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ABBA – Voulez-Vous (Album Review)

ABBA – Voulez-Vous (Album Review)

Not disco per se, yet ABBA, and Voulez-Vous, will get you on the dance floor. Released in 1979, ABBA's sixth studio album, Voulez-Vous, rose to the top of the charts with a solid line-up of songs including Voulez-Vous, Angel Eyes, and Does Your Mother Know as well as a few added extras not on the original LP such as the epic and trendsetting Gimme! Gimme! Gimme! (A Man After Midnight). There’s much to appreciate with Voulez-Vous but it is the additional tracks, available via the digital versions, that ensure the album is greater than the sum of its parts. 

One part that has always amused and bemused me, for I can’t help but see the Star Wars influence, is the album cover for Voulez-Vous. Charles Mingus Palm, in the excellent Bright Lights, Dark Shadows: The Real Story Of ABBA, stated the sleeve designer, Rune Söderqvist, wasn’t completely satisfied with the group posing as elegant night-clubbers and subsequently took the design to industry-leading retouching specialists to add some sparkle to the artwork. Well, add it they did for Benny (looking a little like Chewbacca in a tux) is holding what looks like a lightsaber while Bjorn is the spitting image of Luke Skywalker. Thankfully, Frida and Agnetha were looking radiant as usual but the Voulez-Vous cover art does make one question what were they thinking.

While this review, and the subsequent track listing, is focused on the Bonus Track Version, available on Apple Music, I’m also fortunate to own The Studio Albums vinyl boxset. Despite being presented as an Apple Digital Master, the Apple Music stream pales in comparison to the sonic quality of those 2020 vinyl pressings. Usually, Apple Digital Masters are exceptional, but Voulez-Vous has a thin sound that lacks the emotion heard on the vinyl counterpart. Granted, it’s a detailed presentation in that you’ll hear all aspects of the music but in this instance, the vinyl reissue simply sounds right whereas the stream often comes across as too shrill and clinical, especially at higher volumes. The lack of tonal warmth results in a fatiguing listen that can be corrected by EQ adjustments, but such user interaction is not required for the vinyl counterpart.  

Of course, the biggest drawback of the vinyl edition is that the non-album tracks are not included. The 2022 Vinyl Album Box Set, however, addresses that omission with a bonus LP titled ABBA Tracks but I’m not interested in purchasing yet another ABBA reissue. Once bitten, twice shy? Perhaps, but it is the constant re-issuing, and purposely holding back, of back catalog material that dissuades music lovers, for it ceases to be enjoyable when the aim is to resell us the same music over and over again.

As Good As New opens Voulez-Vous with drive and energy that, if you’re not ready for it, will likely be a shock to the senses. While Agnetha’s lead vocals are solid, as is the musical and harmonious backing, there are times when I find As Good As New to be a little tiresome, particularly due to the song’s shrillness. Yes, it's typical of ABBA’s style but I do question if the tempo is a little too fast. Nevertheless, when you’re ready for an upbeat tune, As Good As New certainly fills the void. 

Voulez-Vous is a great song with exceptional rhythm and vocal harmonies. It’s also ABBA’s most disco-esque tune and will see you compelled to put on your dancing shoes and hit the dance floor. Voulez-Vous may well have a similar tempo to As Good As New, but the flow of the song is superior on this second track than on the album’s opener. 

The music video doesn’t quite live up to the vigour of the song, but if you’re after a clip that incorporates all aspects of this tune, then look no further than this classic release.

I Have A Dream slows things down a little with a song that has a unique twang set against an elegant smoothness. It may not be the first song you think of, when ABBA pops into your mind, but there’s no denying the appreciation one receives from listening to this song. Frida’s lead vocal is heavenly and arguably one of her very best and the chorale backing is sensational. An incredible, and underrated, ABBA tune!

Angel Eyes is one of those songs that will compel you to sing along to the chorus. Yet, it is almost guaranteed that you won’t sing the verses. Nevertheless, it’s a fun little tune and perfectly suited to ABBA. 

The King Has Lost His Crown, like many of the songs from Voulez-Vous, sounds dated to the era and while that isn’t a bad thing, for nostalgia can be just as enjoyable as a modern-sounding record, it will have its detractors. Nevertheless, as part of the album flow, The King Has Lost His Crown is not only masterful in its tracking but the purposeful rhythm, particularly concerning the vocal delivery, is incredible and leaves you wanting more. 

