Andy Gibb – Shadow Dancing (Album Review)

While the Bee Gees were already a trio setting the world on fire by the time 1978 rolled around, the Gibb Brothers’ youngest sibling, Andy was forging his own path, one that would ultimately lead to an incredible release, Shadow Dancing; Gibb’s second studio album. 

As you listen to Shadow Dancing, you get a sense that this could be an extension of the Bee Gees’ greater catalogue and that wouldn’t be a completely erroneous statement as four of the tracks were written in conjunction with Barry Gibb with the title track also being co-written by Robin and Maurice. Yet, to compare Shadow Dancing to the Bee Gees would be similarly erroneous on the behalf of the music-lover for Andy’s creative output should stand in isolation with nothing more than a tip of the hat for he was a consummate musician and songwriter in his own right. Of course, that isn’t how our minds work so throughout this review you’ll likely come across many correlating aspects. 

Musically Shadow Dancing is simply a fun album to listen to and sometimes that is all you need. Yes, the disco-era elements are present but with a touch of pop and soft rock, Shadow Dancing is an album firmly planted in the 70s that will interest all music lovers. Part of the appeal is due to the production of the album, undertaken by the production trio Gibb-Galuten-Richardson (Barry Gibb, Albhy Galuten, and Karl Richardson). While they were only active for approximately 9 years, the trio produced not only all of Andy Gibb’s albums but would also go on to produce Barbra Streisand’s highly regarded and successful album Guilty in 1980.

Sonically, the Lossless Apple Music stream is exquisite. Yes, it is essentially the mastering from the long-out-of-print CD release, but this is a perfect example of if it isn’t broken, don’t fix it. Far too often the music industry reissues and remasters music to varied levels of success. It is with joy that I can mention that Shadow Dancing has never been remastered, to my knowledge at any rate, and I truly hope it stays that way. 

Yes, I’d love to see the album reissued on a physical medium, for it has been absent for decades, but a remastering need not apply. A proper CD release would be lovely for the 2013 Japanese re-issue is the only one that I’m aware of that fully replicates the original artwork. The early 90s reissues on Spectrum were atrocious and should be avoided on principle alone. At least, in the modern era, we have access to this classic recording via streaming or digital download stores such as iTunes and the good news is it’s sonically impressive. It’s just a shame the liner notes aren’t included.

Shadow Dancing was the ideal lead single and while it obviously has Bee Gees vibes, as the trio joins Andy with regards to writing this song, it very well could have been a song taken straight from Spirits Having Flown. Subsequently, and needless to say, it’s a masterpiece!

If you’re interested in cover versions, may I suggest you check out the Dee Gees’ recording for The Foo Fighters performance, with Taylor Hawkins on lead vocal, is an incredible homage to this original. 

Why is a little more run-of-the-mill when compared to Shadow Dancing, but that often happens when you have an album that opens with such a strong lead track. As with Shadow Dancing, Barry's falsetto vocals can be heard throughout, but is this detrimental or complementary? To be completely honest, I find myself torn on this issue for as exceptional as Andy is, the inclusion of Barry here, and throughout the album, does amplify the recordings; even if it does take the spotlight away from Andy.

Fool For A Night is a hidden gem. Yes, it’s quirky but something is alluring about this particular song that makes me feel it should be considered a standard recording for artists to cover in the decades to come. It just has that laid-back feel that works well within the context of the Great American Songbook. 

An Everlasting Love is a great track and the mix and overall arrangement certainly stand out. Granted, An Everlasting Love has a dated sound, but it harks back to the era and therefore hasn’t truly aged. While An Everlasting Love would have been unlikely to have ever set the charts on fire, for it was never released as a single at any rate, it’s songs such as this that make the album experience so enduring.

(Our Love) Don’t Throw It All Away is one of the most beautiful songs ever recorded. Stunning doesn’t come close to describing the sonic brilliance heard here. Most casual fans of the Bee Gees would have heard this before as it was recorded during the Saturday Night Fever recording sessions but not released until 1979 on the Bee Gees’ compilation Greatest. Andy’s version, as heard on Shadow Dancing, would subsequently be the first time the music-loving public would be exposed to this song and his is an admirable performance. 

