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Agnetha Fältskog – A (Album Review On Vinyl & Apple Music)

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Agnetha Fältskog – A (Album Review On Vinyl & Apple Music)

Every now and then new music appears from the individual members of ABBA. Agnetha Fältskog is, of course, one-quarter of the enormously successful Swedish pop group. As a lifelong fan, of both ABBA and Fältskog’s solo efforts, I immediately ordered the vinyl release and while I love the album as a creative piece of work between Fältskog and her collaborators Jörgen Elofsson and Peter Nordahl, the vinyl release is a little disappointing.

From the get-go, I was surprised the cover art was so out of focus. Yes, it is captured softly to separate Fältskog from the album typography and while it may look glorious on streaming services and CD-sized canvases, the larger vinyl reproduction makes me wonder if I’m slowly going blind. One would have thought, or at least hoped, that this would have been taken into consideration, but sadly it wasn’t. 

While the mastering is solid, the pressing is questionable. Pressed by GZ vinyl, there are several scuffs from the manufacturing process that create a few additional pops and clicks. Yes, vinyl is fundamentally a fragile medium, but if records are cared for, as mine are, they can be appreciated without pops and clicks destroying or impacting the listening experience. Nevertheless, when the pops and clicks aren’t audible, the vinyl reproduction is sonically beautiful. 

The Apple Music stream, an Apple Digital Master, is exquisite and therefore if you prefer to stream your music, you can guarantee that nothing is lost. Perhaps a little warmth, as the vinyl seems fuller with a more enveloping soundstage, but the digital counterpart is far from cold and harsh and the difference is only noticeable when comparing the two formats.

SIDE A

The One Who Loves You Now is a lovely song to commence the album with, although I’d like to hear a version with a slightly slower tempo as I feel it would have further amplified an already exceptional song. 

When You Really Loved Someone comes into its own when the chorus begins. That said, this song borders on campy pop music and Fältskog’s vocal sounds a little overproduced and processed on this song. It isn't necessarily bad but it makes me think of numerous modern pop stars and therefore I question if the vocal presentation suits Fältskog’s capabilities. Regardless, When You Really Loved Someone is an exceptionally enjoyable song.

Perfume In The Breeze has a great tempo. You'll be toe-tapping and head-bopping in no time. Although, again, I feel it is overproduced, especially in the vocal region of the chorus. It just sounds as though it’s following a modern pop music formula. I do, however, thoroughly enjoy Perfume In The Breeze. 

I Was A Flower is absolutely stunning. It’s one of the greatest songs Fältskog has ever recorded, if not the greatest. You'll want to turn the volume up and become absorbed by the soundstage as it wraps around you as the speakers disappear, leaving you, Fältskog, and the instrumental orchestral movements to exist in that special place where music and ecstasy intersect.

I Should've Followed You Home is the perfect song to follow I Was A Flower. It’s a recording and mixing marvel as the vocals were recorded in two different studios. Yes, this has been done before, but each studio has a unique sound, yet the vocals are merged superbly. The decision to have Gary Barlow duet with Fältskog was superb as his vocal tonality compliments Fältskog’s perfectly. That all said, it would have been interesting to hear the difference had both artists been recording in the studio, at the same time, in a linear manner. I have a sneaking suspicion the song would have been even stronger, but I’m far from disappointed with the song we have.

SIDE B

Past Forever is beautiful. I love Fältskog’s vocal on this track as it sounds largely untouched and natural. Her soaring vocal is a pleasure to listen to and I could put this song on repeat for hours. I’d really like to see Past Forever re-recorded as a duet with Celine Dion as all the sonic cues are there to suggest such a collaboration would be nothing short of pure perfection.

Dance Your Pain Away is a disco-based track that is significantly different to the last few songs and while auto-tune is clearly used here, it's a great dance track that has a modern sound and one which DJs would have a field day incorporating into their live sets. If you want to hear additional remixes, check out the Remixes EP

Bubble is a lovely vocal-based track. I absolutely adore it!