Does Your Mother Know is a great rhythmic song and is ABBA's greatest rock-influenced tune. Björn’s lead vocals are incredible and perfectly suited to the song as it frees up Frida and Agnetha to form the harmonious backbone of the song.

The music video was recorded at the same time as Voulez-Vous, meaning the disco vibe is ever present. Despite that, it works extraordinarily well and is a value-added component for fans of the song. 

If It Wasn’t For The Nights is, not unlike As Good As New, a little shrill at times, especially with regard to the chosen vocal mix and musicality. That said, it’s such a good song that unless I’m tired, or simply not in the mood, I find myself adoring If It Wasn’t For The Nights. It is far more palatable, however, on the aforementioned vinyl counterpart as the Apple Music stream needs a little rounding in the treble range to sound its best. 

Chiquitita is a beautiful song that reminds me of Cassandra; another exceptional ABBA ballad! The upbeat approach to the chorus is different, and is perfect for Chiquitita, but both songs are exceptional catalogue tunes from our favourite Swedish band. 

The setting for the music video, however, is terrible. The snowman behind the band is utterly ridiculous and in many respects, a simple landscape, sans the snowman, would have been a far better option. That said, due to my own quirks, the out-of-place snowman brings a smile to my face every time I watch the clip, thereby making it somewhat memorable. 

Lovers (Live A Little Longer) has a quirky but appealing introduction with cues from their 1977 tune, Eagle. There’s also a slight disco feel to the song and while it may not get you on the dance floor, it’s perfectly suited to the era. The chorus, however, is awful! The shrillness is a jolt to the senses and detracts from the song itself. Throughout ABBA’s entire career, there have been very few notable missteps, but this is certainly one of them. 

Kisses Of Fire is much of the same, but where the shrill nature of Lovers (Live A Little Longer) is a little too present to ignore, it is mellowed on Kisses Of Fire, thereby permitting greater connection with the song. 

Summer Night City has a disco rhythm that will remind you of Grace Jones. What’s not to like? A fantastic tune! 

The music video is a standout as it pertains to ABBA’s music videos. It encompasses all elements of the disco era and is much more appealing than the other music videos from Voulez-Vous.  

Lovelight (Original Version) is one of the best songs from Voulez-Vous. It’s catchy with a level of fluidity that makes for a memorable listening experience. Brilliant!

Gimme! Gimme! Gimme! (A Man After Midnight) is pure gold. While originally a non-album single, instead being released as a new tune for ABBA’s Greatest Hits Vol. 2, Gimme! Gimme! Gimme! (A Man After Midnight) was an instant hit and is brilliantly sampled by Madonna on Hung Up while also being masterfully recorded in Spanish on ABBA’s Gracias por la Música. Cher’s version, however, isn’t great as it is overproduced; a shame considering there are moments that can be heard that indicate just how exceptional it could have been.

The music video for Gimme! Gimme! Gimme! (A Man After Midnight) is one that I’ve always appreciated. Yes, it’s a rather basic behind-the-scenes studio recording, but as someone who has always been fascinated with that aspect of music production, it’s a rewarding viewing experience. Yes, the song was worthy of something flashier, but the editing and camera angles ensure that it is perfectly suited to the song itself. Magnificent!

Overall, Voulez-Vous is a solid release with several memorable songs that are perfectly suited to the disco era. From a creative perspective, however, it pales in comparison to Arrival and The Album. It’s as if ABBA were chasing a sound and never quite cemented the overall theme of the album. Yes, the undercurrent of disco is ever-present but Voulez-Vous is still an album without a purpose. That said, we can still thoroughly enjoy it as it's amongst the greatest records released in 1979.

Michael Jackson – Off The Wall (Album Review)

Michael Jackson – Off The Wall (Album Review)

For many, Michael Jackson’s greatest release will always be Thriller, yet I consider that album to be his weakest, from a musical perspective, instead suggesting that Off The Wall is far superior, closely followed by Bad and Dangerous. Off The Wall is tight, purposefully fluid, and lacks filler. With disco vibes, funk, and soft rock influences, merged with some sensational pop styling, Off The Wall is not only one of Jackson’s greatest albums but is one of the best albums released in the 70s; particularly in 1979. 

