Kenny Rogers – Eyes That See In The Dark (Album Review)

Some albums are timeless, others are products of the era in which they were released, and others are simply remarkable. Kenny Rogers’ 1983 studio album, Eyes That See In The Dark, is all of the above and then some.

Showcasing a perfect blend of country and pop influences, Rogers worked with the legendary Barry Gibb, Albhy Galuten, and Karl Richardson to produce an album that is as close to Kenny Rogers meets the Bee Gees as one can get. Rogers may not have had a falsetto vocal range, but when you merge the songwriting trio of Barry, Robin & Maurice Gibb, writing the majority of songs, magic was bound to happen. The result is that Eyes That See In The Dark is one of the greatest, and one of the most underrated, albums of the 80s.

One core disappointment for the modern-day music lover, however, is that Dolly Parton’s duet with Rogers, on the song Islands In The Stream, has been omitted from every streaming and digital storefront. As the album is largely unavailable, outside of the secondhand marketplace, it’s a frustration that is largely unavoidable. From what I can ascertain, this classic tune has been excluded due to a licensing issue. The legalities of the music industry once again disrupt the ability for fans to simply enjoy the music. However, if there is a will there is a way and thankfully the song remains available via some of Dolly Parton’s career retrospective releases. As such, just for you dear reader (and myself, of course), I’ve put together a playlist to accompany this review that includes this landmark tune. Yes, it’s not the same and the purist in me will need to seek out an original unaltered copy, but if we look at the perspective of the glass being half full, then we’re incredibly fortunate to still have access to these songs.

As it pertains to the sonic quality of the available version, the lossless Apple Music stream is more than adequate. It is most likely derived from the long out-of-print CD release, but there aren’t any glaring issues to mention. It sounds like the 80s and is most certainly a Kenny Rogers album in tonality, but it’s also got the Bee Gees’ signature tunes all over it. What I’m getting at is that this album was recorded, mixed, and mastered well in the first place and the sonic presentation is perfectly suited to the music. With that in mind, join me as I take a look at the individual songs that make up this incredible release.

This Woman kicks the album off in an energetic and catchy manner. The lively tone and upbeat tempo are perfectly suited to Rogers’ smooth vocal delivery, but it’s the chorus that will captivate your music-loving soul. A simply fantastic song and a great opener!

You And I is a beautiful song and, interestingly, Barry Gibb’s vocal harmony opens the tune. It works incredibly well, but it does make you wonder if you’re listening to a Bee Gees tune or a Kenny Rogers one. That said, once Rogers gets going on the verse, his gentle melodic and emotional vocal presentation is masterful and the backing vocals throughout the chorus give listeners access to the very best of both worlds.

Buried Treasure has a country twang to it and is a perfect toe-tapper. Not only is Rogers incredible on vocals, but those backing vocals, again, are what musical dreams are made of for they don’t detract, but enhance the song; one that’s a hidden gem, or dare I say a buried treasure within Rogers’ extensive back catalogue.

Islands In The Stream (Duet With Dolly Parton) is, without doubt, the most well-known tune from the album and there’s little doubt that it’s incredible. The combination of Rogers and Parton was always pure gold and along with a touch of the Bee Gees, you’ve got not only a hit but one of the greatest songs ever recorded in all of music history. Yes, the Bee Gees’ performance from their One Night Only live album is pure perfection, but this original is perfectly suited to the album, the era, and the artistic intent, thereby making it a standout.

Living With You is a magnificent mid-tempo number and another hidden gem that not only would have been a hit had it been released as a single but is one of the best songs the Bee Gees ever wrote. A true masterpiece!

Evening Star has a gentler country-styled musical arrangement and while the opening elements may make you wonder if it isn’t just filler, this album-only tune becomes a beloved song as every time I listen to the album, I find myself thoroughly engrossed in this song without even realising it; it’s that good!

Hold Me is a lovely ballad that slowly builds and, again, it’s the combination of backing vocals, with Rogers’ incredibly delicate vocal, that enhances the song.

Midsummer Nights picks up the tempo, but as much as you’d think it would be a jolt to the senses, it isn’t as the sequencing of the entire record was masterfully done. The mix of country and soft rock elements are superb, but it’s also fair to say that Midsummer Nights is the most Bee Gees-like song on the album and if it wasn’t for the catchy melody, I’d question if this song choice was right for Rogers.

