England Dan & John Ford Coley – Some Things Don't Come Easy (Album Review)

When you think of classic albums, England Dan & John Ford Coley’s Some Things Don't Come Easy probably doesn’t spring to mind, but this 1978 release, their sixth studio album, is a musical masterpiece that showcases the duo's extraordinary musical skills. With a mix of soft rock, pop, and country, the 11 tunes featured present a delightful listening experience that captures the essence of the music scene in the 70s.

Speaking of capturing the soul of a recording, Some Things Don't Come Easy was recorded, mixed, and mastered with kid gloves. While the album has never been remastered, to my knowledge, the lossless Apple Music stream is simply magnificent. It’s flawless and thoroughly enjoyable and I wouldn’t want a single aspect to be changed; well perhaps a slight recess in the brass elements on songs such as Calling For You Again. Nevertheless, your thoughts may differ, but the stream is one of those examples whereby there is plenty of latitude that allows for the tweaking to one’s tastes via EQ settings.  

Some Things Don’t Come Easy is an exceptional opening ballad that showcases the duo's vocal range and emotional depth. It sets the tone for the entire album and is worthy of the title track. The song's lyrics express the difficulty and pain of love, one we can all relate to, thereby, creating a poignant and touching listening experience.

If The World Ran Out Of Love is a sensational followup to Some Things Don’t Come Easy as the slow ballad, easy listening, style is acoustically marvellous. It’s one of those songs that you’ll likely find yourself pausing, in awe, for the soundstage that emanates is intoxicating. There is little doubt in my mind that If The World Ran Out Of Love is one of the greatest hidden gems of the 70s. 

You Can’t Dance is an upbeat number that shifts the tempo of the album. With its catchy pop-rock melody that is accentuated by the duo's trademark harmonies, and backing vocals, there’ll be fans of You Can’t Dance. I’m not one of them as I feel it is too far removed from the other songs on the album, but Some Things Don't Come Easy wouldn’t be the same without this tune. 

Who’s Lonely Now features a beautiful and melancholic melody, perfectly complemented by the duo's soulful harmonies. It’s a standout track that reminds me somewhat of the overarching style on Crosby, Stills & Nash’s CSN, but that is a compliment as I adore that album. If nothing else, Who’s Lonely Now will resonate with anyone who has experienced the pain of a broken heart; that’s all of us, right?

Hold Me features a beautiful and soulful melody that makes it one of the best songs on the album and one of the greatest that England Dan & John Ford Coley ever recorded; magnificent!

We’ll Never Have To Say Goodbye Again is a trademark tune and for good reason, as it appeals to those of us who appreciate touching and sentimental ballads. The ability for one to connect with the music they love is incredibly powerful and while some will lament the cliché aspect of love songs, there is no denying that they’re timeless.

Lovin’ Somebody On A Rainy Night has an Eagles’ feel to it that perfectly suits Dan and Coley’s style. I wouldn’t, however, consider it the strongest song on the album as it’s more filler than standout and you’re subsequently unlikely to seek it out, outside of the album format. 

Beyond The Tears returns us to a gentle and melancholic melody that I feel is better suited to the duo as it permits them to do what they do best; convey deep emotions and vulnerability through their music. 

Calling For You Again is a shock to the senses following the laidback style of Beyond The Tears. Nevertheless, once the addition of the brass component has settled down in my mind, Calling For You Again is a solid energetic tune. The only quibble I have is that I feel the saxophone element could have been dialled back a little as I find it to be too forward in the mix.

Wanting You Desperately is a heartfelt and emotional tune with soulful harmonies and lush instrumentation that creates a powerful and emotional atmosphere.  

Just The Two Of Us is one of the most beautiful and romantic ballads you’re ever likely to come across. It’s also the perfect closer as it encourages contemplation and the thought of playing the album again. Its simple yet effective arrangement, along with the duo's tender harmonies, creates a warm and intimate atmosphere that further showcases the duo’s ability to convey heartfelt sentiment and genuine emotion through their music.

Overall, Some Things Don't Come Easy is one of those albums that is tragically overlooked for its beautiful melodies, insightful lyrics, and impeccable vocal harmonies ensure this album remains a timeless classic that continues to resonate with listeners to this day. 

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Katy Perry – Prism (Album Review)

Prism, Katy Perry’s fourth studio album, and her third within the mainstream popular music genre, is full of electrifying dance-pop rhythms, infectious hooks, and catchy melodies. Add to that her meaningful lyrics and you’ve got a truly captivating album that’s a landmark release of the pop music genre. 

While it would be easy to assume that Perry reached her creative peak, following the exceptional Teenage Dream, Perry didn’t sit on her laurels instead choosing to head back to the studio just over two years later to record an album with a somewhat more serious tone; one that also showcased artistic growth. 

What didn’t increase, however, is the dynamic range of Perry’s recording. Prism is mastered, as many modern recordings are, too loud. That doesn’t mean that it doesn’t sound good, or that you won’t be drawn into the music, but it does mean you’re more likely to experience fatigue and may find yourself turning the volume down. 

Despite that, I find that the lossless Apple Music stream, an Apple Digital Master, manages to smooth out the presentation of the album just enough that it can be turned up to moderate levels without hearing distracting artifacts.