Jackson’s first album with Quincy Jones in the production chair showcased just how far he could go as a solo artist with the right team behind him. Yes, his earlier solo Motown releases were thoroughly enjoyable, but they lacked Jackson’s opinions, for he was positioned to be the singer of other people’s songs rather than his own. No more is this relevant than on his 1975 album, Forever, Michael; a solid release of catalogue tunes but one that failed to capture the attention of the music-loving public. While Jackson and his brothers would move to Sony Music in 1976, and subsequently begin to write their own music, The Jacksons showed promise and released some of my favourite Jackson-family material, but going solo with Jones provided the singular focus and creative freedom that allowed Jackson to achieve superstardom, ultimately transforming himself into the King of Pop. 

Of course, it wasn’t merely these two men who should be congratulated for the results heard on Off The Wall. The musicians and entire production team should be praised for recording an album that is a textbook example of how music should be recorded and mixed; thank you, Bruce Swedien! There isn’t a singular misstep in the entire 42-minute runtime and while Jackson would only pen three songs from this 1979 masterpiece, when you have the likes of Rod Temperton, Paul McCartney, Stevie Wonder, and David Foster writing some of their very best music, there leaves little doubt as to why Jackson and Jones would record these songs, ultimately making them Jackson’s own. Even though Paul McCartney recorded Girlfriend with Wings in 1978, it isn’t good and is likely the worst song McCartney ever recorded. Yet, while not the most notable song featured on Off The Wall, Jackson performed it exquisitely. 

As it pertains to the mastering, Off The Wall hasn’t always been as uniform as the recording demands. While I’ve been fortunate to own the 2009 Music On Vinyl (MOV) reissue, the noise floor of this particular release is a little higher than I’d ideally like, thereby creating a distraction when playing at higher volume levels. While this could be overlooked, given the fact that a diamond-tipped needle is being dragged through the vinyl groove, and it’s still remarkable that records can even reproduce sound, there’s a little too much shrillness and focus on the treble range as well as a little cymbal crunching that’s grating on songs such as Rock With You. Given MOV releases are digitally sourced, this one reportedly being from the 2001 remastering sessions that reduced the overall dynamic range of the recording in preference for loudness, I shouldn’t be surprised with the less-than-perfect sonic reproduction. Jackson’s vocal also suffers a little and while he has always had a minor level of sibilance, you notice it more on this vinyl reissue as the mastering causes it to be more pronounced; particularly on I Can’t Help It and Off The Wall. Still, these quibbles aside, the mid to low-end aspects of this pressing are quite nice with a solid and speedy bass response and enough oomph to get you on the dance floor.  

Turning our attention to the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, the aforementioned issues from the vinyl reissue are gone. What we’re left with is a thoroughly enjoyable reproduction that has me feeling somewhat ambivalent towards the vinyl counterpart. Put simply, the stream undeniably sounds right. Yes, there’s a little less bass but at the same time it’s taut and well-defined while not being overbearing, thereby allowing the stream to present the album in greater detail with amazing separation between instruments and all musical elements. There’s so much clarity that you’ll swear Jackson is in the room with you, particularly on the classic vocal-focused piece, She’s Out Of My Life. 

While Off The Wall is one album that most certainly should be owned on vinyl, for the fold-out gatefold is exceptional, it’s strongly recommended that you listen to the Apple Music stream before picking up a physical release as you may find that it is more than enough to adequately suit your needs. 

Don’t Stop Til You Get Enough is self-affirming, in much the same way as Queen’s We Are The Champions is, in that Jackson’s lyrical intent need not be literal with regard to how the listener will interpret the song. While the spoken word introduction has always felt strange to me, I couldn’t imagine Off The Wall opening any other way. Despite that, I do question if it was needed. Besides the addictive upbeat dance floor rhythm, Jackson’s falsetto-styled vocal is simply magnificent and challenges Barry Gibb’s for superiority. One element Jackson had over the Bee Gees, however, was his renowned use of scat vocal techniques. While not the first to use such non-verbal vocal cues, Jackson perfected the technique ensuring that it was subtle, yet purposeful in adding to the overall presentation of the song. 

The live recording from The Jacksons’ 1981 release, Live, is a little more rock and roll with a touch of funk when compared to the album version and while there’s nothing wrong with that, and it’s a fun uptempo live performance, it’s unlikely that you’ll seek this rendition out, as it simply isn’t on par with the album version. Yes, I acknowledge the differences between studio and live recordings but even after considering that, I stand by the previous statement.

