Benny Andersson – Piano (Album Review)

Provided it’s played by a virtuoso, the Piano is one of the most beautiful acoustic instruments to ever grace humanity. As far as virtuosos go, it’s fair to say that Benny Andersson fits that description for his musical prowess is legendary.

While Andersson is clearly the focus here, Piano delivers a collection of songs that were not only written by Andersson but penned in collaboration with other exceptional tunesmiths. From ABBA to Benny Anderssons Orkester to Chess, Piano is a life’s work, reworked for the piano, and it is nothing short of spectacular. 

More often than not, however, music is appreciated in the background to numerous other aspects of our lives, but if you have the opportunity to sit and listen, this album will not only captivate you but will likely bring you to tears.

I Let The Music Speak is beautiful and while I love the original from ABBA’s The Visitors, this rendition is incredible. 

You And I takes you on a magical ride whereby if you let it, the music will elevate your soul and take you to that very special place within your consciousness that only you know about. Music like this is the epitome of subjectivity and it’s thoroughly relaxing. Without a doubt, it’s one of the best interpretations on Piano. 

Aldrig is a lovely song, but I feel it’s positioned badly as it’s musically different to You And I and Thank You For The Music, thereby creating a less than cohesive album experience. 

Thank You For The Music is legendary, but this recording sounds as though it could have been played in any piano bar. It doesn’t mar the album, but one can’t help but wonder if a slightly more stylised interpretation wouldn’t have yielded a better result. The accompanying music video, however, appeals to me as it showcases not only Andersson performing the song but takes us on a visual history of Andersson’s creative endeavours.

Stockholm By Night is breathtakingly beautiful.

Chess is a modern-day masterpiece. Amazing!

The Day Before You Came is performed flawlessly. The soundstage is immersive as the piano fills your space, captivating you from the very first note, in a musical presentation that has to be heard to be believed.  

Someone Else’s Story is another beautiful selection from Chess.

Midnattsdans is a lovely interpretation from BAO!, the second album from Benny Anderssons Orkester. 

Målarskolan is a little more upbeat when compared to the rest of the songs featured on Piano, but it works flawlessly within the album structure.

I Wonder (Departure) is magnificent! I’d even go as far as suggesting that this rendition greatly improves on the gem that was already present on ABBA’s The Album. 

Embassy Lament is enjoyable but isn’t to the same standard as the rest of the songs on Piano.

Anthem is such a delicate composition that it never ceases to amaze. 

My Love, My Life is one of my all-time favourite ABBA songs and this rendition only enhances my feelings about this song. Spectacular!

Mountain Duet is quite an interesting composition. It sounds fully developed, yet it also feels incomplete. I know that makes no sense, but there are multiple ways one could appreciate this song and despite having heard it many times, I’m not really sure how, or if, I connect with Mountain Duet. 

Flickornas Rum is a great tune that I thoroughly enjoy. 

Efter Regnet has me closing my eyes as I picture Andersson playing a private performance for me, and only me. The recording is so transparent, however, that you too will experience that feeling. 

Tröstevisa is an absolutely beautiful song.

En Skrift I Snön is tranquilly exquisite.

Happy New Year was a lovely song when released by ABBA on Super Trouper, but I much prefer this rendition to the original. 

I Gott Bevar is a perfect song to close the album on as it encourages me to listen again. 

Overall, Piano is one of the greatest pieces of music Andersson has ever released and it deserves a place in everyone’s collection.

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Barry Gibb – In The Now (Album Review)

While many individuals who reach their seventh decade are content with tending their gardens, musicians such as Barry Gibb are proving that age is not a limiting factor in the creation of their art. While some commentators may be critical of musicians continuing past their prime, I welcome it with open arms. Yes, there are some exceptions and there will always be a selection of artists who should have stayed in retirement, but Barry Gibb is not one of them.

In The Now is the second solo album by Barry Gibb, although written and recorded with his sons Stephen and Ashley, I had honestly thought he had released more albums, under his own name, but his last album and solo debut was released in 1984. That album was Now Voyager.

I can’t help but wonder if my confusion, relating to his solo releases, was due to the incredible Bee Gees compilation Mythology that highlights the most notable works of each Gibb brother. With 81 songs, and a playtime exceeding 5 hours, it is one of the most extensive compilations ever released. While In The Now is uniquely independent, I also find it eerily reminiscent of the Bee Gees but I had no idea that Gibb was writing and recording again. Yet, upon a visit to my local record store in 2016, I saw the album quickly rising in the charts. As a life-long fan of the Bee Gees I, of course, had to check it out. 

While the vinyl aficionado within desired picking up that release, it was three times the cost of the CD counterpart. This price variance is further exacerbated when you consider that the Deluxe Edition CD includes three extra tracks; a value-added proposition for this fan. 

