The Jacksons – Destiny (Album Review)

Destiny is aptly named, for the Jackson 5, sans Jermaine, found creative freedom with their move to Epic Records. As their third album on the new label, Destiny cemented their legacy and is without a doubt their strongest and most enjoyable record. The song selection, musicality, and production values make Destiny not only a landmark disco-pop album, but an incredible example of the merging of electronic, funk, and soul. 

While it’s easy to dismiss the importance of album artwork, in the modern era where streaming reigns supreme, Destiny was released during the heyday of the vinyl era and Gary Meyer’s painting would have certainly stood out from the crowd. While I’ve never been fortunate to own a copy on vinyl, I’ve appreciated the CD reissues and have found myself staring into the album artwork for the entire length of the album as it can transport you to another realm. 

Disappointingly, when Destiny was reissued in 2021, there was no physical release for either the original album or the Expanded Version. Subsequently, the only releases that were made available were to streaming services and digital stores such as iTunes. While you may not be fussed by this omission of the physical formats, The Jacksons’ prior albums on Epic Records (The Jacksons [Self-Titled] and Goin’ Places) were both reissued beautifully on vinyl in 2018. Hence, for collectors such as myself, it’s a disappointing blow as I was hoping that these releases would mark a broader reissue campaign. 

Aside from lamenting the absence of reissues from physical releases, I’ve got to admit that the lossless Apple Music Stream, an Apple Digital Master, is sonically exquisite. It has a full analogue-styled sound signature that requires no EQ adjustments to sound its very best. To say that it’s a pleasure to listen to is an understatement for I took a listen to the CD version (EK 35552) and it pales in comparison. Yes, the CD is crystal clear, but it is too clinical, resulting in a more fatiguing listen as well as lacking the mid to low-end oomph that these songs deserve. Unfortunately, there’s little detail available regarding this specific edition for the aforementioned catalogue number has been used on various releases. Either way, it’s one of those budget reissues that were advertised under the hype sticker of “The Nice Price” and one can’t help but wonder if a less-than-optimal master was used in the manufacturing process. 

Yet, my 90s edition CD, the 1991 Australian reissue with a red jewel case tray (468875 2) offered a much more pleasurable experience; from memory. It too was a budget release, under the Red Hot series from CBS Records, but was reproduced at DADC Austria; a highly reputable CD production plant throughout the 80s and 90s. No, dear reader, I haven’t gotten that confused for despite it being an Australian release, the disc itself was the European edition. If my research is correct it was released in Europe under the EPIC Records catalogue number: 468875 2; the same catalogue number as the Australian release despite a different artwork/liner notes presentation. 

Disappointingly, however, these budget releases also botched the liner note reproduction. Yes, this is a common aspect amongst price-restricted reissues and while the Red Hot edition from the 90s lacked any form of liner notes, everything is replicated on “The Nice Price” release, except for the back cover art featuring the peacock design and a statement from Jackie and Michael that concluded with one of the most important and moving declarations I’ve seen on an album:

"Through the ages, the peacock has been honored and praised for its attractive, illustrious beauty. Of all the bird family, the peacock is the only bird that integrates all colors into one, and displays this radiance of fire only when in love. We, like the peacock, try to integrate all races into one through the love of music.”

This isn’t, nor should it be seen, as an artist's declaration designed to placate and influence fans, for it’s true. The Jacksons’ music, love it or loathe it, reaches everyone. In fact, I’ll take it one step further and declare that not only The Jacksons, but music in general, is universal.

Returning to the mastering woes, there is then little wonder why so many go in search of nirvana for not all releases are created equal. While the Apple Digital Master further complicates the situation, despite its perfect sound, I find that it simultaneously simplifies matters for comparing masterings, on various formats, is a chore that rarely yields greater enjoyment of the music itself. With that in mind, join me as I take a look at the songs that make up Destiny; the original album tracking rather than the Expanded Version. 

Blame It On The Boogie is so synonymous with The Jacksons’ uptempo sound, one could be forgiven for assuming that it had been written by The Jacksons. In actual fact, Blame It On The Boogie was written by the English singer/songwriter Mick Jackson, his brother Dave Jackson, and Elmar Krohn. Of course, when you look at the songwriting credits and you see M. Jackson, you naturally assume that is a reference to either Michael or Marlon but that isn’t the case here. It’s an interesting case of mistaken identity but one which made music history. As enjoyable as Mick Jackson’s original is, the additional sparkle of The Jacksons’ rendition takes the song up a notch and ensures that it goes beyond its funk/soul roots by ensuring you’ll want to get on the dance floor. 