The music video, however, is still fun after all these years and while the filming techniques have transitioned well beyond what was capable in 1979, it still impresses and is a window into the disco era for those of us that couldn’t experience it for ourselves.  

Rock With You, a mid-tempo ballad, is the perfect song to follow Don’t Stop Til You Get Enough and is just one example of why Off The Wall is a perfect example of a cohesive album experience that is full of killer tunes with absolutely no filler. Rock With You will not only get you on your feet, but it’s a great tune to sing along to with its catchy lyrics and all-encompassing rhythm. 

The live recording from The Jacksons’ 1981 release, Live, has a synth-styled presentation with jazz cues mixed into the overall tempo. As with Don’t Stop Til You Get Enough, this isn’t the strongest performance and I’d go so far as to say the Jackson brothers added no value to the song. Nevertheless, for an early live recording, it will appeal to fans who wish to hear all available versions of this timeless tune.

The music video, in this instance, isn’t as impressive as the one for Don’t Stop Til You Get Enough. While closer in style to other mainstream music videos of the era, the biggest failing is that Jackson is presented alone throughout the entire video, and given the context of the song, one would have assumed that there would have, at the very least, been a love interest present throughout the video or a dance club full of people rocking out with Jackson. That said, it’s not fundamentally bad, but in retrospect, it could have been so much better.

Workin’ Day And Night is funky and is one of the greatest tunes from Off The Wall. The Immortal version is, however, terrible. Understandably, it was created with a different intent than the original album recording but I increasingly grow weary of alterations made to the music we all know and love. It’s as if the estates of deceased artists can’t help but cash in on an artist’s legacy. If I had my way, I’d leave the catalogue untouched and simply make sure it is continuously available, in every possible format. 

The live recording from The Jacksons’ 1981 release, Live, isn’t as bad as the other songs featured on that particular recording, although the ending is atrocious. The Jacksons certainly didn’t work Day and Night to perfect this performance as it’s a little too loose in every aspect; although Michael’s vocal presentation was spot on.

Get On The Floor is disco 101. It may be blatantly obvious, but this is one song that will get you on the dance floor; exceptional!

Off The Wall, in retrospect, appears to be a musical influence for Thriller, particularly with regard to the introduction. In truth, however, it’s just a solid rhythmically disco-charged tune with plenty of rhythm and blues elements. While worthy of the title track position, its upbeat tempo and lyrics, looking positively beyond the mundane and troubling aspects of life, are compelling from both lyrical and musical perspectives. 

Girlfriend is corny and cliché but it’s so good. The original Wings’ version, as alluded to earlier, isn’t!

She’s Out Of My Life is a magnificent ballad that highlights Jackson’s vocal prowess like no other song in his catalogue of music. The delicate resonance in his vocal humanises the song as you can feel the emotion in Jackson’s voice, despite the song not being written, and therefore not personalised, by the King of Pop himself. 

The demo version from This Is It is understandably raw but this bare-bones recording is simply exquisite for Jackson has an incredible vocal that, in its natural state, is stunning! While it won’t supplant the final album version from Off The Wall, it’s well worth checking out if you’re a fan of the song. 

The live recording from The Jacksons’ 1981 release, Live, is similar to the studio recording but is one of the better performances of Jackson’s solo material from this particular release. As lovely as it is, however, I dare suggest that it would have been even better had it been performed with only an acoustic guitar; akin to the demo. Regardless, it’s a solid performance and another value-added proposition for fans of the song.  

Further to that, you really need to hear Willie Nelson's magnificent interpretation. It is honestly a toss up as to who performed it better. 

The music video is about as good as you’re going to get. She’s Out Of My Life really isn’t music video material, yet, when watching it, you’ll become even more captivated by Jackson’s performance than the song itself. It’s an interesting dichotomy but one that I can’t take my eyes off. 

I Can’t Help It has a glorious sonic soundscape with a soft fluid jazz feel to it. Stevie Wonder and Susaye Greene penned this tune and while it isn’t, and was likely never intended to be, a chart-topper, the culmination of these incredible musicians ensures that I Can’t Help It is memorable and will keep you coming back for more.  