I Will Always Love You is a poignant ballad and Rogers’ tender vocal delivery ensures that while this is most certainly an album-only tune, it flows well and is perfectly suited to the record.

Eyes That See In The Dark is an incredible song to close the album on as it will encourage reflection whilst simultaneously encouraging you to play the record again. Yes, the verses may be a little pedestrian, but that chorus, as has been the case throughout much of the album, makes the song the powerhouse that it is.

In some ways, Eyes That See In The Dark could be considered a pinnacle release in Rogers’ career as it marked a very successful genre crossover into country-pop territory. Yes, Rogers had an incredible breadth of music, and sales success, pre-dating this release but it’s also fair to say that this album cemented his relevance beyond the country music scene he was most commonly associated with. That aside, Eyes That See In The Dark has a timeless quality, stellar production, and an incredible selection of songs meaning that there isn’t a bad song to be heard and it’s subsequently a release that not only highlights Rogers’ incredible vocal prowess, but is a must listen for all music lovers.

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Alabama – Mountain Music (Album Review)

Released in 1982, Mountain Music solidified Alabama's status as one of the leading forces in the country music scene during the 1980s. With a unique fusion of country and southern rock, with a touch of pop, Mountain Music marked a significant moment in the band’s career and today still stands as one of their greatest releases. 

Alabama's musicianship is on full display throughout Mountain Music, due to the band's tight instrumentation and harmonious vocals that contribute to the album's cohesiveness. Despite being out-of-print for decades, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, has been made available by Sony Music and it’s quite lovely. However, I wouldn’t call it the final word in quality as I feel there is still room for improvement. Don’t get me wrong, the stream is solid but it just doesn’t sound as impactful as I believe it could and I’d love to see it in the hands of a well-respected mastering engineer. Admittedly, I haven’t had the good fortune of hearing Mountain Music via any other format and it may well be a case whereby this was simply how the album was recorded. Nevertheless, a slight adjustment to your EQ settings may be advised for this release to bring it closer to your subjective expectations.

While the sonic presentation is sufficient, an interesting difference appears when you look at the history of the album’s releases via Discogs. You’ll note on every listed format that the album artwork is considerably different to the modern streaming counterpart as the cover art no longer displays the flag of the Confederate States of America, instead opting for the current state flag of Alabama. Further investigation into this informed this Australian writer of the symbolism that the Confederate flag represents and while I can fully understand the artwork shift, I truly believe that it should remain unaltered with a further information statement to help educate, especially those of us outside of the United States, or within historical circles, as to why the album is no longer showcasing that particular flag. I suggest this merely because I feel it is essential that we learn from the past, rather than filter, delete, and then pretend it never existed.

Nevertheless, the music has remained unscathed and music lovers, the world over, can thankfully still appreciate Mountain Music, for it is a superb record that is amongst the best albums released in 1982. 

Mountain Music is a great opener. A truly epic song. However, that spoken introduction has always been a distractive element and I would much have preferred it if they would have omitted it, as they did for the single edit, as it would have been a far stronger way to launch the album. Still, once you get past that aspect, the catchy melody, infectious energy, and perfect blend of traditional country and rock elements set the tone for the entire album.

Close Enough To Perfect slows down the tempo with this poignant ballad. Randy Owen’s vocals add depth to the narrative of love and imperfection, making it a standout track on the album and one of the loveliest songs from the era.

Words At Twenty Paces is an incredible tune. That introduction is masterful, as is Owen’s vocal delivery, and the storytelling nature of the lyrics. Add to that the lively instrumentation that adds a playful element to the album and you’ve got a tune that all music lovers will thoroughly enjoy. 

Changes Comin' On flows beautifully from Words At Twenty Paces and it’s these smooth transitions that truly make Mountain Music an album experience. Of course, it helps if the song is as masterfully performed as this one is for Changes Comin' On is a hidden gem and one of the greatest songs Alabama ever recorded. Masterpiece is a grossly overused word, even here at Subjective Sounds, but when music is this perfect, no other word quite explains the audible experience as well as masterpiece does.

Green River is a thoroughly enjoyable Creedence Clearwater Revival (CCR) cover, but let’s be honest in saying that no one can perform this song as well as CCR themselves. As solid as Jeff Cook’s vocal delivery is, he’s no John Fogerty.  

Take Me Down is a lovely country-twanged tune that will have you toe-tapping from the very first note. 