The music video is fantastic and was revolutionary for the era, but you’ll feel like you’ve taken some magic mushrooms when watching it. Yes, upon reflection, the trailing image technique is overdone, but I can only imagine how well it would have been received when shown on television in the late 70s. If nothing else, the visual elements played into the disco era and subsequently are perfectly suited to the music. 

Push Me Away shifts the tempo and should you have already been on your feet, you may wish to find your significant other and embrace each other as you move to the slow rhythm. Yes, the sonic shift is immediately noticeable, but I’ve found over the years that it is less of an issue as you get used to the chosen sequencing of the album. Additionally, Push Me Away is a lovely tune!

Things I Do For You has a jazz-funk feel to it and if you haven’t returned to your feet, you’ll likely be singing along to Things I Do For You as it's one of the best songs The Jacksons ever recorded. 

Shake Your Body (Down To The Ground) continues the funk vibe with a seamless transition while adding a touch of disco that ultimately gives the song its unique, and instantly recognisable, sound. While a group effort, this is Michael’s song as his lead vocal can be seen as a precursor to his style heard on Off The Wall. While Quincy Jones would add spit and polish to Michael’s sound, on his first solo outing on Epic Records, the production quality for Shake Your Body (Down To The Ground) is as good as anything Jones ever produced with Jackson. Yes, that may be controversial to some but Jones didn’t make Jackson any greater than he already was. He simply helped him to refine the sound and direction of his music. 

Destiny has a country twang to it and while you’d think there is no way this could follow the disco funk of Shake Your Body (Down To The Ground), you’d be mistaken. The multiple styles applied throughout the mix are extraordinary and just go to show that The Jacksons were more than capable of producing a masterpiece.

Bless His Soul is a lovely album tune. While you’re unlikely to seek it out on its own, Destiny wouldn’t be the same without Bless His Soul. 

All Night Dancin’ is a quirky little disco tune. It’s not bad, but I feel the tempo is a little too fast for the song. Any faster and we would have been listening to The Chipmunks! Joking aside, I can see what The Jacksons were trying to achieve, but it just doesn’t connect with my soul and I struggle to find a rhythm to connect to that would ultimately return me to the dance floor. Let’s just say, especially with regards to its length, it’s a little more filler than killer. 

That’s What You Get (For Being Polite), by comparison, is a little more up my alley and is a lovely song to close out the album with. It is both contemplative and encouraging thereby allowing you to decide to play the album again or further enjoy The Jacksons’ extensive catalogue of music.

With a runtime of 41-minutes, Destiny is concise and purposeful and while I don’t find a connection with All Night Dancin’, there’s little doubt in my mind that Destiny is not only one of the greatest albums to come out of the Jackson clan, but it’s one of the best albums released in 1978 and should be in every music lover’s collection. 

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Willie Nelson – Stardust (Album Review)

Prolific would be one way to describe Willie Nelson for few artists exhibit such an incredibly vast back catalogue of music. I often wonder, with such output, if it’s possible to proclaim a single album as a definitive release that is not only exceptional in its own right but is telling of an artist’s greater body of work. Yes, Stardust saw Nelson deliver music in a somewhat different style than he was renowned for, by that stage in his career, but the cross-genre approach was done remarkably well and is, in my opinion, Nelson’s greatest musical achievement. 

Released in 1978, Stardust was Nelson’s twenty-second studio album and was comprised of ten standards, encompassing music from folk, jazz, and pop genres, that made the album instantly marketable to audiences outside of his usual country music genre. Remarkably, Nelson’s vocal prowess showcased that he could be considered in the same light as Frank Sinatra, Ray Charles, and Bing Crosby. However, when comparing Nelson’s recordings to the greats of yesteryear, an interesting dichotomy presents itself for Nelson arguably performs many of these songs to a superior standard than those who came before. If nothing else, he matches their brilliance and while it isn’t unheard of, it’s exceptionally rare that an album of music can be so perfect as to know no peer. Well, Stardust is one such album.

It wasn’t only the music, however, that was striking for the cover art is gorgeous and works incredibly well with the music itself. Painted by Susanna Clark, the Pleiades constellation has never looked better. While the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, is sonically exquisite, I’ve got to get myself a copy on vinyl one day for I simply want to hold and display the artwork on a larger canvas. 

