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Michael Jackson – Invincible (Album Review On Vinyl, CD, & Apple Music)

Michael Jackson – Invincible (Album Review On Vinyl, CD, & Apple Music)

Released in 2001, Invincible wouldn’t set the world on fire as his prior solo releases had. Certainly, the controversies surrounding Jackson didn’t help with sales but that’s an easy assumption for I feel the conciseness of his greatest albums is what was missing in all his post-90s releases. I’d even go as far as saying that his pre-Off The Wall solo albums are superior to Invincible. It isn’t that the songs are bad, per se, but the album is simply too long and the styles shift too much throughout. In reality, you’ve got an album that could have been split across two independent releases. One with the more upbeat tempo tracks, the other with the smoother soul-based ones. Jackson, however, was one artist that embraced the full CD length post-Dangerous and while that album was a double done well, Invincible is akin to listening to Jackson on shuffle; some may like that but I’d prefer a more focused and fluid presentation.

While I may not agree with the tracking, I do enjoy the album when listening to Jackson’s greater catalogue of music, but other than the questionable posthumous releases, Invincible is most certainly his weakest body of work. 

Sonically, I prefer the CD reproduction followed by the Apple Music stream. In perhaps a shock revelation, the vinyl record doesn’t sound superior to the digital counterpart and is proof that all vinyl is not created equal and that music-lovers must be format neutral if they are to get the very best musical experience. 

The CD, while most certainly brickwalled, sounds like a Michael Jackson album should. It remains dynamic even if it isn’t as dynamic as the vinyl release. However, that is where one of the problems with the vinyl release exists for the dynamics are impressive, but you lose some of the emotive energy in Jackson’s vocal and the musical accompaniment. For instance, songs like 2000 Watts and Threatened sound flat via vinyl whereas the CD punches you in the chest with a full-bodied audio experience. This flatter response may appeal to some music lovers, especially those with bass-heavy stereo systems, but I simply find that I become distracted when listening to the vinyl release, yet I find myself captivated when listening to the CD. Longtime readers will note that this isn’t generally the case and that more often than not I prefer the analogue release, but if it were flatness of sound alone perhaps I could learn to appreciate this pressing but on Break Of Dawn, the sibilance on the vinyl record is simply too much to tolerate. Admittedly, there is natural sibilance in the original recording, as can be heard on the digital counterparts, but it is amplified on the vinyl pressing.

The Apple Music edition, an Apple Digital Master, is very close to the mastering heard on the CD, but it isn’t as detailed as it pertains to the soundstage and elemental and instrumental separation. Basically, the CD just sounds right and the Apple Music stream is an adequate facsimile.

Sound quality aside, for a moment, the 2009 Music On Vinyl reissue is beautifully presented with a somewhat embossed silver texture that will most certainly appeal to collectors. No, it isn’t a gatefold design, but rather an expanded sleeve containing both records in full liner note sleeves. In-fact, the amount of detail in the liner notes is impressive to say the least as both the vinyl and CD releases don’t miss a thing. The record labels are simple, yet elegant, and it is truly a shame that I don’t enjoy the sonic aspects for both records are magnificent pieces of vinyl, from not only a visual standpoint but also a noise floor perspective whereby the vinyl between tracks, and in less involved musical aspects, is incredibly quiet. 

Unbreakable is an interesting opener for this album and one that simply doesn’t have the same oomph as the lead songs on Jackson’s prior albums. The vocal processing, and tinniness of sound, is a real deterrent. It isn’t necessarily bad, but it isn’t worthy of opening the album.

Heartbreaker continues the upbeat styling and again, I feel, as good as the song is, that it isn’t exceptional. It is as if too much experimentation with sound, layering, and the overall mix, created a shallow sound that sounds more like a demo than a fully realised recording. 

Invincible is a little more rhythmically charged than the previous songs. It gets the body moving to a somewhat predictable beat and there is far less vocal processing here to contend with, thereby making for a far more enjoyable listening experience. 