It’s The Falling In Love picks up the pace perfectly without jolting the senses. As with I Can’t Help It, It’s The Falling In Love is somewhat unassuming and is the quintessential B-side. That said, I dare you to sit still and not sing along to this wonderful upbeat tune; I can’t do it! Patti Austin’s intermingling vocals on this song are similarly exceptional and complementary to Jackson’s incredible performance. Interestingly, Jackson wasn’t the first to record this catchy song for Carole Bayer Sager (co-writer of the song with David Foster) recorded it for her 1978 release, …Too; a solid recording in a similar style, but make no mistake about it, Jackson and Co. took it to another level entirely. Dee Dee Bridgewater also recorded the tune with sultry vocals for her 1979 release, Bad for Me while Dionne Warwick’s rendition from 1980 attempted to modernise it with an 80s vibe. As good as these other interpretations are, however, none come close to Jackson’s recording. 

Burn This Disco Out is the perfect bookend for the album for it leaves you wanting more. I don’t know about you, but I’ve never been able to play Off The Wall only once; a true testament to its production qualities and conciseness. Exceptional!  

There are landmark albums and then there is Off The Wall. Yes, Thriller and the subsequent 1983 Motown 25: Yesterday, Today, Forever performance made him a superstar, but Off The Wall is Jackson’s most musical release. It’s fun, with serious elements, but at its core, it’s an addictive musical experience that is not only heard but also felt. We are, indeed, fortunate that there are a plethora of exceptional Michael Jackson albums for us to enjoy, but there is only one Off The Wall; a timeless masterpiece!

Bee Gees – Spirits Having Flown (Album Review)

Bee Gees – Spirits Having Flown (Album Review)

Many would point to the Bee Gees as the kings of the disco era, subsequently typecasting them to that genre, but their diversity throughout their back catalog showcases that they were more than a bell-bottom-wearing flash-in-the-pan band. Spirits Having Flown was, after all, their fifteenth studio album but what the Bee Gees did better than anyone else during the disco era was to lean so completely into the style that there was no room for doubt as to their intentions and aspirations. The result is some of the very best pop music, with a disco vibe, ever recorded; particularly from 1979.  

Yes, the incredible Saturday Night Fever soundtrack, Children Of The World, and Main Course could also be regarded as some of their greatest works, but there’s something special about Spirits Having Flown that I’ve never quite been able to quantify. Perhaps it’s that it signalled, in retrospect, the end of the era for their 1981 release, Living Eyes was somewhat of a disappointment as the Bee Gees dramatically shifted their focus back to pop-styled music; a style they had not applied continuously since the 1974 release, Mr. Natural.

As it pertains to the sonic qualities of Spirits Having Flown, I’ve yet to be blown away. The music is extraordinarily good, as is the mix, and I never tire of the focus placed on Barry Gibb’s falsetto vocal, but the remastering heard on the lossless Apple Music Stream is merely adequate. Think of it this way, it’s not bad, not by any means, but it could be so much better. A minor contradiction, yes, but the remaster is a little too clean and sterile and thereby loses the emotive element. There is additional hope, however, as in 2020 a vinyl reissue was released to little-to-no fanfare; always a concern especially considering the status of the Bee Gees, but as I’ve yet to hear it, I will reserve any further comment until I actually obtain a copy and update this review. 

The album artwork is iconic, and subsequently picking up a vinyl copy is worthwhile for that very reason, yet I’ve never fully comprehended the red swath at the base of the album cover. What it represents is lost to me but it does strangely make the artwork stand out from the crowd; a key aspect when releasing albums in an era where the visual element was as important as the music itself.

Tragedy is not only a quintessential Bee Gees song, but it was the ideal choice to open the album on. Rhythmically charged, with some killer guitar moments, and arguably only beaten in that regard by Stayin’ Alive, Tragedy is one of their very best recordings and while the Bee Gees catalogue is extensive, traversing several styles and genres, few would argue that this song doesn’t belong in a Top 10 list of the best Bee Gees songs ever recorded. Magnificent!

Too Much Heaven is a majestic ballad with symphonic and intermingling vocal elements that prove just how essential it is to get the mix right. The orchestral musical accompaniment can’t be understated for it forms the overall sound of the song, but it is the combination of all elements, perfectly positioned in the soundstage, that makes Too Much Heaven a timeless masterpiece.