Stardust sets the tone for the album and the subtleness of the organ within the mix, with all other musical elements placed on top, is the epitome of good mixing for every musician is featured clearly within the mix while Nelson is front and centre. The adage that they don’t make music like this anymore certainly applies when listening to not only this song, but the entire album. 

Georgia On My Mind is so incredibly good that there’s no doubt in my mind as to why Nelson won the Grammy in 1979 for the Best Male Country Vocal Performance of this classic song. That said, one can’t forget how incredible the entire band is on the song. Mickey Raphael’s harmonica is certainly a highlight. Yet, interestingly, I can’t help but wonder if other songs from Stardust were more worthy of a Grammy award. Of course, if I had my way, Nelson would have taken out a Grammy for the entire record.

Blue Skies is one of my favourite tunes and is one of the best from the album. I’d even go as far as suggesting that it’s one of the greatest songs Nelson ever recorded, in his entire career. Sit back, relax, and toe-tap to this master recording. 

All Of Me has an old swing to it, and it should for the era from which it came, and while I’d suggest that as a song on its own, it isn’t that strong, I couldn’t imagine Stardust without it.

Unchained Melody is one of the greatest standards ever written and Nelson and the band have recorded one of the very best renditions I’ve ever heard. Magnificent!

September Song is nothing short of a musical masterpiece. Every aspect of the recording is utterly perfect; a statement that I’ve likely repeated for Stardust is a well-crafted piece of audible art.  

On The Sunny Side Of The Street is the ultimate toe-tapping head-bopping tune.   

Moonlight In Vermont showcases, as many of the songs do on Stardust just how magnificent Nelson is as a vocalist. While many fans will already acknowledge this fact, there’s something very special about his vocal performance on this album that I don’t feel necessarily works as well with his more traditional style. It’s as if he was always meant to record these songs. 

Don’t Get Around Much Anymore is a fun little tune and while there are countless examples of incredible recordings, Nelson’s is one of the best. The mix and mastering are incredible and the soundstage is so spacious that you’d swear you were in the room with the band as the song was being recorded. 

Someone To Watch Over Me is a beautiful song to close the album with. While additional releases throughout the years have extended the track listing to include bonus tracks, I’m incredibly grateful to Sony Music Entertainment for not adding those versions to Apple Music as I feel the original 10-track, 37-minute runtime, is perfect as it encourages me to play the album again. 

Part of the strength of Stardust is that Nelson wasn’t merely recording an album of covers, done in the same style as the originators, for Stardust may remind you of the classic recordings but make no mistake about it, Nelson, the band, and Booker T. Jones (in the production chair) made these songs their own and in many cases, if not all, I’d go as far as saying these renditions are superior to the originals. Either way, Stardust is a masterful album and one that should be in every music lover’s collection.

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ABBA – Super Trouper (Album Review)

Super Trouper, ABBA’s seventh studio album, is one of their greatest releases with a more mature sound signature than that of their previous albums. It’s also one of the greatest releases from 1980 and while I’d suggest The Visitors is superior to Super Trouper it is merely because their last album, for some four decades, was the most polished recording the Swedish pop band ever released. Although, it did lack the merriment aspects of ABBA’s previous releases. Nevertheless, there’s something special about Super Trouper that encourages me to come back and enjoy it time and time again.

Other than the music, the album cover art is compelling despite it being rather busy. Created when the larger structure of vinyl reigned supreme, streamers and even CD collectors will concede that the artwork loses something on a smaller canvas. If a picture tells a thousand stories, then this is somewhat problematic for I love nothing more than gazing into the artwork, as I listen to the music, all the while allowing my mind to get carried away by the stories it wishes to tell itself.

While I’m fortunate to own The Studio Albums vinyl box set, and can subsequently enjoy the artwork in its full glory, a busy lifestyle, and a crowded house, often means streaming is far more accessible. Plus, as much as I adore the sonic reproduction of The Studio Albums collection, the lossless Apple Music stream, an Apple Digital Master, is stunning and is the box set’s sonic counterpart. 

Yes, you read that correctly, the Apple Music stream is full-bodied and smooth with no digital glare or harshness, to be heard, while offering a spacious soundstage with no detail concealed and just enough space between all musical elements. One song that highlights this aspect best is Lay All Your Love On Me as it’s notorious for sounding harsh and treble-focused, particularly on the CD editions I’ve heard, yet on Apple Music, it’s incredibly close to the tonality of the vinyl record. Subsequently, there’s little doubt in my mind that the Apple Music stream is one of the very best ways to enjoy this classic album; it really is that good!