Break Of Dawn is a beautiful song and in a way is very similar to Earth Song. It’s atmospheric, immersive, and one of the best songs on Invincible. That is until the sibilant vocal aspect comes in  via the chorus. It isn’t nearly as present on the Apple Music stream, as it is on the CD and vinyl counterparts, but it is still naggingly present. 

Heaven Can Wait is a solid song. It isn’t one that I’d seek out, but it is thoroughly enjoyable when listening in the album format. 

You Rock My World is a great tune and as much as I enjoy Chris Rock’s involvement here, there are times when I wish the song would just start without the spoken word aspects. It helps when one chooses, as I often do, to play the song on repeat. 

Butterflies has a great tempo but I wonder if you also feel that this song is akin to a click track? It works, but it also sounds a little grating after a while. 

Speechless is lovely. 

2000 Watts is a fantastic tune. The tempo is spot on and this is one song that deserves to be turned up to 11. 

You Are My Life is simply beautiful; even if it is a sonic jolt following 2000 Watts. 

Privacy is brilliant! The anger in Jackson’s vocal is perfect for the song and his feelings towards the media. The only criticism I have is that the ending is a little more abrupt than I would like. 

Don’t Walk Away is another beautiful vocal-based tune but I really do wish a different tracking was presented as the shift between the more upbeat songs and the mellower ones can be a jolt to the system which results in a less-than-ideal listening experience. 

Cry is a lovely song and proves just how well these more ballad-focused songs can work well together, rather than being interspersed throughout the album. 

The Lost Children has a perfect tonality and pace, but the decision to include the backing Choir, while logical, is somewhat distracting. 

Whatever Happens is magical! Carlos Santana is a legend and his influence is most certainly heard here and in many ways, he is the reason why I love this song so much.  

Threatened is a great closer and while I feel encouraged to listen to the album again, the album’s length is most certainly a deterrent. 

Overall, Invincible fails in my mind only due to its length and stylistic shifts throughout. There are a number of solid songs here, a couple of hidden gems, and a little too much filler. What is good, however, is worth your time but I’d recommend you seriously consider the vinyl release before picking it up as it may not be to your tastes. If you like to feel your music, the vinyl release won’t do it for you. In that instance, don’t look past the CD or streaming counterparts. 

Madonna – MDNA Deluxe Edition (Album Review On Vinyl, CD, & Apple Music)

Madonna – MDNA Deluxe Edition (Album Review On Vinyl, CD, & Apple Music)

Released in 2012, Madonna’s 12th Studio album MDNA is one of the most cherished albums in my collection. It’s classic Madonna with an upbeat styling and a couple of simply gorgeous vocal-based songs. It’s also an album that compels me to keep coming back for more and is only second to her exceptional Ray Of Light release in 1998.

I’m fortunate enough to own both the Vinyl and CD Deluxe Edition, although when I found a copy of the Vinyl release, I subsequently passed the CD down to my daughter who has kindly allowed me to revisit it for this review. 

With an expanded booklet, the CD liner notes offer a value-added proposition for fans as photographs are included that are absent from the Vinyl release. It’s a shame when this happens because while the Vinyl edition is presented as a gatefold design, a placard could have been easily included; as has been the case in countless other releases, by other artists. Look, it isn’t a deal-breaker, but as a fan and a collector I notice these differences and feel that the Vinyl releases, due to their significantly higher cost should deliver additional value for the fans. That isn’t to say that the CD-based music-lover should miss out, but that greater parity should be adhered to. 

That said, it’s great to see that the entire Deluxe Edition track listing made it to the Vinyl counterpart as that doesn’t always occur. Of course, as with any Deluxe Edition, one will need to decide if the additional songs are worthwhile. At least, on both editions, they are separated from the album with a second CD housing the bonus tracks and Side D of the Vinyl release being dedicated to these songs. 