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The Deluxe Edition CD comes in a standard jewel case and includes a full-featured liner notes booklet. However, the lyrics for the bonus tracks are omitted; a disappointing omission for those of you interested in perusing the lyrics while listening to the music. Interestingly, the liner note credits for these additional tracks are included behind the CD storage shell, rather than in the master booklet. This has most likely been done as a cost-saving measure and while it isn’t a major issue, I would like to see more effort put into releases that are considered to be Deluxe. With that in mind, a redesigned booklet, and digipak presentation, would have made this collector very happy.

Another interesting omission, in the liner notes booklet, is the lack of photographs with Gibb and his sons Stephen and Ashley. Both his sons were instrumental in the writing of the album and it seems to be a missed opportunity to celebrate their contribution. Of course, perhaps this exclusion was to avoid obvious comparisons between this work and that of the legendary Bee Gees trio. 

That all said, if we consider the recording, mix, and mastering quality, In The Now is nothing short of exceptional. When comparing the CD to the lossless 24-bit/44.1 kHz ALAC Apple Music edition, both are tonally and dynamically identical to my ears. However, it is important to note that the three bonus tracks are not available to stream, thereby ensuring that the CD release is essential for any Gibb fan. 

In The Now immediately shows that Gibb still has, arguably, the most identifiable vocal in the world. The composition is pop-driven and predictable, but in a good way as it allows Gibb to be at the forefront of the music. It’s a stellar song to commence the album on. I love it!

Grand Illusion is a little edgier with a rock rhythm that’s addictive. I absolutely love the beat and guitar riff in this song and while it may remind me of the Bee Gees, particularly with regards to the interweaving backing vocals, it’s fresh and compelling.

Star Crossed Lovers slows the album down a little with a ballad style but I’m not convinced that this song was a good selection for Gibb as I much prefer his faster tempo tunes. Of course, my subjective point of view doesn’t change the fact that Star Crossed Lovers is a lovely song and many people will thoroughly enjoy it.

Blowin’ A Fuse picks up the pace with an erratic intro that continues throughout the entire song. Despite the unpredictable tempo, it will get you toe-tapping and head-bopping. Although, I would have preferred to have had this song positioned before Star Crossed Lovers as it would have helped with flow. Additionally, the electric guitar solo, about two-thirds of the way through the song, is excellent and a welcome surprise after the song pretends to end prematurely as it makes you sit up and listen.

Home Truth Song is a modern country-pop styled song that works extremely well with Gibb’s vocal style. It will remind you a little of Bruce Springsteen, although, I can’t imagine anyone else singing this song.

Meaning Of The Word is beautifully mellow. Gibb’s vocals are so delicate in this song and I love the tailing off of notes as his vocal almost breaks up, but remains in key. It is simply amazing to hear such a delicate vocal delivery.

Cross To Bear is a lovely composition. I love the acoustic guitar elements, the choral delivery, and the overall twang of the song.

Shadows has a tonality that reminds me fondly of the style used throughout much of Julian Lennon’s Photograph Smile. Simply beautiful!

Amy In Colour is a song that I adore. The verse is so reserved in comparison to the increased tempo, that builds with the chorus, that it creates an interesting dichotomy.  

The Long Goodbye highlights Gibb’s unique vocal style and prowess. I’m continually amazed at how he can maintain such a varied singing voice, especially when you factor in his low-pitched speaking voice. A master vocalist if there ever was one. 

Diamonds is incredibly dynamic with a soundstage that is so immersive that you’ll swear you were in the studio when it was recorded. Incredible!

I do wish that the album had been re-tracked, rather than simply adding the bonus tracks to the end of the album because I believe that End Of The Rainbow is the perfect song to close this album on. End Of The Rainbow is also dedicated to Robin, Maurice, and Andy thereby making it even more symbolic. That shouldn’t take anything away from the additional tracks, as they are exceptional, but it does change the feeling of the album, especially when the first additional track, Grey Ghost, is quite a musical shift from End Of The Rainbow. Grey Ghost has an oriental influence that is lovely in its own right, although it isn’t the strongest song in Gibb’s collection and it causes the album flow to become disjointed.

Daddy’s Little Girl, by comparison, is simply gorgeous and should have been included on the standard release of the album. It features some exquisite guitar work and Gibb’s vocal will touch your soul.

Soldier’s Son is epic! The beat, the tonality of the vocal, the instrumentation, the guitar work, simply everything just fits into place perfectly. While Soldier’s Son becomes a fitting end to the Deluxe Edition, I would have, nevertheless, still preferred End Of The Rainbow to be the closing song.