The music video is, for lack of a better term, perfect! Recorded in a studio environment, and also lacking the rhythm that made videos such as Stayin’ Alive so popular, it maintains an interest because it plays to the beloved harmonies of the Bee Gees. When watching the music video it also became apparent to me that they would have had to know, at the time of recording, just how well Too Much Heaven would be received for even the most self-critical person couldn’t deny a masterpiece was in the making. To say I would have liked to have been a fly on the wall is an understatement and I can only imagine how exciting it would have been to have been part of the Bee Gees’ inner circle during the recording process. 

Love You Inside Out is pure magic; it’ll get you on your feet, dancing, even if you, like I, have two left feet. Besides the rhythm, I long to hear Alan Kendall’s lead guitar work for his licks are incredible and while it isn’t the focal point of the music, the distortion, including the slide, in the chorus, is hypnotic. 

If you’re looking for a killer instrumental cover of Love You Inside Out, look no further than Arturo Tappin’s exceptional jazz-styled version from Inside Out. 

Reaching Out slows the tempo a little but it’s such a beautiful composition that the shift doesn’t detract from the overall flow of the album. While the initial verse structure can be a little slow, once the song reaches the chorus it really takes off and becomes a solid tune in and of itself.

Spirits (Having Flown) gives us a break from Barry’s falsetto vocal, during the verses at least, thereby providing a vocal contrast that strengthens the song overall. It’s a solid title track but, not unlike Reaching Out, it is the chorus that takes this song to another level entirely.

Search, Find is a party starter with some great horns opening things up. The upbeat tempo makes it a great toe-tapper, but it is that bass guitar tracking that gets me every time. Search, Find very well could have been a Motown tune as it has that type of groove but, either way, this is one song that will have you moving towards the dance floor. 

Stop (Think Again), in comparison to Search, Find, is a little sombre but I’d be lying if I didn’t say how much I enjoy this song. For me, it’s the musical elements that make the song. The soundstage is three-dimensional and you feel as if you’re in the middle of an incredible performance that is for you, and you alone. From a production standpoint, it could be argued that Stop (Think Again) is the pinnacle from Spirits Having Flown for as good as the other songs are, they aren't as ethereal.

Living Together picks up the tempo and is most certainly a 70s tune; but who doesn’t like a little nostalgia, especially when it’s this good! 

I’m Satisfied is one corny love song, but it’s a fun little tune that works well within the album structure. I couldn’t imagine Spirits Having Flown without it. 

Until is a lovely vocal ballad but is considerably different from the rest of the songs on Spirits Having Flown and therefore stands out like a sore thumb. That said, Until allows the listener to reflect on the album and the tune itself thereby making it an intriguing closing song. I don’t, however, like the abrupt ending as it seems it would have been better to taper the volume off towards the end of the composition.

While there isn’t a B-side to be heard, one could argue that there is a little too much Barry on vocals throughout. Yes, the harmonies are there, and Robin and Maurice are present, but Spirits Having Flown, like no other Bee Gees album, is most certainly a Barry-first record. Depending on your perspective that could be a blessing for his falsetto vocals certainly deliver an unmistakable signature sound, but as incredible as the entire album is the Bee Gees, in my mind at least, is all about the interweaving harmonies. Regardless, Spirits Having Flown is a masterpiece from the very first note and worthy of inclusion in every music lover’s library.

Neil Diamond – September Morn (Album Review)

Neil Diamond – September Morn (Album Review)

Released in 1979, Neil Diamond’s thirteenth studio album, September Morn, is somewhat tarnished by the theist perspective of The Good Lord Loves You and the Caribbean/reggae-styled cover of I’m A Believer. Yet, even with these missteps, September Morn is a magnificent release with the title track and The Sun Ain’t Gonna Shine as the draw-cards that hold the album together, thereby permitting it to become one of my favourite albums from the era. 

Disappointingly, September Morn has remained largely out-of-print for those of us who like owning music physically, although there was a CD reissue by Capitol Records in 2014. While some may argue that September Morn isn’t one of Diamond’s greatest releases, I’d question that assumption for it was successful upon release selling over a million copies and it, therefore, surprised me that its 40th Anniversary came and went without a whimper. 

