we need to see a vinyl re-issue of Breathless. I know the resurgence of vinyl is all the buzz at the moment, but I believe that you should buy an album in a format that best suits the music. In this case, I feel it is most certainly the compact disc. 

The Joy Of Life is a gorgeous opening song that sets the tone for the entire album. It’s upbeat and positively styled and if you haven’t already, I’d recommend you turn the volume up. While it is sensational at normal listening volumes, it really opens up and sounds amazing when the volume is raised. 

Forever In Love is simply beautiful and I’m often left speechless upon listening to it. Kenny G has taken that Soprano Saxophone to the very limit of each note, ensuring that it is one of the most memorable songs on Breathless

Forever In Love was also released as a single, but the accompanying music video is largely forgettable and ultimately sullies the song in my opinion.

In The Rain is a lovely song that flows nicely from Forever In Love but it isn’t arguably a standout track even though it adds to the overall album experience. 

Sentimental is pure magic. It is so relaxing and visual, especially if you close your eyes and allow yourself to be taken to a wondrous world where music reigns supreme. 

The music video for Sentimental is in a similar vein to that of Forever In Love where despite the attempt to tell a story, the music video ends up being superfluous to the song itself and while I acknowledge how difficult it must be to come up with a concept for an instrumental-focused musician, I would have much preferred to have seen Kenny G in a concert performance, or even in a natural setting, playing the song. 

By The Time This Night Is Over (with Peabo Bryson) is a great song and if you hear a little of Michael Bolton’s style, particularly from The One Thing era, you wouldn’t be mistaken as he co-wrote it with Diane Warren and Andy Goldmark. While Bryson sings it beautifully, even if he is drowned out a little by Kenny G’s Soprano Saxophone, I must admit that as a fan of Bolton, I’d love to hear him record a rendition with a mix more in tune with his own style. The comparison would certainly be interesting. Johnny Mathis covered By The Time This Night Is Over on his 1998 release Because You Love Me and while it is a valiant effort, it doesn’t come near the Bryson/Kenny G interpretation. 

End Of The Night is a solid song with Kenny G switching to the Tenor Saxophone, although I dare say that something is missing and it feels a little over-produced if I’m to be completely honest. 

Alone is magnificent with a gorgeous low-end that will test the bass response of your stereo system. This is one song where you should most certainly feel the reverberations throughout your body. 

Morning is simply beautiful. 

Even If My Heart Would Break (with Aaron Neville) is one of my favourite songs on the album and coincidentally was the first time that I had ever heard Aaron Neville, thereby proving that collaborations are not a bad thing for I’ve been a Neville fan ever since. 

G-Bop was a beloved song of mine in the 90s, yet as I’ve aged, while I still thoroughly enjoy G-Bop, I don’t find the same level of enjoyment as I once did. A shame, yes, but I also find it fascinating to see how my musical interests have shifted over the years and I often find myself wondering if it is a simple case of maturing or if the shift is due to the constantly expanding music styles and artists I am listening to these days. Perhaps I’ll never know, but it is interesting to ponder. 

Sister Rose sonically blows my mind. It is gorgeous and just as Kenny G did on Forever In Love, he has taken that Soprano Saxophone right to the edge of each note and masterfully held it in place. Sister Rose is also one of the best examples of sonic visualisation whereby you feel as though you’re in the studio experiencing a private performance. Sensational!

A Year Ago is a beautifully smooth song that flows perfectly from Sister Rose. 

Homeland is a lovely song. Nothing to write home about, however, but Breathless wouldn’t be the same without it. 

Natural Ride is listed as track 14, in the liner notes, for the CD release, but I honestly can’t recall the song and therefore feel that it has been omitted from the Australian edition for many years. It’s a shame, however, that this has not been amended. Checking out Natural Ride on YouTube doesn’t leave me with an incessant longing for the song. It’s adequate but arguably not spectacular and lacks cohesion with the other songs on Breathless, so in one way I’m happy for the exclusion. 