Overall, it doesn’t matter which edition of In The Now you decide to listen to. Yes, the bonus tracks are worthy of inclusion but the core album is a piece of musical art that will appeal to fans of Gibb and the Bee Gees alike. While reminiscent of the Bee Gees it’s also uniquely a Barry Gibb album and should be listened to with reflection rather than comparison. 

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The xx – I See You (Album Review)

The more music we listen to, the more we refine our likes and dislikes. Yet, there is no guarantee as to which emotion we’ll feel for that is equally elusive; a somewhat puzzling conundrum I explored in Music Isn’t Always The Universal Harmoniser. Hence, when I came across The xx, a band that I had completely ignored until their 2017 release I See You, I was left in a state of emotional flux for I was intrigued, but as I sampled I See You, I simultaneously felt as though something was missing. 

It turns out that there wasn’t anything missing in the music, but by listening to I See You on a relaxing Sunday drive, everything fell into place and allowed me to connect with the music in a manner that I was incapable of via any other method. It was such a revelation that I couldn’t help but wonder if other albums, that I had dismissed, wouldn’t have appealed more to me in different listening situations. 

While I acknowledge that The xx isn’t your typical driving music, escaping from my familiar surroundings ensured that my mind was ready to accept a new musical experience, one that allowed the music to intertwine with my outdoor surroundings thereby permitting a greater sense of connection, realism, and appreciation for I See You and The xx. 

The real lesson here is, of course, there is no perfect way to listen to music.

Dangerous sets the tone of the album with a horn introduction that is pure perfection. The bass beat throughout, while predictable, is pleasing to the ears and has more than enough depth to captivate your senses.

Say Something Loving has a unique vocal introduction that is well-suited to the track and as the song progresses the vocal tonality and variance in the beat is superb. It’s an exceptional song, but I would be lying if I didn’t say that it could be more dynamic as the soundstage is a little too shallow and subsequently fails to completely absorb the listener in the music.

Lips launches with a glorious vocal interlude, reminding me why, more often than not, I consider vocals to be akin to a musical instrument. Lips has a perfect harmonic presentation and is thoroughly engaging. If you only listen to one song from I See You, make it this one!

A Violent Noise slowly builds to a sonic masterpiece. It pulls you in, captivates your soul, and is nothing short of spectacular!

Performance is a lovely ballad-styled song that presents Romy Croft’s vocals so clearly and forward in the soundstage that one would believe she is present in the room with you. It's a performance, no pun intended, that has to be heard to be believed.

Replica follows the ballad pace of Performance beautifully and is equally compelling. Simply Magnificent!

Brave For You is perfectly tracked and isn’t merely there to provide filler for the album as it, along with the previous two songs, are amongst some of the best compositions on the album. The bass tracking throughout Brave For You has an incredible timbre, amazing me every time I hear it.

I simply love On Hold.

I Dare You has a fantastic rhythm that would make a perfect addition to any road trip playlist.

Test Me, while not as upbeat as the rest of the music, is a lovely song to close the album with.

While it may have taken listening to The xx’s I See You in the background, on a Sunday drive, for me to fully appreciate their musicality, I See You is a sonic masterpiece that has become a valued addition to my music library.

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Alter Bridge – Fortress (Album Review)

Released in 2013, Fortress may not have broken new ground as Alter Bridge were already on a roll following Blackbird and III, but if it ain’t broke, don’t fix it. After all, AC/DC has been applying the same formula for decades and fans adore it, for a little more refinement is often better than a complete shift in style.

Speaking of style, one of the most compelling aspects of picking up the vinyl record, if you can find a copy, is the artwork and gatefold design. It is elegant with a touch of simplicity that works extraordinarily well when sitting and holding the album; an aspect that is sadly missing from the streaming counterpart. 

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While the Apple Music stream may lack the tactility of the vinyl record, the lossless 24-bit 44.1 kHz ALAC stream is impressive with a clear separation between all musicians and elemental aspects while maintaining a solid low end; a feat that I’ve often been disappointed with on various streamed albums within this genre. In the past, it was as though, the fullness of sound suffered as a result of the compression applied and thankfully this is no longer the case as streaming services are increasing their quality across the board. 

While Ted Jensen did an admirable job on the vinyl record, and it still has greater dynamics, the Apple Music stream has a more rocking feel to it. You know, the kind where you feel compelled to get out your air guitar and rock out with the band. It also, arguably, has greater detail and a clearer vocal presentation than the vinyl record which sounds, by comparison, a little concealed. 

One may point to the addition of the vinyl warmth that many of us know and love and while that is naturally lacking from the digital stream, I increasingly find that as soon as music is delivered in 24-bit, rather than the CD-based 16-bit format, that the fullness and warmth transfer to the digital file. Not as much as via the vinyl record, of course, but it tends to sound more realistic and less treble focused. 