You Turn Me On is sonically magnificent. Seriously, you’ll want to turn the volume up on this softer country tune as Owen’s vocal is stunning and the musical elements are hypnotic. I do, however, feel that the song would have been best served if Alabama had omitted the spoken word lyrics as they are a little distracting and not quite Barry White-level smooth. 

Never Be One is a song that would have resonated with a broader audience, and likely been a hit, had it been released as a single. Still, as an album-only tune, it’s a beautiful piece of music; until the closing moments that is. Yes, it’s cute, adorable even, but it detracts from the song and Teddy Gentry’s incredible vocal presentation. 

Lovin' You Is Killin' Me is a mid-tempo track that combines elements of country and rock. The song's catchy chorus and relatable lyrics make it an engaging addition to the album, showcasing Alabama's ability to balance fun and sincerity.

Gonna Have A Party continues the fun aspect and is a compelling closer that will get you toe-tapping, head-bopping, and excited to play the album again. Ultimately, the song lives up to its title, with infectious enthusiasm and a lively performance from the band.

In conclusion, Alabama's 1982 album Mountain Music is a timeless classic that continues to resonate with country music enthusiasts. Its blend of country, southern rock, and heartfelt ballads, with a touch of pop, solidifies its place as one of the best country music albums in all of recorded music history. Whether you're a fan of classic country-styled music, or not, Mountain Music is a must-listen and represents the very best of Alabama's musical legacy.

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Willie Nelson – Always On My Mind (Album Review)

Released in 1982, Always On My Mind is a further testament to the enduring artistry and musical prowess of Willie Nelson. Released at a pivotal junction in Nelson's career, this album showcases his distinctive blend of country, pop, and folk influences, cementing his status as a genre-defying artist. While Always On My Mind isn’t a traditional covers album as it includes a mix of original compositions and covers, I often associate it closely with his 1978 masterpiece Stardust, as I find the two albums are somewhat interchangeable, particularly regarding their style and influences. Always On My Mind, however, isn’t quite as spectacular, but it remains one of the very best albums released in 1982. 

Yes, fans of this release may be perturbed by my suggestion that it doesn’t meet, or surpass, Stardust, but a core reason for that position is due to the fadeouts on this particular release. Rather than lengthy gradual reductions, were often met with the fadeout ending abruptly. The result is that the album’s structure loses a little of its fluidity. Other than that, Always On My Mind is beautifully recorded and while I’d argue that the song selection isn’t as strong as Stardust, this album is highly polished with arrangements and a contemporary sound that is not only tastefully done but pays homage to the originals as Nelson's distinctive vocal and expressive guitar playing take centre stage and meld perfectly with the album's rich and textured sonic landscape. 

The Hi-Res Lossless Apple Music stream, an Apple Digital Master sounds perfect in every way; other than the aforementioned issue with the fadeouts, of course. One aspect of the stream that is different to Stardust is that this album is included on Apple Music as a Dolby Atmos stream. The surround mix is intriguing for it adds a further sense of air and separation between musical elements. It’s as if you’re hearing the album for the first time, all over again, and you’ll most certainly hear things that were previously concealed in the stereo mix. 

The problem that exists, and it’s a good one to have, is that I thoroughly appreciate both the surround and stereo mixes. I will likely default to the stereo option as I don’t always have access to my Atmos-compatible system, but one thing is for certain, this is an example of Atmos being implemented respectfully to a classic album that wasn’t recorded with surround sound in mind. It’s refreshing to hear how lush the presentation is for the quality of this particular release is the exception rather than the rule as too many Atmos mixes are being rushed to market without adequate quality control checks. 

The only aspect that doesn’t align with these thoughts is the vocal echo on Do Right Woman, Do Right Man as it's further pronounced via the Atmos mix and can be particularly distracting. That said, join me, dear reader, as we explore the songs that make up Always On My Mind.

Do Right Woman, Do Right Man is a beautiful opener with soulful vocals and a country-infused arrangement, underscoring Nelson's versatility. While no one quite sings it like Aretha Franklin, Nelson has recorded a simply stunning rendition that’s a worthy peer and, in my mind, is my preferred version of this classic tune. 

Always On My Mind is the emotional centrepiece of the album. With its heartfelt lyrics and Nelson's poignant delivery, Always On My Mind isn’t only the perfect album title, but it’s one of the greatest songs Nelson has ever recorded. Yes, Elvis Presley’s is most likely the rendition most people are familiar with but as incredible as that recording is, Nelson does it better.