As to which version I prefer, I really can’t choose as they’re both complementary to each other. That said, I do appreciate the additional orchestral elements in the Bee Gees’ recording and the additional vocal layering adds a little more polish that is missing from Andy’s version. That said, I’d go as far as saying that I prefer Andy’s vocal, on this particular song, to Barry’s. Both are enjoyable and worth listening to and when I hear either, I never ponder if the other is better, except for at this moment when I’m actively listening in order to pen my thoughts. 

The Bee Gees would also perform the song live, as a tribute to Andy, throughout the One Night Only tour; a recording of which can be heard on the associated live album. While many will lament the use of backing tracks in live performances, this is one instance where it is perfectly suitable for it wasn’t only the Bee Gees that performed this song live as Andy was present, via a backing track, as photos and video of him were shown on the stage screen. It’s a beautiful homage to their brother, who passed away in 1988, and the Bee Gees performed the song masterfully. 

Despite a long legacy, with Barry Gibb in particular, Barbra Streisand’s rendition from Guilty Pleasures isn’t the greatest as the song simply isn’t suited to her vocal style. It likely wouldn’t have been a bad recording if Andy or the Bee Gees hadn’t recorded the song first, but it simply doesn’t work when superior recordings exist.  

One More Look At The Night is really dated to the era and reminds me of soundtracks from 70s television shows and films, but it’s a great album-only tune! 

Melody is the best song on the album, period! Melody should have been released as a single for it’s simply magnificent and I’ve no doubt that it would have reached the top of the charts.  

I Go For You has a great mix and is a solid tune. Don Felder’s guitar tracking on this song is thoroughly appreciated as it amplifies an otherwise average song.

Good Feeling is a slow build but you get that good feeling, pun most certainly intended, as soon as the chorus enters into the song structure. It isn’t a stand-out tune, by any means, but it is perfectly positioned within the album’s linear flow. 

Waiting For You is a lovely song to close the album on and much like Good Feeling, it would never have been single-worthy material but every song doesn’t need to be a hit to offer an appreciative album experience.

From start to finish, Shadow Dancing is an exceptional release that had it been an album released by the Bee Gees, it would have been an absolute chart topper similar to that of Spirits Having Flown. Of course, it’s never too late and streaming services allow us to enjoy this classic album and there is, therefore, always a chance that Shadow Dancing could still reach the success and recognition it deserves.

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Dan Hill – Frozen In The Night (Album Review)

It isn’t much to look at, for the album artwork for Dan Hill’s 1978 release Frozen In The Night is atrocious, but dismissing this album, based on the cover alone, would be a grave mistake for any music lover. 

Of course, you can be forgiven for having never heard this album as 1978 was abuzz with numerous classic recordings and while many of the popular titles have remained in the social consciousness, it is the lesser-known and celebrated albums that I find to be the most compelling. Perhaps that is due to the music not being overplayed and therefore I haven’t become fatigued by it. Regardless, a core reason why Frozen In The Night doesn’t feel dated to the era, from a musical perspective, is that the musicians and the entire production team didn’t fall into the trap of linking it to a 70s sound signature. By doing so, they’ve created a timeless recording that will outlive us all.

Frozen In The Night is your classic singer/songwriter pop album with a touch of soft rock. Firmly planted in the then Easy Listening category, it’s an album I can listen to on repeat for hours on end. There really isn’t a bad song to be heard and in many respects, it could be presented as a textbook example of a record that is all killer and no filler.

Being born in the September of 1979 meant that I was unaware of this release and while it didn’t come across my radar during my formative years, streaming has allowed me to explore the recordings that weren’t mainstream enough to be played on the radio in Australia during the 80s and 90s. Interestingly, however, I’m certain that I’ve heard many of these songs before, yet I can not pinpoint when or by what medium that occurred. Dan Hill may not have been as mainstream as other Easy Listening artists from the same era, but it is undeniable that he was a well-respected and regarded musician and it stands to reason that I may well have heard his music but never connected the artist to the songs.

Disappointingly, Frozen In The Night has been out of print, on physical media, for decades. This is one example of where streaming, and digital purchasing on platforms such as the iTunes Store, is imperative to music lovers. If it had not been for streaming, I most likely would have never come across this masterpiece; an album that has quickly become one of my all-time favourites. 