The Wedding Song is an incredible tune to close the album with. If you’ve been listening to Breathless at night, you’ll thoroughly enjoy the reduced tempo and smoothness that will relax you but if you’re listening in the day, you’ll likely find yourself playing the album again or at least staying within Kenny G’s extensive catalogue of music. 

Overall, Breathless is one album that should be in every music lover’s collection for it is relaxing, exhilarating, and ultimately timeless. 

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Eagles – Hell Freezes Over (Album Review)

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Eagles – Hell Freezes Over (Album Review)

The Eagles may have taken a 14-year vacation, but when they returned to the stage, one of their greatest releases would ensue. Predominately a live recording, for the 1994 MTV special, Hell Freezes Over also contained four new songs that nicely fill Side A of the double LP. While some may lament Hell Freezes Over not being presented as a complete album, I actually feel the EP-sized approach to the new recordings was ideal and as much as I adore the Eagles, their 2007 studio effort, Long Road Out Of Eden, was less than stellar when compared to their incredible back catalogue. Nevertheless, more Eagles is always a good thing and if you haven’t checked out Hell Freezes Over, join me as I take a look at the music, performance, and the 25th Anniversary vinyl re-issue. 

For years, Hell Freezes Over was a missing holy grail; my collection just wasn’t the same without it. Yes, I could have picked up the CD release, or the accompanying DVD, but I always felt that I wanted to own it in its purest form. I considered the K2HD CD, the XRCD CD, and the near impossible to get at a decent price, and certainly not brand new, DTS 5.1 surround sound CD. Reviews were mixed and the prices that some of these audiophile releases go for is simply too high when reviews aren’t universally glowing, although the DTS CD is generally well regarded.

If you’re specifically interested in the surround sound mix of Hell Freezes Over, check out Mike’s exceptional review below and if you haven’t already, make sure you subscribe to his YouTube channel, Life in Surround.

Nevertheless, I was eager to get hold of a copy on vinyl but it had been out of print for years and while I acknowledge that I could have gotten a secondhand copy, I prefer brand new copies as I want to make them my own and ultimately pass them down to my son. I almost purchased the massive career-perspective 2018 vinyl box set, Legacy, just to get Hell Freezes Over, but that is one of the ugliest releases I’ve ever come across; the box artwork in particular. Hence, when in 2019 Hell Freezes Over was reissued separately, with the original artwork, it immediately went on my Wishlist and I’m incredibly grateful to my family for gifting this masterpiece to me for Father’s Day. 

The quality of the vinyl re-issue has blown my mind. It is amongst the very best sounding records in my collection and is lovely to hold in the hand. The artwork is meticulous in quality and presentation. You’ll most certainly be holding this record as you listen intently. Both records are presented in high quality printed inner sleeves and rather than a gatefold, the album is a slipcover design. Yes, I love gatefolds, but the slipcase design is far easier when getting records in and out of the sleeves. I know some collectors who remove the record from the sleeve, placing the inner sleeve and record on the outside of the album cover. It certainly makes it easier to access the album in question, but I worry that it will ultimately damage the sleeve with the pressure of the other albums on the shelf. Hence, it isn’t something I do, but I can certainly see the benefit. 

The pressing itself is flawless. The records are about as silent as vinyl can be and the dynamics are full, thereby presenting a soundstage that will completely envelop you. Yes, this record was recorded, mixed, and mastered with kid gloves, but that doesn’t necessarily mean the vinyl pressing is going to be of equal quality. You’ll also get that warm analog sound that is often associated with vinyl. The bottom line is that it just sounds right.

Side A

Get Over It has a killer guitar intro and while the song is a little campy, I love it! You’ll be head-bopping and toe-tapping throughout. 