The bottom line on sound quality is this: If you love vinyl, you’re going to love the vinyl release of Fortress for it hits all the right notes, but if you’re focused on streaming, then rest assured that the Apple Music lossless stream is spectacular. 

Cry Of Achilles opens the album beautifully with an acoustic element that I feel works extraordinarily well. Although, it is a little too compressed for the cymbals have that crunchy sound that is detracting from the song; a shame, but given it is present on the vinyl release as well as the streaming alternative, you can almost guarantee that it was created in the studio with either poor microphone placement or a bad mix. Nevertheless, if you can get past that aspect, you’ll likely find something to like about Cry Of Achilles and for me, it is the guitar solo and the final minute of the song which I feel takes on a life of its own. 

Addicted To Pain is, where I believe, Fortress really begins. Its rapid and rhythmically fired vocal and musical aspects ensure this lead single would be a stadium pleaser if for no other reason than its killer guitar solo.

Bleed It Dry has a chorus style that I don’t dislike, but I find it challenging to listen to at times. Something about it doesn’t gel with my internal rhythm, but you may love it. 

Lover is my favourite song on Fortress. If I were the band, or their record label, I would have most certainly released Lover as a single.

The Uninvited kicks things up a notch, following the more melodic Lover, but despite a promising opening, I find The Uninvited is lacking a cohesive focus. 

Peace Is Broken is another song, not unlike lover, that I feel should have received greater attention than it did. A gorgeous song that needs to be turned up to 11 as you rock out with your air guitar. One of Alter Bridge’s finest songs! 

Calm The Fire is a dynamically shifting song that can take a few listens before connecting with your soul. Once a connection is made, however, the song can be thoroughly appreciated. Although, I do wish that the soundstage was significantly wider and it would have been nice to have heard Calm The Fire with a mix that focused more on the lead and backing vocal aspects of the song as I feel they get lost in the mix; a problem that results in a wall of sound but not necessarily a memorable song. 

Waters Rising switches vocalists with lead and rhythm guitarist, Mark Tremonti, taking the reins while Myles Kennedy delivers strongly on backing vocals. While one may be concerned as to the flow of the album, it need not be an issue because Tremonti does a phenomenal job and while Kennedy could have belted out this tune, I’m glad the microphone was passed because it showcases a different approach and launched my interest in Tremonti’s other band, Tremonti. Plus, it’s one of Alter Bridge’s greatest tunes with some killer guitar work.

Farther Than The Sun is rather mundane until that mid-shift guitar solo enters the mix. I hope you’ve got your air guitar with you! 

Cry A River has a solid lyrical hook, with a heavy-hitting musical accompaniment, but Cry A River was never going to be a stadium filler. A solid B-side, yes, but far from a defining song. 

All Ends Well is a gorgeous vocal-focused ballad with a country style and a killer chorus. What’s not to like?

Fortress as the title track, and album closer, is utterly spectacular. As with all closing songs, you should be left wanting more and Fortress certainly achieves this goal ensuring that I’ll spin the album again and stay within Alter Bridge’s catalogue for the rest of the day.

Fortress was amongst the best hard rock albums of 2013, joining the ranks of Avenged Sevenfold’s Hail To The King, AFI’s Burials, and Rob Zombie’s Venomous Rat Regeneration Vendor, but despite being a stellar release, and valued addition to Alter Bridge’s catalogue, Fortress simply isn’t as strong, or cohesive, as III is from my perspective. 

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Sepultura – Machine Messiah (Album Review)

Music discovery is like love, it’s a wonderful thing!

Hold on a second there Mark, are you really quoting Michael Bolton in a Sepultura review?

Well, dear readers, I had to come up with something as the truth of the matter is I know next to nothing about Sepultura. Sure, I’ve heard of the band. Even listened to the odd song on various playlists, but Sepultura never made it into my collection; until now, that is! As Machine Messiah is their fourteenth studio album, I thought I better sit up and take notice. Plus, that artwork is extraordinary. While I’m obviously pro-Apple Music, artwork like this is one of the reasons why I still enjoy collecting vinyl.

So, will this album have what it takes to ensure I become a Sepultura fan? 

If the album, and band, can be represented by the title track Machine Messiah, then I can unequivocally say yes. Machine Messiah is a sonic wonderland with a slow burn towards the chorus. I love it! The guitar work is exquisite and the first thing I notice is that the recording and mastering are not overly compressed. There is plenty of depth in the soundstage and everything is in its place, putting many other heavy metal albums to shame. 