Back On Your Radio is campy. Okay, it isn't that bad. No, wait, there's the chorus again. It just isn't good and should never have been recorded, let alone released. Harsh, yes, but this is a song for an artist aiming for a younger audience, arguably an audience that Fältskog wasn’t focusing on as it sounds out-of-place with the rest of the album.

I Keep Them On The Floor Beside My Bed is the only song on A to be penned by Fältskog and is simply beautiful. As the final song on the album, it closes it perfectly and encourages me to listen again and stay within Fältskog’s back catalogue.  

Overall, A is a thoroughly enjoyable album that should be in every fan’s collection. 

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Frank Sinatra – In The Wee Small Hours (Album Review)

Frank Sinatra – In The Wee Small Hours (Album Review)

Widely regarded as a masterpiece, In The Wee Small Hours is one of the smoothest Sinatra albums while simultaneously being one of the most depressing. Its moodiness is arguably it’s appeal but I generally prefer Sinatra’s more upbeat recordings, similar to those heard on Come Fly With Me. That isn’t to suggest that In The Wee Small Hours isn’t an incredible album, just that you’ll get the most value out of the album when listening in a reflective mood. 

While I’ve often considered picking up a copy on vinyl, the somber nature of the recording has always deterred me and, subsequently, when I choose to enjoy In The Wee Small Hours, I turn to streaming services and to be completely honest, while I know vinyl aficionados will lament this opinion, the Apple Music stream, an Apple Digital Master, sounds absolutely stunning. The Apple Music edition is smooth and warm, albeit not as warm as vinyl would be, but for a lossy digital presentation, most people, myself included, would need nothing more than this release as it really is that good. 

In The Wee Small Hours Of The Morning is a delicately beautiful opening song and sets the tone for the entire album. Somber, yes, but delightful! 

Mood Indigo is a gorgeous easy listening tune that I could listen to on repeat indefinitely. They simply don’t make music like this anymore, do they? Few interpretations live up to Sinatra’s recording, or Duke Ellington’s original, but Vince Jones’ interpretation is one rendition that I encourage you to check out.

Glad To Be Unhappy works well within the album structure, but Glad To Be Unhappy simply doesn’t have a sonic element that will hook you in and become memorable. It really is, pure filler!

I Get Along Without You Very Well is an astonishingly good track. Over the years it’s become one of my favourite jazz standards. As with Mood Indigo, Vince Jones performs the song masterfully with a little more upbeat tempo than Sinatra and who can forget Diana Krall’s gorgeous interpretation on The Look Of Love?

Deep In A Dream is an adequate album track, but it’s nothing to write home about. 

I See Your Face Before Me flows beautifully from Deep In A Dream and is a lovely song in its own right.

Can’t We Be Friends? Is a great song; I love it! However, I consider the Ella Fitzgerald & Louis Armstrong rendition to be the gold standard. 

When Your Lover Has Gone is somewhat lacklustre as there is a little too much brooding to be heard and while Sinatra performs it well, it simply isn’t a standout song. 

What Is This Thing Called Love? has a gorgeous musical backing and is a lovely song.  

Last Night When We Were Young is another song that works well within the sequencing of the album, but it’s another tune that simply doesn’t stand out and become memorable. 

I’ll Be Around isn’t a bad song at all. Not a standout by any means, but enjoyable nonetheless.

Ill Wind is an interesting song. I like it, but I can’t tell you why. Is it the song title? Sinatra’s vocal styling? The musical element that is prominent throughout? Perhaps it is none, or all of the above, yet Ill Wind remains a favourite of mine and sometimes we don’t need a reason for liking something, do we? 

It Never Entered My Mind is a lovely song, but simply isn’t memorable and makes me question why an album, with so many non-standout tracks, receives such reverence.

Dancing On The Ceiling is a little off-beat, but the musicality is compelling as is Sinatra’s vocal presentation. 