Frozen In The Night was, however, re-issued on CD by MCA Records, only once, in 1996 for the Canadian market; Hill’s home country. As an Australian, I can understand this release structure, for artists that are well known, and highly regarded, in this country remain lesser known in other regions of the world. I’m talking about an artist such as John Farnham; a brilliant vocalist, one of the world’s greatest, yet one that has known little recognition outside of the Australian Music scene. While Frozen In The Night was released to the Australian marketplace, upon its release in 1978, it simply isn’t well-known.

The Apple Music stream is most likely derived from the aforementioned CD release. It’s a lovely facsimile, even if a little clinical in places, but a small EQ adjustment to the bass region results in a thoroughly engrossing sound that is free-flowing and spacious with regard to sonic separation between musical elements. While the soundstage could be wider, at no time does the stream sound congested. Hill and the band aren’t necessarily in the room with you, on this particular release, but it’s a solid performer and if it never sees a remaster, I will forever be grateful for the available edition.

Frozen In The Night is a stunning opener that sets the tone for the entire album. Every aspect is utterly perfect and that continuous slow build to the chorus is done so well that I could listen to this song alone, on repeat indefinitely. Brilliant!

All I See Is Your Face slows the tempo a little, but doesn’t feel out of place in the album’s sequencing. I wish more modern albums had a similar flow for Frozen In The Night is first and foremost an album experience. All I See Is Your Face is, subsequently, a magnificent tune.

No One Taught Me How To Lie has a gorgeous acoustic guitar opening and Hill’s vocal pace and pitch throughout are nothing short of exceptional. 

(Why Did You Have To Go And) Pick On Me has a familiar sound and while perfectly suited to the Easy Listening category, it’s another magnificent tune from Frozen In The Night.

Friends to some may constitute album filler, but filler tunes never sounded this good. Granted, Friends is a slow burn and I feel it could have been a stronger song had the introduction been shortened by a third, but the guitar work, mid-song, ensures it’s unforgettable. 

Let The Song Last Forever is one of my favourite tunes from the album; it’s simply lovely.

When The Hurt Comes is pure bliss. The piano and orchestral arrangement, combined with the acoustic guitar and Hill’s smooth vocals are exactly what musical dreams are made of. 

Dark Side Of Atlanta is, as is the case with many of the songs from Frozen In The Night, an excellent story-telling tune. While it is true that I appreciate music more from a musical than interpretational perspective, there are songs such as Dark Side Of Atlanta that make me sit up and pay attention. As a singer/songwriter, this would most likely be Hill’s intent but the greatest aspect of Dark Side Of Atlanta is that it can be thoroughly appreciated from both perspectives.

Indian Woman is so good that I question how Hill wasn’t more successful than he was. Yes, he has achieved more than many musicians have throughout his career, but Indian Woman is a spectacular tune, with an addictive chorus, that deserved more attention than it received. In a way, Indian Woman reminds me of the Eagles' music and would have been a perfect song for them to record. If they had, I dare say that it would have been a hit.

Till The Day I Die is the greatest song on Frozen In The Night and in part that is due to Leah Kunkel’s incredible backing vocals. While Celine Dion would record Hill’s song, Seduces Me (co-written with John Sheard), on Falling Into You, I can’t help but wonder how Dion would have performed Till The Day I Die as I feel it would have been perfectly suited to her. Perhaps even with Barbra Streisand; based on how complementary they were on Tell Him. Nevertheless, that cover never happened, but we are incredibly fortunate to have this masterpiece. It’s just a shame that it was never released as a single for I believe it would have been a chart-topper; worldwide!

Your Only Friend (Sometimes Pain Can Be Your Only Friend) is a little sombre to close the album on, but it’s such a beautiful tune that I can’t help but enjoy it. If nothing else, it encourages me to play the album again so in that context it is a perfect closer. 

From start to finish, Frozen In The Night is an astonishing release and is not only one of my favourite albums from 1978, but it’s one of the best records released in the 70s. It is truly underrated and I hope you find just as much enjoyment from this album as I do; a timeless classic!

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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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