I Am The Enemy is pure thrash metal. It’s hard-hitting and doesn’t let up. While I miss the more melodic Machine Messiah, I am thoroughly enjoying the energy of this track. It takes a very special vocalist to sing like this and Derrick Green has a massive amount of talent that I would liken to Corey Taylor’s vocal range and shifting capabilities. 

Phantom Self is bound to damage my hearing as I can’t help but turn the volume up. Is it worth it? Ask me when I get to 70! I like to feel the music, not just hear it. While I may regret that later on, as I’m sure many people do, songs like Phantom Self reach the soul in a way that is simply not possible without excessive volume levels. The oriental characteristics throughout initially sound a little disjointed but make perfect sense when you hear the epic duel that takes place during the guitar solo. 

Alethea thankfully slows the pace, of the album, to allow the soul to recover from the onslaught that was Phantom Self. That said, while I enjoy the tempo of the instrumental backing, I find that the vocals don’t fit the song well. To me, it sounds as though the vocal track has been unnaturally slowed down. 

Iceberg Dances is a purely instrumental track and I love it!

Sworn Oath made the hairs on the back of my neck stand up when it started. In an interesting dichotomy, it has a demonic, yet not evil, sound. I can’t put my finger on the contrasting factor, but Sworn Oath is thoroughly enjoyable and the vocal delivery is masterful. Actually, one element that I feel is important to note, on the entire album, is how clear Green’s guttural vocals are. With this style of music, vocals can become incomprehensible, but this certainly isn’t the case with Machine Messiah.  

Resistant Parasites has some killer bass notes. I love the sound of the bass guitar and while I acknowledge that everyone wants a guitar solo, I also love it when the bass guitar is featured prominently in a recording.

Silent Violence isn’t a bad song, but I’m not connecting with the beat as much as I would like and I find myself listening, instead of being enveloped in the music.

Vandals Nest has a killer guitar intro that immediately reminds me of Metallica’s thrash days. There is so much going on in this song that you simply don’t have an opportunity to rest. Believe it or not, this is a good thing!

Cyber God is an interesting song as it reminds me of Avenged Sevenfold, yet it is completely unique. The guitar work and drum beat are simply exquisite and world-class. Green’s vocal style is also amazing as he shifts tone and pitch seamlessly throughout the song. 

Chosen Skin is a skull shattering song that has a rhythm and attitude that invokes movement in the listener. When I listen to a song like this, I am continually amazed at how music is captured. It is pure magic and while I know the fundamentals of how it is done, it never ceases to impress me.  

Ultraseven No Uta is a song that should have been excluded from the album. That said, this is a bonus track that, along with Chosen Skin, is not included on all formats. Ultraseven No Uta is awful and sounds like a pop song with rock and roll distortion added. What was Sepultura thinking? 

While Ultraseven No Uta doesn’t encourage me to listen to the album again, the sonic perfection and musicality of Machine Messiah mean that I will be adding Machine Messiah to my collection; sans Ultraseven No Uta, of course!

As regular readers would note, I don’t listen to music for its literal interpretation. When seeking out this information, I find comfort in hearing an explanation directly from the artist for my interpretive meaning is likely to be entirely different to the original intent of the song. Therefore, the following videos by Sepultura give us further insight into the writing and recording of the songs that make up the exceptional Machine Messiah.  

Without a doubt, Machine Messiah is one of the best metal albums I have heard in recent years. While it has become a welcome addition to my streaming library, I still long for a vinyl copy but I’m not sure which one to choose from as there are a few interesting variations, including an incredible picture disc version. 

Yes, I’m still jaded by Iron Maiden’s Seventh Son Of A Seventh Son picture disc, and I acknowledge the limitations of the picture disc format, but I also have several picture discs that play extremely well; Rob Zombie’s being amongst the best. The problem is knowing if Sepultura’s Machine Messiah will be one of them.

Nevertheless, the Apple Music lossless stream (24-bit / 48 kHz ALAC) is nothing short of an unforgettable sonic experience and will, certainly for the foreseeable future, be my go-to edition. 

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Diana Krall – Wallflower: The Complete Sessions (Album Review On CD & Apple Music)

Diana Krall is synonymous with jazz, but on Wallflower she takes that elegantly smooth, but rustic, voice and applies it to some of the most iconic Classic Rock and Pop songs in music history. The renditions are absolutely beautiful and rival those of the original performers and in some cases surpass the originals; a bold statement, yes, but one worthy of such acclaim.

On this, Krall’s twelfth studio release, Krall teams up with Producer extraordinaire; David Foster. While Foster’s work is well-known, I dare say that there isn’t a better producer for this style of album as Foster’s usual style matches the aim Krall had in recording these series of songs. The result is an album that is spectacular from start to finish. 