I’ll Never Be The Same is a beautiful song. 

This Love Of Mine closes out the album nicely but In The Wee Small Hours is one record that I rarely find myself listening to on repeat, for I prefer a more positive musical outlook. 

In The Wee Small Hours may not be at the top of my list when it comes to Sinatra albums that I want to sit down and listen to in a relaxing setting, but I can’t deny that it has its appeal and that based on my mood, my interest in this album shifts accordingly. Is it an essential album? Well, no! I feel it is overrated and while lovely in places fails to be as compelling as albums such as Come Fly With Me, Swing Easy!, or Ol’ Blue Eyes Is Back.

Frank Sinatra – Ol’ Blue Eyes Is Back (Album Review)

Frank Sinatra – Ol’ Blue Eyes Is Back (Album Review)

Having recorded 59 studio albums, Frank Sinatra has one of the most extensive back catalogues to explore and while I implore you to take the time to listen to all his releases, outside of his most successful 50s era recordings, I’d be remiss if I didn’t point you in the direction of Ol’ Blue Eyes Is Back for it is a recording that lives up to its name. 

Despite Sinatra’s short-lived retirement in 1971, by 1973 he had returned to the studio and was in fine form, sounding the best he had in years. While the orchestral elements are spectacular in their own right, Sinatra’s vocal soars above and beyond the musicality with a mix that is utterly perfect. While Ol’ Blue Eyes Is Back may have flown under the radar, especially in recent years, it is one of Sinatra’s greatest works.

Ol’ Blue Eyes Is Back, I believe, would have sounded magnificent on vinyl, but there, unfortunately, hasn’t been a vinyl reissue of this masterpiece in decades. Hence, modern music lovers will need to track down a copy on CD or stream it via a service such as Apple Music. While the Apple Music stream is delivered via a lossy codec, it sounds magnificent and if you close your eyes and simply enjoy the music, you’ll quickly forget that you’re listening to a streaming version for the overall recording and mastering is nothing short of spectacular with a warm analog-like soundstage that will encapsulate you in the performance. 

You Will Be My Music is a lovely opener that sets the tone for the entire album, even if the song is a little slow to get started. That said, the closing moments are spectacular, signalling that Blue Eyes is most certainly back!

You’re So Right (For What’s Wrong In My Life) is such a relaxing tune and while it isn’t anything to write home about, it is one song that works well within the creative body of work that is Ol’ Blue Eyes Is Back.

Winners showcases Sinatra in fine form and while his voice was a little sibilant on You’re So Right (For What’s Wrong In My Life), it is crystal clear here and is simply beautiful with an impressive orchestral element.

Nobody Wins is easy listening 101; sometimes that is all you need. 

Send In The Clowns (From ‘A Little Night Music’) is one of the greatest songs ever written and Sinatra performs it masterfully. I could listen to it on repeat indefinitely and as beautiful as I consider Barbra Streisand’s rendition to be, no-one does it better than Sinatra.

Dream Away is a lovely tune with a beautiful story to tell. Without a doubt, it’s one of Sinatra’s greatest recordings and is a simply stunning song from the songwriting duo of John Williams and Paul Williams

Let Me Try Again (Laisse Moi le Temps) is an incredible song and I don’t know about you, dear reader, but as lovely as the A-Side’s are on Ol’ Blue Eyes Is Back, the B-Side’s are simply spectacular. 

There Used To Be A Ballpark is another easy listening tune that, while not a standout, is thoroughly enjoyable. 

Noah closes out the album perfectly, and while it could be suggested that it is overproduced, especially for a Sinatra song, it is thoroughly enjoyable nonetheless and compels me to listen to the album again. 

Ol’ Blue Eyes Is Back is fantastic from start to finish; an absolute musical masterpiece that feels fresh and inviting and while it may not be seen as a Sinatra classic, I consider it to be one of his greatest. 