A Whiter Shade Of Pale further demonstrates Nelson's eclectic musical influences and his ability to make a song his own. Nelson puts his spin on this Procol Harum classic and the result is astonishingly good as he transforms the tune from its core psychedelic rock styling into an idyllic country-tinged ballad. The inclusion of Waylon Jennings offers a lovely contrast, but the song ends far too abruptly for my liking. 

Let It Be Me is a lovely interpretation of the Everly Brothers' classic and is perfectly suited to Nelson.  

Staring Each Other Down shifts the tone of the record and while this is most certainly an album-only tune, it simply doesn’t match the songs that we've heard thus far; a shame considering it’s a lovely song. It just isn’t suited to the album. 

Bridge Over Troubled Water is a rendition of Simon & Garfunkel’s classic that brings a new dimension to the song while paying homage to the original. If nothing else, Nelson’s magnificent vocal delivery on this song is what makes it a true masterpiece for while it is a classic tune, Nelson’s is one of the most impressive covers I’ve ever had the privilege of hearing.

Old Fords And A Natural Stone is a beautiful song. It’s tunes such as this that further cement Nelson as a master musician for he breathes life into the music composed by Bobby Emmons and Chips Moman. 

Permanently Lonely is a sombre ballad, but Nelson's emotive vocals, coupled with the melancholic instrumentation, create a poignant atmosphere that resonates with the listener. I do, however, feel that the backing vocals are a distractive element and I believe the song would have been stronger had they been omitted. That said, when you listen to the original, from the 1968 release Good Times, you’ll be glad that this re-recording was undertaken for it’s a considerable improvement over Nelson's original composition.

Last Thing I Needed First Thing This Morning is a lovely album-only tune but it’s unlikely that you’ll seek this song out on its own; despite being released as a single. It is, however, thoroughly enjoyable when appreciated within the album’s linear structure. 

The Party's Over was, in my opinion, the wrong track to close the album with. Thankfully, whenever I put Always On My Mind on, I never listen to it once but choose to play it on repeat so that aspect is less of an issue. However, if I were to listen to the album a singular time, The Party’s Over doesn’t exactly compel me to play the album again. That all said, the classic country honky-tonk feel is rather enjoyable and as a song on its own, I can certainly see the appeal. It just isn’t a strong closer. While this particular version is a re-recording of the original from Nelson’s 1967 The Party’s Over, I honestly don’t feel either recording is exceptional.

Willie Nelson's Always On My Mind is a lovely album and while it isn’t quite the masterpiece that Stardust is, it further encapsulates the essence of his musical artistry and is another of his timeless releases. The lasting appeal lies in the authenticity of Nelson's delivery, the quality of selected songs, and the seamless blending of genres. Always On My Mind not only reaffirmed Nelson's standing as a country music icon but also contributed to the broader cultural impact of his music; an impact that continues to this very day.

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John Denver – Seasons Of The Heart (Album Review)

In 1982, John Denver released Seasons Of The Heart, a beautiful collection of songs that exemplify his signature folk-pop sound and heartfelt songwriting. As a masterful storyteller, Denver takes music lovers on an audible journey that resonates deeply with themes of love, nature, and the human spirit. This record stands as a testament to his remarkable ability to create songs that capture the essence of the ever-changing seasons of life.

Receiving only modest success at the time of release, Seasons Of The Heart is a hidden gem within Denver’s extensive catalogue of music. Of course, sales success is a poor judgement of quality and there’s little doubt that this album was overlooked at the time as I consider it to be one of the greatest albums released in 1982. Regardless of where you would subjectively rate this release, one thing is for certain, it’s a masterpiece! 

While it hasn’t been reissued, via any physical format, since the last official CD release in 1986, the Lossless Apple Digital Master is spectacular. It’s so good that while I may lament the absence of a physical reissue for Seasons Of The Heart, I can say with complete honesty that from a sonic perspective, we’re not missing anything. This is one, of many examples, whereby the stream is more than good enough and is so impressive that even if a physical release was available, I’m not sure it would warrant a purchase. Although, I adore the album artwork and would love to have that on the larger vinyl canvas. 