Covers are an interesting musical endeavour for many are mediocre, some are just bad, while others such as those included here, for the most part, exceed all expectations. Thankfully, Krall manages to apply her unique style, while remaining true to the originals that are so loved, and appreciated, by millions of listeners throughout the world. It is always difficult to listen to songs that have been re-interpreted when you know the original so well, but this album is not one to fear.

For several years, I turned to streaming to listen to this collection of songs as I was torn regarding which edition I was interested in adding to my music library. On one hand, the Vinyl-based twelve-song collection, closing on Don’t Dream It’s Over is tight, but The Complete Sessions CD gives us more of the good stuff that makes Wallflower so compelling. Subsequently, if money was no object, I would own both, but I decided to go for the CD release as it contains everything from the Wallflower recording sessions along with two live performances. 

Of course, and it has to be said, Krall’s music is generally recorded, mixed, and mastered so well that the digital counterpart is full and enveloping with a natural warmth that doesn’t require an analogue medium to sound good. That said, while one would expect that the Apple Music stream, an Apple Digital Master, would sound inferior to the CD, I didn’t find that to be the case. The CD is most certainly more open, with a little more reach in the treble range, but the streaming counterpart is smoother and more developed in the low end of the musical spectrum. As to which you prefer, that is up to you, but regardless of how you choose to enjoy this album, you’re bound to be captivated by the sonic presentation.

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While I’m pleased with my decision, and the CD is sonically beautiful with full liner notes, sans lyrics, I still desire the vinyl counterpart. One caveat regarding the CD liner notes, however, is that the text is so small it is barely legible. Of course, in my fourth decade upon this earth, my eyesight is starting to get a little less reliable than it used to be, but I’m sure those of you with perfect vision would have a similarly difficult time perusing the liner notes without shifting the booklet back and forth to find an ultimate focal point. If you take a look at the rear artwork, in the images above, you’ll have an idea of the problem and the liner notes text is even smaller. Nevertheless, it is all about the music, so let’s take a look at the songs, shall we? 

California Dreamin’ is a beautiful song and Krall interprets it stunningly well. 

Desperado showcases that where the Eagles’ original is a little rough around the edges, it need not be, for Krall smooths out the harshness and allows me to experience Desperado as I’ve always imagined it should be sung. That said, as I commented on Neil Diamond’s rendition, these interpretations are complementary to the original recording and perhaps it is just me, but I think that is the way that all covers should be approached.

Superstar is magnificent and while it is amongst my favourite songs that have ever been written and recorded, Krall takes it to another level entirely. 

Alone Again (Naturally) [Duet With Michael Bublé] is a great duet and a magnificent song.

Wallflower [Feat. Blake Mills] is incredible and is not only worthy of Krall’s interpretation but is the perfect title track. 

If I Take You Home Tonight was written, but never recorded, by Paul McCartney and is one of the greatest songs I’ve ever had the pleasure of hearing. Yes, McCartney is a songwriting prodigy, but with Krall’s vocal talent, this song becomes an absolute masterpiece. 

I Can’t Tell You Why is an Eagles’ classic, and interpreted magnificently well, but it is missing Timothy B. Schmit and subsequently isn’t as stunning as the original. 

Sorry Seems To Be The Hardest Word is an Elton John masterpiece and while Krall may not have the vocal attack that John does, she reinterprets this classic song so well that I honestly don’t know which version I prefer, for they are both exceptional. Again, as is the case throughout this album, Krall has handled the songs she’s chosen to cover with such delicacy and respect that little-to-no criticism is required.

Operator (That’s Not The Way It Feels) was an odd choice to follow Sorry Seems To Be The Hardest Word as I feel it is too much of a shift in tempo and style, thereby causing a jolt to the aforementioned relaxed musical experience. On its own, however, it isn’t a song that I’d search out and is at best, from my perspective, a B-side. 

I’m Not In Love is delightful. 

Feels Like Home [Duet With Bryan Adams] is a lovely song and the duet with Bryan Adams is the perfect vocal accompaniment to Krall’s as their styles and delivery are complementary to each other; so much so that I would love to hear them record an entire album together. 

Don’t Dream It’s Over closes the standard release perfectly, but Krall’s interpretation isn’t nearly as good as the Crowded House original. Don’t get me wrong, it’s lovely, but some songs should never be covered; this is one of them!

BONUS TRACKS

In My Life is a Beatles’ classic and while this interpretation is more vocal-focused, Krall performs it masterfully well. 

Yeh Yeh [Feat. Georgie Fame] picks up the pace and depending on how you like to listen to your music, it may be a shock to the system or a perfect switch. Either way, one has to wonder just how much thought is put into the tracking of bonus tracks. Yeh Yeh also lacks the spit and polish that I normally associate with Krall’s music. Look, it’s a fun little tune but you’re unlikely to seek it out or feel compelled to play it on repeat. 