Love Will Keep Us Alive is the ballad-styled song that we’ve all come to adore from the Eagles. Timothy B. Schmit yet again proves just how masterful he is as a vocalist. I could quite happily listen to all his vocal recordings for an eternity. Yes, dear reader, I may have a man-crush for Schmit, but can you blame me. Interestingly, Love Will Keep Us Alive wasn’t written by the Eagles but the writers, Pete Vale, Jim Capaldi, and Paul Carrack, wrote a song that suited the Eagles perfectly and is, in my opinion, one of their best vocal ballads. 

The Girl From Yesterday is a lovely country-styled tune that is a welcome addition to the album but isn’t anything to write home about. 

Learn To Be Still is a thoroughly enjoyable song and the more I hear it, the more I appreciate it. It is as though there are layers of musicality that ensure that I never tire of this song.

Side B

Tequila Sunrise is the first live song on the album and Frey’s introduction is great. It’ a beautiful song that is thoroughly relaxing and this is a stunning live performance. 

Hotel California has never sounded better. I don’t know about you, dear reader, but I class this rendition to be the greatest I’ve ever heard. Because the vinyl edition is so smooth, there is absolutely no audible distortion and every musical element is present in the soundstage. I dare you to find a better live recording, by any artist. Sensational!

Wasted Time was the perfect choice to follow Hotel California as they are musically similar. It is one of my all-time favourite Eagles’ songs and while the composition of the song is very similar to the album version, that doesn’t matter for it is simply incredible. It is also Don Henley at his very best. 

Pretty Maids In A Row is a lovely song to close out Side B of this vinyl release. The backing harmonious vocal is thoroughly enjoyable and while I have a love/hate relationship with Joe Walsh’s vocal, he nails this performance. That isn’t to say that I dislike Walsh’s vocal style, just that I sometimes find it to be a little too jarring. 

Side C

I Can’t Tell You Why is an incredibly smooth tune and Schmit’s vocal delivery is simply magical, as is the musicality of this entire record. You’ll likely want to turn this song up because, again, you’ll hear absolutely no distortion as you toe-tap and head-bop rhythmically throughout the song. I Can’t Tell You Why is most certainly one of the Eagles’ greatest hits and it is also one of the best songs on Hell Freezes Over. 

New York Minute was originally a Don Henley solo effort, being first released on The End Of Innocence. It’s a great tune and works incredibly well for the Eagles, making me wonder how the song would have sounded had it been an original Eagles composition. Nevertheless, it is a welcome addition to Hell Freezes Over as it’s one of Henley’s best solo recordings. 

The Last Resort is a solid song from Hotel California but I’ve always had mixed emotions when listening to The Last Resort. Don’t get me wrong, it’s great, but something is missing. I’ve often wondered if it is simply too long, but I thoroughly enjoy the musicality. Perhaps it is Henley’s somewhat dry vocal on this particular tune that leaves me feeling a little disjointed. Either way, this performance is solid and doesn’t detract from the album but given their extensive catalogue of music, I may have selected a different song to perform on this occasion. 

Side D

Take It Easy is a little jarring, as a result of the guitar tuning, on Hell Freezes Over. Unfortunately, I have to turn the volume down to enjoy it; a shame considering just how good it is. 

In The City is bloody brilliant and is one of my all-time favourite Walsh-sung songs. 

Life In The Fast Lane will get you moving; I know I can’t sit still when listening to it, it is that good!

Desperado is beautiful and is arguably a perfect closer for Hell Freezes Over, encouraging me to listen to the album again and remain within the Eagle’s catalog of music. 

Overall, Hell Freezes Over is one of the greatest Eagles releases. I consider it my go-to album as it’s not only a live album with four new tracks but a compilation that doesn’t feature a bad song. It has a little of everything and the 25th Anniversary vinyl re-issue is nothing short of pure perfection; you won’t be disappointed. Let’s just hope that they keep this edition in print, I’m going to eventually need to get another copy as I play this album frequently. 

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