Super Trouper launches the album beautifully with a slow build that's simultaneously relaxed and engaging. As the song builds to the chorus, which is arguably its greatest asset, the rhythm reaches into my soul and doesn’t let go for the entire length of the tune. You’ll be head-bopping and toe-tapping as only ABBA could induce and the lyrics are so addictive that you’ll likely find yourself singing along with Frida to this classic song. 

The Winner Takes It All represents one of my earliest memories of ABBA and I was wowed then just as I am now. Songs are often timeless and The Winner Takes It All is no exception as it’s one of ABBA’s greatest recordings. While it’s undoubtedly a very personal ballad, somewhat detailing the dissolution of Björn and Agnetha’s marriage, this is an example of why I rarely listen to music for lyrical meaning, instead preferring to hear the vocal as an instrument in its own right. It simply means the analytical aspect of my mind isn’t active and I can enjoy the song without analysing it.

On And On And On is a fun little tune that harks back to early ABBA releases; think pre-Arrival. Believe it or not, that’s a compliment. While I wouldn’t suggest ABBA got too serious throughout the years, despite their music maturing as they honed their craft, it’s these upbeat tunes that are at the core of ABBA fandom. 

Andante, Andante is beautiful and is one of Frida’s finest vocal performances.

Me And I has an epic introduction and the song is fantastic but I’ve always had a love/hate relationship with it as I don’t feel the verses are strong enough to hold the song together. I do, however, love the chorus and the synth-pop styling. 

Happy New Year starts promisingly and while it isn’t a bad song, it’s a little too campy for my liking. That said, Agnetha’s lead vocal is simply gorgeous.

Our Last Summer is a beautiful tune with Frida on lead vocal. You’ll hear every quiver from her vocal cords and it never ceases to amaze me how well her vocal was captured on this song. However, it’s the rock and roll elements that I like most and the guitar solo/riff is simply magnificent. All of this culminates in Our Last Summer being one of the best songs ABBA ever recorded. 

The Piper is interesting as it could almost be considered a traditional folk music tune with a modern twist. Nevertheless, The Piper has ABBA’s magic musical elements throughout thereby making the song timeless, for it doesn’t sound as if it has aged a day. An incredible song!

Lay All Your Love On Me would have been the perfect closer as the upbeat disco-inspired vibe encourages playing the album again.

The Way Old Friends Do (Live 1979) is the closing track when looking at the album from the original tracking and it’s quite lovely. It doesn’t, however, have the same sense of urgency as Lay All Your Love On Me, for it is far too relaxing and reflective, to encourage spinning Super Trouper again. 

Elaine is a non-album track that made its way to the album when it was reissued on CD in 1997 and has subsequently been maintained on all digital releases henceforth. I generally lament the inclusion of bonus tracks, particularly post-release, and this is no exception. There’s nothing fundamentally wrong with the song, but it isn’t worthy of inclusion on Super Trouper, despite being the B-side to The Winner Takes It All. Thankfully, due to the convenience of streaming, I can delete that song from the album and appreciate Super Trouper as it was originally intended. 

Super Trouper is an incredible album from start to finish. While I still consider The Visitors to be a superior release, Super Trouper is a musical masterpiece that not only needs to be heard but shared, for it’s a timeless classic that will continue to be appreciated for as long as intelligent music-loving life exists. 

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Air Supply – Lost In Love (Album Review)

Released in 1980, Lost In Love is Air Supply’s fifth studio album. While not an instant chart-topper, and it could be said that Air Supply was more successful as a singles band, Lost In Love is a cohesive piece of musical art that plays as if it were a greatest hits album with a couple of B-sides included for good measure. 

Streaming music fans will note the absence of All Out Of Love on the Apple Music stream. It’s a disappointing omission due to licensing agreements but as Lost In Love is one of my favourite albums of all time, I had no hesitation in purchasing it via Apple’s iTunes Store as All Out Of Love becomes available when the purchase of the album is made. It’s a workaround, for sure, and one that music lovers shouldn’t have to endure, but it isn’t as if Apple Music is alone with regard to this issue as all streaming services suffer the same music industry anomalies. It’s important to note, however, that All Out Of Love can be streamed on Spotify but this is only due to Spotify’s insistence on substituting music from one album to another to solve the issue. In this case, Spotify has taken All Out Of Love from Air Supply’s Ultimate Collection. So, yes, in one way it can be streamed but the variances in mastering still create a sonic shift that can be distracting and I am, therefore, grateful that Apple Music doesn’t apply the same approach for you can very well end up with a version of the song that is quite different to the original album release. Some of you may not be flustered by this process, but for those of us who are, at least due to the iTunes legacy, Apple Music users have options. 