Sorry Seems To Be The Hardest Word [Live] is a gorgeous live recording. It is recordings like this that encourage me to experience live performances again; if only they would all be of similar quality. Yes, dear reader, I acknowledge that many of the live recordings are modified in the studio before release, to fix any shortcomings, but whether that is the case in the live recordings heard here, I don’t know. Nevertheless, this is one magical performance. 

Wallflower [Live] is a lovely recording, but it is too similar to the studio recording; an interpretation that I prefer over this live performance. 

A Case Of You is uneventful with regard to impressing this music-lover. Yes, the song is lovely, as is Krall’s interpretation, but it isn’t memorable. 

If You Could Read My Mind [Duet With Sarah McLachlan] is a gorgeous song and duet. McLachlan has a gorgeous vocal tone that complements Krall’s perfectly. This most certainly should have been on the original core album, perhaps replacing Operator (That’s Not The Way It Feels). 

Everybody’s Talkin’ [Duet With Vince Gill] isn’t a bad song, but I’m not sure that I enjoy Krall’s version as the maracas and distortion is a little distracting. Plus, I think Vince Gill was the wrong choice here as everything just sounds off. If this were a demo, I could understand it, but as a finished piece of audible art, I don’t feel it works too well. 

Heart Of Gold is a Neil Young masterpiece and in a similar vein to Don’t Dream It’s Over, it should never be covered for Young broke the mould when he recorded this song. That said, this rendition is lovely and is worthy of inclusion here, closing out The Complete Sessions nicely, thereby encouraging me to play the album again. 

Overall, Krall has delivered an album that not only brings her musical direction to a mainstream audience but showcases how very talented she is as a musician. While some of the bonus tracks failed to live up to the core ethos of the album, none are outright bad and therefore Wallflower: The Complete Sessions makes for a thoroughly enjoyable listening experience. 

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Elvis Presley With The Royal Philharmonic Orchestra – If I Can Dream (Album Review On CD & Apple Music)

It never ceases to amaze me just how many different ways the music industry can repackage the music we know and love. While I was underwhelmed by the Carpenters With The Royal Philharmonic Orchestra release, I was blown away by the Elvis Presley album, If I Can Dream. 

The song selection is superb, but I do question if Burning Love was the best song to get the Philharmonic treatment and open the album with. Of course, that is only one song, and the rest of the album is beyond reproach with a very tasteful orchestral inclusion to a modest selection of Presley’s timeless classics. 

Of course, this 2015 compilation wouldn’t be the only release to merge classical influences with the rock and roll legend, but to be completely honest, the 2016 followup, The Wonder Of You, isn’t as spectacular as this initial release and feels as if it was only released to capitalise on the success of If You Can Dream. Of course, the Helene Fischer duet on The Wonder Of You is, to say the least, compelling as she has a divine voice. Never say never, dear reader, for one day you may just see a review of The Wonder Of You pop up on Subjective Sounds; just don’t hold your breath for a review of Christmas With Elvis And The Royal Philharmonic Orchestra.

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The release of If I Can Dream that I’m fortunate to own is the standard 14-track CD release. Sonically, it’s beautiful and that is of course, in part, due to the masterful arrangements and mixing that ensures Elvis has never sounded better. The mastering is beyond reproach and showcases just how good Compact Discs can sound, thanks in part to Vic Anesini at Battery Studios in New York. Of course, as with all standard releases, there is also a Deluxe Edition that I’ve lusted over for some time, but I have to remind myself that I am thoroughly happy with the track selection that is featured on the standard CD release and while I may be missing out on Anything That’s Part Of You, What Now My Love, and Heartbreak Hotel, I much prefer the artwork on the standard release as it is less pompous than the Deluxe Edition. Although, and this may be confusing, the Apple Music edition uses the alternative artwork even though the additional tracks are not present. Speaking of the Apple Music edition, it too is stunning and is delivered as an Apple Digital Master thereby ensuring that no matter how you choose to enjoy this album, you’ll have the best experience possible. 

The obvious advantage, however, over the streaming counterpart is the extensive liner notes that not only pay homage to the era but give fans an insight, via Priscilla Presley, into Elvis’ mindset following his recording sessions whereby he longed for a fuller sound, one that can really only be achieved with the assistance of an orchestra. I can’t argue with that opinion, for I too would appreciate a fuller sound when listening to some of the legacy Elvis recordings. Thankfully, the songs on If I Can Dream give music-lovers an insight into what could have been and I’ve no doubt that if you take the time to listen that you’ll hear these classics as you’ve never heard them before; falling in love with them all over again.