Sonically, the Vinyl record is darker and moodier than the CD. The CD, by comparison, is bright, and a little fatiguing, but similarly thumps in the low end as one would expect. The CD naturally has plenty of clarity, but if you’re after a sound that resembles being in a nightclub with a world-class DJ, then you really should track down a copy of the Vinyl release. As for streaming, the Apple Music edition, an Apple Digital Master, is perfectly positioned between the two physical formats as it is neither too clean, nor distorted, and is therefore thoroughly enjoyable to listen to. 

While I love the Vinyl reproduction of MDNA, and you really can’t go past the affordability aspect of the Apple Music edition, regardless of which edition you choose to pick up, you’ll thoroughly enjoy the release as the mastering, while a little hot, is perfectly suited to Madonna’s style. 

Girl Gone Wild is an incredible opener that somewhat reminds me of Hung Up opening Confessions On A Dance Floor. You’ll be toe-tapping and head-bopping, if not dancing, from the moment the beat kicks in. 

Gang Bang will test your systems bass response. Turn Gang Bang up to 11, especially if you have a subwoofer; you won’t regret it. The soundstage is immersive and expansive throughout the song and the siren, later in the song, is so well-positioned within the mix that the first time I heard the song, on a family drive, we swore the cops were about to pull us over. All of this makes for an incredible song and a personal favourite from MDNA.

I’m Addicted is a solid song, but I’d suggest the vocal processing is a little overdone in the chorus. 

Turn Up The Radio is a great song, but stay clear of the music video as it just isn’t good. Turn Up The Radio has a great tempo that will encourage you to move your body. Seriously, if you’re sitting still through this song, or most of this album, you’re listening wrong!

Give Me All Your Luvin’ (feat. Nicki Minaj & M.I.A.) Is campy and is far from the greatest song on the album. I’ve no doubt many fans adore it; it just isn’t the type of song I appreciate. That said, it doesn’t take me out of the album experience, but it’s one song that I could easily skip when playing the album via one of the digital formats.  

Some Girls picks things up again; I love it! 

Superstar is a great song, but is it just me or does Superstar remind you, too, of Katy Perry’s Firework? Either way, both are great but Superstar, while corny, is thoroughly enjoyable.

I Don’t Give A (feat. Nicki Minaj) has an incredible rhythm, plus it’s one of the wittiest songs I’ve heard in a long time. I Don’t Give A is one of the best songs on MDNA and it’s one of the greatest songs Madonna has ever recorded. Minaj’s inclusion here is nothing short of perfection. Magnificent!

I’m A Sinner is great and reminds me of the style applied on the Ray Of Light album. As with I Don’t Give A, I love the double entendre. 

Love Spent isn’t a standout and isn’t as memorable as other songs on the album, but every time it comes on I thoroughly enjoy it. 

Masterpiece is a masterpiece! Although, it can get a little muddy in the low end, so depending on how you’ve got your music playback system setup, you may find you’ll need to adjust the bass levels. 

Falling Free is sonically lovely and the focus on Madonna’s vocal is absolutely perfect for this song. It’s also another style that reminds me of Ray Of Light; perhaps that is why I adore MDNA so much as it offers such variety.  

Beautiful Killer isn’t a bad tune. The rhythm is addictive, the musicality is spot on, yet, I can’t put my finger on it but it sounds as if something is missing, such as a cohesive element. 

I F****d Up is pure gold!

B-Day Song (feat. M.I.A) is cringeworthy. That is all!

Best Friend is a panning nightmare, especially on headphones, yet it is a compelling effect and not a bad song.

Give Me All Your Luvin’ (feat. LMFAO & Nicki Minaj) [Party Rock Remix] isn’t a bad remix and it’s true to say that I prefer this rendition to the original. It still isn’t an amazing song, for me, but I already want to play the album again. 

MDNA is an incredible album from start to finish and while there are a couple of songs that I consider to be campy or not perfectly in sync with the rest of the music on MDNA, I’m sure you’ll enjoy it as much as I do as it is one of Madonna’s best albums. 

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.