You may, of course, be wondering how the album sounds. Well, it’s quite lovely. It isn’t an Apple Digital Master but it’s an enjoyable digital facsimile with no glaring aspects to be heard. Yes, a (Hi-Res) Lossless Apple Digital Master would be appreciated, but so would a vinyl reissue. Time will tell if either will become a reality, but until then I can assure you that despite being lossy, the iTunes Store edition happily fills the void.

Lost In Love has a gorgeous opening that sets the tone for the entire album. It’s classic Air Supply and while there are stronger songs on this release, Lost In Love is most certainly worthy of the title track position. The vocal harmonies are particularly notable as they have an air of delicacy about them and this is likely a core reason why Lost In Love has been, and will continue to be, appreciated by so many people around the world.

Fans of Air Supply will note that despite this being the title track, this wasn’t the first time we heard Lost In Love for it was initially released on their 1979 release, Life Support. This original recording differs in that the song's focus is more acoustic with a less symphonic style that would have limited radio interest. It’s also a little longer than the newer mix; a further limitation of radio requirements at the time. Regardless, it's still lovely, but once you’ve heard the polish of the 1980 edition, it’s difficult to go back. 

All Out Of Love is one of my all-time favourite Air Supply songs as the entire composition is exceptional. Of particular note is the blending of vocal styles as the song shifts from verse to chorus and back again. It’s simply magical and is one of those songs where I’ll pump the volume and sing along; an addictive tune if there ever was one. 

Every Woman In The World is a lovely ballad and while some may suggest that Air Supply’s songs blend with little separation, to think that is short-sighted as each song is an experience and a story in and of itself. Plus, when music is this good, there’s no need to change a successful formula, is there?

Just Another Woman shifts the tempo of the album a little with disco-inspired styling. It’s solid, and it works, but I’d suggest it isn’t exceptional. Nevertheless, Lost In Love wouldn’t be the same album if it were not for Just Another Woman and when looking at the album from a contemporary perspective, Air Supply most certainly played into the style that was popular at the time. 

Similarly to Lost In Love, Just Another Woman was also originally released on Life Support. It’s considerably different in that this early release is focused on delivering a rock and roll tune with a slight disco vibe. No doubt, some may enjoy it, but I still prefer the latter release from Lost In Love.

Having You Near Me is simply magnificent. 

American Hearts as an album-filling track is solid, but it’s also the low point of Lost In Love. 

Chances is beautiful as it highlights the vocal and musical prowess of Air Supply. They’re simply amazing!

Old Habits Die Hard is a bit of a mixed bag. It isn’t bad but it isn’t great either. Yet, I couldn’t imagine the album sans this tune as it somehow manages to fit the overall style of the band.

I Can’t Get Excited is an energetic tune that gets me going every time I listen to it. While Air Supply is unlikely to make it to your exercise playlist, I Can’t Get Excited is one song that could buck that trend. It reaches into your soul and has an upbeat tempo that will keep you moving. While I don’t take music with me when hiking, this is one song that has played on repeat, in my mind, as I’m hiking up a mountain and it subsequently gives me encouragement and energy to keep going. A great tune!

My Best Friend returns the music to a slower tempo, to close out Lost In Love, and it’s one of the best tunes Air Supply has ever recorded. It’s also the quintessential closer as it allows for contemplation of the music that you’ve just heard while simultaneously encouraging you to play the album again. 

Ultimately, Lost In Love is a timeless classic and while some will dismiss it as merely a soft rock ballad-focused album of love songs, that determination is too limiting. As someone who appreciates music, sans lyrical interpretation, I find that there’s something here for every music lover to enjoy; if you give it a chance, that is! If you do, you’ll no doubt agree that Lost In Love is not only Air Supply’s greatest album but that it's one of the best albums released in 1980.