Seasons Of The Heart is a glorious opening tune and an ideal title track. Featuring introspective lyrics and Denver's unmistakable warm vocals, Seasons Of The Heart will draw you in from the very first note as it sets the tone for the entire album.

Opposite Tables is a lovely hidden gem that not only plays into Denver’s style but incorporates nostalgic memories of the greatest recordings of yesteryear with a catchy chorus and toe-tapping rhythm that will captivate you. 

Relatively Speaking has a lighter upbeat tune that is simply delightful. While all of the songs on Seasons Of The Heart are exceptional in their own right, when listening to the album’s intended sequencing, you’ll notice a cohesion that ensures the album experience is alive and well.

Dreams is simply gorgeous. The song's melody is infectious, and its lyrics resonate with the dreamer in us all. If you’re after a relaxing tune, you can’t go wrong with this one for the musical backing tells a story all by itself, sans lyrics. 

Nothing But A Breeze reminds me fondly of John Fogerty and as much as I would love to hear him cover Nothing But A Breeze, Denver performs it so perfectly that even Fogerty, with his musical prowess, would be unlikely to add anything of substance to this classic country rock masterpiece. 

What One Man Can Do slows the tempo for what can only be described as a beautiful ballad. It’s not only one of the best songs from the album, it is one of the greatest songs Denver ever recorded.

Shanghai Breezes continues the beautiful musical experience. If there is a criticism to be made, however, it’s that the drum rhythm has an audible crunching. It may have been intentional, but it’s ultimately distracting.

Islands is John Denver 101 with its magnificent sweeping musical backing and Denver’s otherworldly vocal presentation.

Heart To Heart is one of my favourite songs of all time. Yes, it’s corny and cliché and is very much a song of its era, but that chorus is one that I could listen to on repeat indefinitely as it’s exceptional.  

Perhaps Love is the solo counterpart to the original duet with Plácido Domingo. While both versions have a place in the annals of music history, I must admit that I prefer this solo interpretation as it simply sounds right.

Children Of The Universe closes the album beautifully for Denver is once again front and centre with an introspective piece that is layered onto a lovely musical bed. 

Seasons Of The Heart, ultimately, showcases John Denver's musical and emotional depth like no other album from his extensive discography. His soulful vocals, meaningful lyrics, and masterful guitar work make this album timeless; one that you’ll find yourself coming back to time and time again. 

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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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Kenny Rogers – Life Is Like A Song (Album Review)

Kenny Rogers' Life Is Like A Song is a testament to the timeless charm and enduring talent of one of country music's most beloved artists. Released in 2023, this album showcases Rogers' rich and distinctive voice, heartfelt storytelling, and ability to touch listeners' hearts with his emotive delivery.

Given this emotional presentation, one can’t help but reflect on Rogers’ life. As such, posthumous albums are usually amongst my least favourite records as there’s sadness amongst appreciation and admiration. Naturally, the question of how soon is too soon comes up and in the case of Rogers, it has been a few years since the world lost this incredible musician. The time is therefore appropriate but one must also question the motives of such a release. Sadly, the music industry and artist estates have a bad habit of going through the archives and releasing any and everything they can get their hands on, all the while repacking it several times to take advantage of the most dedicated fans. 

Thankfully, Life Is Like A Song doesn’t feel like a release done purely for financial gain. It’s so incredible that it is as if Rogers himself signed off on this release. If anything, it pays tribute to both the man and the musician, in the best way possible; by the sharing of a new selection of music that had been, until this album, previously unreleased. Yes, there are a couple of songs that were previously issued, but Life Is Like A Song is primarily an album of new studio recordings. 

What makes Life Is Like A Song so compelling is the impeccable song selection and sequencing. I shouldn’t be surprised, however, as Rogers’ wife Wanda served as one of the Executive Producers, thereby, ensuring her husband, of over two decades, was beautifully remembered. The only bump in the road is attributed to the final bonus song on the Deluxe Edition; At Last. It’s a lovely song, but it doesn’t flow well and is a poor closing track, on this particular edition. That said, The core 10-track release closes masterfully on Goodbye. Although, the first bonus track, Say Hello To Heaven, on the Deluxe Edition is also an incredible closing moment. Regardless, vinyl enthusiasts will likely be content with the 10-track album structure; particularly with that incredible album artwork.  