Just a final comment on the liner notes, I can’t begin to express just how appreciative I am to the team behind this release. They have gone above and beyond, nothing has been missed, and it is a pleasure to sit, flick between the pages, and enjoy as I sit back and listen to this masterpiece. I’d like to say this is common, but I have so many CD releases that seem as though they’ve just been thrown together on a whim, with no real thought or care put in place, especially in the modern era where streaming is now dominant. Subsequently, it is refreshing to see that some still go that extra step to ensure fans are rewarded with albums that can really be wonderful experiences that extend beyond the sonic pleasures of the release. 

Burning Love is a great song, but I’m a little conflicted about the decision to use it as the opener as the other songs included on this compilation release are a little less rock and roll. That isn’t to say that Burning Love doesn’t work with an orchestra approach, or that I dislike the song, nothing could be further from the truth. It simply means that out of all the songs selected, I feel this is the least appealing, but I can understand why it was chosen. Regardless of my subjective thoughts, fans will likely be in awe and will thoroughly enjoy this rendition. 

It’s Now Or Never is a lovely song and sets the tone and overall tempo for the rest of the album. 

Love Me Tender is one of the most beautiful songs ever written and recorded and while the original is beyond reproach, this melding of styles takes the song to a completely new level. One that will allow you to experience it as if it were the first time all over again. Songs like this are the very reason why I love music as much as I do. 

Fever (feat. Michael Bublé) is a great song and while I was initially skeptical of Bublé’s inclusion, it works incredibly well. However, if there is one element that doesn’t sit well with me, it is the vocal tracking. There is a difference between the Presley and Bublé vocal tracks, resulting in a little echo, most likely due to the tracks being recorded in two different studios, at two different time periods. You don’t notice it when listening to the songs with Presley on his own, but it is a minor irritation in this song. Not that it deters me from enjoying it, for I love it, but this slight variation is especially apparent when listening via headphones, so music lovers who are sensitive to such small deviations may be best advised to listen to the album via speakers. 

Bridge Over Troubled Water is an absolute classic and while I love the Simon & Garfunkel original, Presley’s rendition has always been incredible, one of the very best ever recorded, and this orchestral rendition takes the song to another level of listening pleasure. Truth-be-told, I’ve never heard a bad interpretation of this masterpiece, but I do have a soft spot for this version and I suggest you turn the volume up, sit back with a glass of wine, and enjoy. It’s absolutely spectacular!

And The Grass Won’t Pay No Mind is a song where you can really hear Neil Diamond. Arguably, I feel the Neil Diamond original is the better version and as I think about it, I can’t help but wonder just how incredible Diamond’s entire catalogue would be with an orchestral mix. Nevertheless, this is a lovely rendition and a perfect addition to the album. 

You’ve Lost That Lovin’ Feeling is another absolute classic and while I enjoy Presley’s interpretation, I feel the mix with the original recording and the orchestral backing is a little rough in places, especially in the backing vocal elements that I feel detract from the orchestral element as they are simply too prominent in the mix.

There’s Always Me is one of the songs on the album that I’m not overly familiar with. Yes, I adore Presley’s entire catalogue, but even the most devout fan will likely be unfamiliar with a few songs here and there. Nevertheless, There’s Always Me is a lovely addition to the album and doesn’t feel out-of-place.

Can’t Help Falling In Love is another Presley classic that requires no introduction or commentary. The original is a masterpiece and this orchestral version has merely enhanced the song. Stunning!

In The Ghetto is one of my all-time favourite Elvis songs. Without a doubt, the production team behind this release really chose well, considering just how many exceptional songs Presley recorded in his life. I can only imagine the discussions surrounding the selection process. It certainly wouldn’t have been easy and perhaps that is why additional releases have been forthcoming because the mixture of Elvis and the Royal Philharmonic Orchestra is arguably a match made in heaven.

How Great Thou Art is a lovely hymn and on first listen doesn’t seem like a good song to select for this compilation, but I’m happy to say that I stand corrected for I couldn’t imagine this release without this song. 

Steamroller Blues is moody, brooding, and absolutely perfect. 

An American Trilogy is a lovely song that is enhanced beautifully with orchestral overtures. 

If I Can Dream is the perfect song to close the album on as it bookends this collection of songs nicely, ensuring that I will listen to the album again and stay within Elvis’ extensive catalogue of music. 

Overall, If I Can Dream is, truly, a dream come true for any Elvis fan. Elvis is in the room with you, as is the Royal Philharmonic Orchestra, and arguably has never sounded better. I don’t know about you, dear reader, but I couldn’t imagine a better homage to such a sensational talent. We are truly fortunate to have Elvis’ music, but we are even more fortunate to have such a respectful modernisation of some of his greatest hits. 

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