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Elton John – 21 At 33 (Album Review)

We all know the classic tunes, but it never ceases to amaze me just how prolific Elton John has been throughout his career. Sadly, much of it has gone unnoticed, having never been played live or included on John’s various career perspective releases, while also receiving limited radio coverage. It’s a travesty, for 21 At 33 should be a classic, but most listeners would have only heard the song, Little Jeannie. While Little Jeanie is exceptional, in its own right, one shouldn't ignore 21 At 33 for there are numerous hidden gems to be heard on this 1980 release.

Unlike his previous Disco-based release, Victim Of Love, 21 At 33 sees John return to his pop-rock roots. Although, if you listen closely, there are a couple of songs that have a definite disco vibe; a byproduct of the era.  

Given 21 At 33 is so overlooked, it should come as no surprise that the album isn’t presented as an Apple Digital Master on Apple Music. Instead, we get the remastered edition. Don’t let that deter you, however, it’s magnificent! The entire soundstage is beautifully presented, allowing for complete stereo immersion, while simultaneously having a sense of clarity and warmth that puts 21 At 33 alongside Elton John’s best-sounding records. I could argue that there is room for improvement and that a vinyl reissue would trump the stream, but when the lossless Apple Music stream is this relaxing and enjoyable to listen to, it becomes a non-issue.  

Chasing The Crown starts the album off with plenty of energy, but isn’t necessarily the ideal lead track. No doubt, it would have been far better positioned later in the album structure but it is what it is. While Chasing The Crown is thoroughly enjoyable, if you’re familiar with Victim Of Love, you’ll be wondering if this tune was left over from those sessions as it is one of the songs with a slight disco vibe. Nevertheless, it’s a great upbeat tune!

Little Jeannie is a lovely ballad and would have been the ideal lead track for 21 At 33. Upon its release, it charted highly in the United States but failed to set any records in the United Kingdom. Thankfully, Little Jeannie was included in his latest career perspective, Diamonds, but John has rarely performed it live since the early 80s thereby making it even more obscure. A shame, as it’s one of his best, but a magnificent find for those who dare scour John’s extensive back catalogue. 

Sartorial Eloquence has a superb and catchy chorus. Whenever I think of songs that showcase Elton John's core style, Sartorial Eloquence is certainly at the top of the list. The vocal, piano, and all backing elements are so perfectly mixed that it captivates the listeners’ attention, the way his most popular tunes always have. It’s disappointing to note that Sartorial Eloquence failed to be a chart-topping success for it is one of the best songs John has ever recorded. 

The music video, however, isn’t one of Elton John’s finest moments. While clearly dated to the era, and perhaps we shouldn’t expect too much, it is difficult to watch and not notice his scruffiness and bald spot. Seriously, couldn’t they have picked some better camera angles? 

Two Rooms At The End Of The World is one of my all-time favourite Elton John songs. The rhythm is off-the-charts and it gets me toe-tapping and head-bopping every time. Sensational!

White Lady White Powder is a solid tune. Nothing to write home about, but if you’re an Eagles fan, you may be interested to know that Don Henley, Glenn Frey, and Timothy B. Schmit provided the backing vocals for this track. That said, the mix fails to highlight this fact and it’s an incredible shame as John had three of the world's greatest vocalists backing him up, yet failed to capitalise on their collective musical talents. Perhaps more disappointing is this was one of the three Taupin/John collaborations on the album. A missed opportunity? Definitely!

Dear God is another lovely ballad that can be seen as a precursor to the sonic qualities John would explore in the late 80s and into the 90s on songs such as Sacrifice. It’s so good!

Never Gonna Fall In Love Again is magnificent and is one of the best songs on the album. When I think of songs that are unfairly overlooked, Never Gonna Fall In Love Again is at the top of the list. While it may sound a little dated to the era, I find that to be part of its charm for John doesn’t make music like this anymore. 

Take Me Back is a country-pop tune that suits John’s style but while it would have been a perfect fit for Tumbleweed Connection, it feels a little out-of-place on 21 At 33.

Give Me The Love is a perfect closing song as it encourages me to listen to the album again and stay within John’s catalogue of music. The musical introduction is simply gorgeous and even though John sings with a slight southern (Elvis-inspired) style, it suits the song. John’s piano work on Give Me The Love is also notable in that it’s subtle but when it comes into focus in the mix, it’s nothing short of exceptional. 

21 At 33 is an incredible album that is severely underrated and really should be in every fan’s collection. There is little doubt, in my mind, that 21 At 33 is one of the best releases from 1980. Seriously, check it out if you haven’t already; it’s astonishingly good!

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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.

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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!

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