Delving even deeper into this release, you’ll find the mix and mastering to be superb. While I’ve only, thus far, experienced the album via Apple Music, the lossless stereo stream, an Apple Digital Master, is mind-blowing. When a digital stream sounds this impressive, it makes one wonder if they need to attain the physical counterpart; other than for the thrill of ownership and the retention of a physical product. As it pertains to the Dolby Atmos stream, also on Apple Music, the soundstage is expansive but the result sounds a little hollow when compared directly to the stereo mix. I put this down to the likelihood that these songs were never recorded with surround sound in mind and as is often the case, simulated surround lacks the true nuances that one would experience with a production that was intended to offer a discrete mix from the get-go. Subsequently, I much prefer the stereo mix as it simply sounds right.

Love Is A Drug sets the tone for the journey ahead and is a perfect country-styled tune that blends seamlessly with Rogers’ legacy. His vocal prowess and the soaring melodies are expertly crafted meaning that Love Is A Drug is a standout tune. 

I Wish It Would Rain is a stunning mid-tempo ballad that showcases Rogers' storytelling capabilities. 

Am I Too Late (with Kim Keyes) is a vocal masterpiece that brings Rogers and Keyes into the room with you. The musicality is subtle, but for a song like this, that is all that’s required for the harmonious intertwining vocals will leave you in awe. 

Tell Me That You Love Me (with Dolly Parton) is a fantastic toe-tapper and one of the greatest songs on the record. Parton is once again a perfect collaborator and while Rogers’ recordings with other female vocalists should not be overlooked, Rogers and Parton had a vocal chemistry that transcends the humble duet. 

Straight Into Love (with Jamie O’Neal) is, however, even more impressive than Tell Me That You Love Me with its instantly captivating melodic hooks. Granted, the shift in tempo plays a role here but Straight Into Love is simply magnificent nonetheless and O’Neal’s inclusion here is one to be held in high regard for her vocal capabilities are simply stunning. 

Wonderful Tonight is, as I’ve suggested before, one of the most magnificent ballads ever recorded. While it is Eric Clapton’s song first and foremost, and many exceptional interpretations of this classic song have been recorded, this Kenny Rogers recording is one of the greatest as it pays homage to the original, not drifting too far from the song’s origins, while simultaneously sounding fresh and becoming an essential tune in Rogers’ extensive catalogue of music. 

Catchin' Grasshoppers is a musical marvel with a beautiful opening that leads into Rogers’ vocal that soars above the musical bed with emotional depth and passion. 

That's Love To Me is a beautiful ballad combining Rogers' signature country sound with a touch of pop and easy listening. The infectious melodies and sing-along chorus make it an instant earworm but it is Rogers' charismatic delivery that will resonate with listeners. 

I Will Wait For You has a cinematic and relaxed feel to it. While it isn’t a standout tune, it’s lovely nonetheless. 

Goodbye pulls at the heartstrings, naturally, but what a gorgeous song to close the core album on. Rogers has never sounded so good and performs the Lionel Richie classic masterfully. His gravelly vocal presentation on Goodbye is simply magnificent. The control he has over his range, on this particular song, is incredible and it wouldn’t be far-fetched to suggest that it’s one of his most powerful performances.

Say Hello To Heaven (Bonus Track) is touching, emotional, and moving. It’s a difficult song to listen to, however, for you feel the anguish of the song’s meaning. Despite being a masterpiece, I’d be lying if I said that it isn’t an emotional rollercoaster ride of a song. One that deserves to be listened to, certainly, but one that you simultaneously wish you hadn’t heard. 

At Last (Bonus Track), as I alluded to earlier, simply isn’t the strongest song to close the album with. That doesn’t mean that Rogers’ rendition of this classic tune is flawed, for it isn’t, it’s just a little too upbeat following Goodbye and Say Hello To Heaven. Nevertheless, this won’t prevent me from spinning the album again for it’s an instant classic and is one of the best records released in 2023. 

While Life Is Like A Song undoubtedly stands as a testament to Rogers' remarkable career, it also serves as an important reminder of his profound musical legacy. Rogers' ability to tell stories through his songs and evoke genuine emotions is showcased at its finest on this album and if there is a greater gift to Rogers’ fans, following his death, I know of none.