One would have expected a short-run vinyl reissue at the very least but it simply wasn’t forthcoming. What has been, however, was a remastering of Diamond’s back catalogue in 2016 whereby 36 albums, including this one, were remastered for iTunes (formally Mastered for iTunes [MFiT], now Apple Digital Master) and HRA (High-Resolution Audio).  All albums were thankfully remastered by Diamond’s longtime audio engineer, Bernie Becker, from the original source tapes and they sound simply magnificent with clarity and crispness that isn’t overly shrill for the mid-range and low-end has been finely crafted to ensure that when you listen to September Morn in (Hi-Res) Lossless, via Apple Music, you’ll become fully immersed in the music and likely won’t long for any other edition. In fact, from a sonic perspective, the only thing a vinyl re-issue could add to this remastering would be the analogue warmth that’s common with the format.

September Morn is worthy of being the title track. It’s classic Diamond; a simple vocal and piano-focused composition that builds progressively. Diamond & Gilbert Bécaud certainly penned a masterpiece. While September Morn is somewhat wistful, I choose to look at it from a positive perspective as I don’t feel the intent was to focus on what was but instead to reflect on a glorious moment of life. Nevertheless, for some, it may be too forlorn. 

Mama Don’t Know is a little more upbeat than September Morn, but it flows seamlessly from the title track. It’s a killer tune with some interesting rhythmic instrumental aspects and Diamond’s vocal delivery is perfect; especially with regards to the pitch increase at the end of the word whole. 

That Kind, again, shifts the tempo but it doesn’t disrupt the flow of the album. It’s a beautiful song and while the composition may be sparse, it amplifies Diamond’s exceptional vocal dexterity. 

Jazz Time is, pardon the pun, jazzy! There’s a solid tune to be heard here but it is closer to a musical interlude than a song in and of itself for the lyrical aspects are simply a repetition of the same three words; proving that sometimes less is more. It works, quite well, but isn’t a song that you’ll likely seek out, outside of the album format. 

The Good Lord Loves You is one of those songs that will drive agnostics mad. If you can look past the overly religious undertone of the song, it isn’t as corny as it initially appears. Yes, the chorus most certainly is but the verses are potent in the sense that Diamond is asking the listener, from all walks of life, to contemplate the negativity of society and the divisive nature of people the world over. With that in mind, one can appreciate The Good Lord Loves You on a different level, even though it’s a little preachy. 

Dancing In The Street is intriguing for its faux live recording adds to the style of the song and while it’s perfectly suited to Diamond, I do question if it’s a little too disco-driven. Yes, it was applicable to the era but I can’t help but wonder if Diamond could have turned it into a pop-rock tune, thereby making it even more suitable to his style. Admittedly, this rendition pays homage to the original Martha Reeves & The Vandellas Motown recording, but it does lose the horns which I feel are a trademark of the song. You may also wish to take a listen to Human Nature’s modernised recording; a truly wonderful rendition!

The Shelter Of Your Arms is a magnificent song with an incredible composition to boot. As a cover of the Sammy Davis original, Diamond’s interpretation has a slower tempo, with a bolder musical presentation, which makes it a stronger song than the original. Diamond’s recording is, in my mind, the definitive version of this classic tune. 

I’m A Believer is blasphemous for the original recording, by The Monkees, is a masterpiece. Why Diamond chose to record it, with a reggae-vibe, is a mystery. Yes, it’s his original composition, but this particular interpretation is a second-rate effort at best. It wouldn’t be the only time Diamond re-interpreted this classic, for it was also included on Dreams; a lovely acoustic-styled recording. He also recorded it in the original style to The Monkees and whichever version you prefer there is no doubt in my mind that they’re all superior to the recording featured on September Morn.

The Sun Ain’t Gonna Shine is the bookend to September Morn and I do wish that it had been the closing track for the album as I consider it to be stronger than Stagger Lee. I also consider this interpretation to be the definitive version of Bob Crewe and Bob Gaudio’s classic. Yes, there are other notable renditions but none come close to this exceptional recording. 

Stagger Lee is a solid toe-tapper with a swinging chorus and Diamond does an admirable job on this popular folk tune. While I still contend that it doesn’t close the album out as well as The Sun Ain’t Gonna Shine could have, it is far from the worst closer I’ve ever heard. 

September Morn from start to finish is excellent, even with the missteps noted above. Subsequently, September Morn is one of those albums within my collection that I can’t listen to just once for I find myself putting it on repeat several times before I’m ready to move on; an indication of a truly great album. 

Barry Gibb – In The Now (Album Review)

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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. 

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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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.