Barbra Streisand – Higher Ground (Album Review)

Barbra Streisand – Higher Ground (Album Review)

Released in 1997, Higher Ground was Barbra Streisand’s twenty-seventh studio album and despite selling over 5 million copies, I completely overlooked this release at the time. Thankfully, due to the flexibility of streaming, I’ve been able to enjoy this masterpiece in recent years and consider it amongst Streisand’s greatest recordings as each song is worthy of inclusion. 

Listening via Apple Music, Higher Ground is presented as an Apple Digital Master; a mastering process that aims to deliver studio-quality sound. Even if I wanted to listen to the album via the CD-quality offered by TIDAL Hi-Fi, Higher Ground is sadly absent from that platform but as the Apple Digital Master often trumps the CD-quality stream, such an omission is only disappointing because it deprives music-lovers of experiencing all there is to offer from an artist’s collection. Nevertheless, the Apple Music stream delivers a soundstage that is enveloping, ensuring the album can be thoroughly appreciated as you get a sense of Streisand being in the room with you as the speakers disappear and you’re at one with the music.

I Believe/You’ll Never Walk Alone is a lovely melody-based opener that immediately captivates the soul from the very first note and highlights Streisand’s gorgeous vocal. That said, as much as I enjoy the melody aspect, both songs in their own right are exceptional, I wonder if the transition could have been a little more seamless as it almost sounds as if they are two separate tracks, just  without the 2-second pregap. 

Higher Ground is a stunning title track that is unassuming and thoroughly relaxing.

At The Same Time is a song I love, although I must admit that I would have left the children’s vocal choir out of the mix as it detracts from the musicality. Yes, I acknowledge the connection to the lyrical element, I just feel the mix wasn’t right. Perhaps it could have been corrected in the studio, but the choir’s inclusion simply sounds detached. 

Tell Him (Duet With Celine Dion) is an absolute masterpiece!

On Holy Ground is a beautiful song, but it could be argued that any song would have suffered following Tell Him. It is a case of incorrect sequencing, in my opinion, but I’m the type of person that would suggest a song like Tell Him would be best served as being the final song on the album as to not detract from any other song. 

If I Could is a lovely tune. 

Circle is simply magnificent and while I don’t normally appreciate music for its lyrical interpretation, instead considering the vocal as an instrument, lyrics are difficult to ignore in Streisand’s works as she pronounces every word so perfectly and the meaning behind the song is touching and remains even more relevant today than it arguably did when it was originally recorded. 

The Water Is Wide/Deep River is the second melody on Higher Ground and it doesn’t disappoint. 

Leading With Your Heart is another beautiful, unassuming, song and, if anything, Higher Ground represents a series of songs that are hidden gems and shouldn’t be overlooked. 

Lessons To Be Learned is one of Streisand’s greatest vocal performances. Yes, that could be said about so many of the songs she’s recorded over the years, but Lessons To Be Learned is a sonic joy, with a perfect mix, meaning that I often play Lessons To Be Learned as loud as comfortably possible as well as playing it on repeat. A stunning performance!

Everything Must Change is a lovely song, but there’s a little distortion in the right channel, especially noticeable when listening via headphones, that is distracting to this otherwise exceptional recording. I can’t say for certain where the distortion entered the mix as I question if it would have been overlooked in the original recording process, but the distortive element that occurs around 2:44 and again at 2:50 is also present on the Spotify stream. 

Avinu Malkeinu is a gorgeous Jewish prayer to close the album with, and while I have suggested that Tell Him would have been perfectly repositioned as the final song on Higher Ground, Avinu Malkeinu is worthy of its position and is arguably the perfect closer to one of Streisand’s greatest albums. 

Higher Ground is simply exceptional, without a B-side to be found. Having only become aware of this masterpiece in recent years, it has fast become one of my most treasured albums, for it really is that good. If you too missed checking out Higher Ground, remember that it is never too late to appreciate timeless classics such as this.