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Tennessee Ernie Ford – Country Hits…Feelin’ Blue (Album Review)

When it comes to the music of Tennessee Ernie Ford, if you can get past the sombre tone and lyrical meanings, you’d likely agree that they don’t make music like this anymore. Released in 1964, Country Hits…Feelin’ Blue sees Ford, Billy Strange, and John Mosher perform a masterful collection of songs in a stripped-down manner that highlights the vocal, guitar, and bass elements in a way that is often lost on more complex recordings. It is this back-to-basics approach that truly highlights Ford’s incredible resonant baritone vocal; a vocal that has to be heard to be believed.

As I listen to the CD-quality lossless Apple Music stream, I’m left in awe. While Country Hits…Feelin’ Blue never made it to CD, the stream provided by Capitol Records is beyond reproach and is so good that I’m questioning if I need to consider the 2020 vinyl reissue from Analogue Productions. Vinyl aficionados will undoubtedly point to the additional warmth of the vinyl record that would work exceedingly well with this type of music, but the Apple Music lossless stream is anything but cold and shrill, and really has a sense of presence. As much as I appreciate the Analogue Productions re-issues, such as Aaron Neville’s Warm Your Heart, I can’t find fault in the streamed offering. It’s that good! 

Try Me One More Time is searching for redemption in a classic love gone awry manner that is iconic to country music. Ford sells it incredibly well making the listener believe that it is indeed him who is asking for another chance. 

No Letter Today is such a sad song of longing for a beloved. Yes, some may consider Country Hits…Feelin’ Blue to be akin to a suicide-inducing album, due to the sombreness of the songs, but the wittiness in its storytelling is appealing and so it depends on how you choose to listen to this record as the glass-half filled individual will undoubtedly experience it differently to those who declare it as being half empty. 

Born To Lose showcases just how smooth Ford’s vocal is. This is one song that can be fully appreciated sans lyrical intent for the uninspiring meaning of Born To Lose is most certainly overshadowed by the exceptional vocal elements that become an instrument rather than a storytelling device. Of course, you may prefer to listen to the lyrics, that’s up to you, but I prefer, in this case, to be swept away with vocal awe. 

Don’t Rob Another Man’s Castle is utterly brilliant and is one of the best songs on Country Hits…Feelin’ Blue. It’s droll, yet still relevant. A timeless classic!

There’ll Be No Teardrops Tonight picks up the tempo a little; a great toe-tapping song! Strange’s guitar tracking here is out-of-this-world as it’s unpretentious yet authoritative in driving the song forward. Hank Williams would have been proud!

I Don’t Hurt Anymore is a solid tune. Although, I’d say that Ford pushed his vocal a little too far on this song for the resonance is just a little jarring on the senses. It’s a fine line, of course, but it is just a step too far for my liking. 

Worried Mind is an upright bass player’s dream come true. The holding back of the guitar is also a masterful approach as the song continues to build throughout. It’s upbeat, and you’ll find yourself toe-tapping and head-bopping to this classic, ironically without a worry in the world for the musicality will captivate your soul. 

No One Will Ever Know is an intriguing song filled with conflicts of emotion and love. It presents an interesting dichotomy but is indicative of how many of us would love to move on from a relationship; silently and without explanation or justification. 

Funny How Time Slips Away is a country music standard that has been recorded by numerous musicians over the years. As a Willie Nelson authored tune, it would be logical to suggest that his recording is the one to go for. Yes, his rendition is admirable but there are so many thoroughly good renditions, including this one by Ford, that it is really difficult to pin down the best interpretation. If you have time, I recommend you check out the Glen Campbell & Willy Nelson duet or Elvis Presley’s recording, but I would stay clear of Bryan Ferry’s bastardisation of this classic tune.

Sweet Dreams is a little dry. It’s still a great tune but fails to leave a lasting impression. 

Tears On My Pillow maintains the overall blue feeling of the album but is a great tune with a brilliant verse and chorus structure.

May You Never Be Alone closes out the album admirably. It’s another that Hank Williams would likely have been proud of for his rendition is excellent in its own right but doesn’t compare to Ford’s soulful masterpiece. May You Never Be Alone encourages me to play the record again, but be warned, repeat listens of this album can result in you feelin’ blue. 

From start to finish, Country Hits…Feelin’ Blue is an exceptional album that will appeal to anyone who appreciates an acoustic vocal-focused musical experience. Is it one of the greatest country albums of the 60s? Absolutely! Although, I’d go as far as saying that it’s one of the greatest country music albums ever recorded and that it should be in everyone’s collection. If nothing else, it is arguably the very best work of Ford’s illustrious career.

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