Alongside the stereo mix of Prism, on Apple Music, is a Dolby Atmos stream that is not only thoroughly enjoyable but more immersive than the stereo edition. You’ll be met with more depth and an overall bolder soundstage and the presentation isn’t so different to the original stereo mix that you’ll wonder if it is the same album; an issue that plagues many surround mixes when they are created post-album release.

While some may wonder if you can still appreciate the stereo mix, following listening to the album in surround sound, the answer to that is an unequivocal yes. That is because the surround mix is complementary; ensuring that the core of the album remains intact while simultaneously adding nothing to the mix that wasn’t already there. 

Roar was the lead single from Prism, but while this mid-tempo power pop tune is empowering, it isn’t the greatest song from the album. Like many instant hits, the more you listen to it the more it loses its lustre. It’s as if the substance of the song is merely surface deep and perhaps that is all a pop song needs, but I do question if Roar will ultimately be timeless. 

Controversially, you may also wish to check out Sara Bareilles' Brave, from her album The Blessed Unrest, as there’s quite an interesting correlation between the two songs. 

Legendary Lovers has a fantastic Middle Eastern-inspired rhythm that will infuse itself with your soul. The combination of styles, with pop influences, is masterful and Legendary Lovers quickly becomes one of the best tunes from Prism. 

Birthday is cringeworthy! 

Okay, so its upbeat styling will appeal to many but it's too cliché to be taken seriously. Of course, that is probably the point of the song and perhaps I’m simply listening incorrectly and not allowing myself to groove out and have a good time. 

Nah, it’s just not my kinda song!

Walking On Air has a dance-pop groove that will light up any dance floor. While there’s already a fair bit of vocal processing applied, I can’t help but wonder what the results of turning Autotune to its highest settings would have had on the song. It may well have ruined it, but I have a feeling it would have been even more sonically impressive than it already is.

Unconditionally is a stunning power ballad that showcases Perry’s vocal prowess. While the verses are a slow build, that soaring chorus draws you in and becomes not only one of the best songs from the album but one of Perry’s greatest musical achievements. 

Dark Horse (feat. Juicy J) is a mashup of styles but its edginess, combined with the hypnotic intensity, ensures that Dark Horse is a standout recording. The collaboration with Juicy J was also well-chosen as there isn’t another rapper that I feel would have been better suited.

Interestingly, and in another case of appropriation by Perry et al, Flame lodged a copyright claim that Dark Horse was derived from his song Joyful Noise, from the 2008 album Our World Redeemed. The court concluded that this was indeed the case and damages were awarded.

Having listened to Joyful Noise, there is no doubt in my mind that elements were borrowed and while I appreciate both songs, this is one case whereby if Perry et al had officially credited Flame, as a co-writer, legal action wouldn’t have been required after the fact. Of course, it can be argued that the borrowed elements were utilised unintentionally, for music tends to get stuck in our feeble human minds, but that still doesn’t constitute innocence as it relates to copyright laws. 

This Is How We Do flows perfectly from Dark Horse, primarily because of a similar memorable infectious dance-pop rhythm. However, This Is How We Do is much more upbeat, thereby making it a perfect musical contrast to the previous tune. While you’ll likely seek This Is How We Do out on its own, for it’s that good, this is one example that showcases the importance of album sequencing as when done well it ensures the album experience remains paramount. 

International Smile is a fun little tune but the chorus is incredibly trite.

Ghost is another exceptional mid-tempo ballad; arguably a Perry trademark thereby making Ghost one of the best tunes on the album.

Love Me is toe-tapping head-bopping bliss. Perry’s vocal delivery here is particularly appealing and while Love Me was never going to set the charts on fire, it’s a thoroughly compelling upbeat pop tune with a great message for those of you who appreciate lyrical interpretation; particularly lyrics that are empowering. 

This Moment has a pop-disco vibe that I can easily get behind. In many respects, This Moment is the song that is most likely to be compared to Firework, for it has a similar sonic styling despite being a little more laid back by comparison.

Double Rainbow is a lovely romantic tune.

By The Grace Of God is a beautiful closing tune that’s filled with emotions; some of which are more sombre than those heard throughout Prism. Yet, despite this, By The Grace Of God encourages listeners to play the album again. However, as much as I appreciate the verses and the bridge, the chorus is a little over-produced as I feel it would have been stronger had there been fewer musical elements brought into the mix. 

While some will forever peg Perry as nothing more than bubblegum pop, Prism showcases artistic maturity that goes beyond the disposable aspect as this album is not only one of the best released in 2013 but is one of Perry’s greatest musical achievements. 

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Billy Joel – 52nd Street (Album Review)

Following The Stranger was always going to be an insurmountable task for once perfection is reached, it’s often difficult to replicate what made the previous work so successful. That isn’t to suggest that 52nd Street, Billy Joel’s sixth studio album, didn’t give it a good shot, for it’s an excellent album when listened to without contrast, it just falls a little short when directly compared to Joel’s 1977 opus.

While the songs on 52nd Street aren’t as strong and don’t present Joel’s vocals as eloquently as had been heard the year before, I find that the production quality is the element that causes 52nd Street to be viewed differently. If it were any other artist, 52nd Street would be a landmark release, but we all know how capable a vocalist Joel is and his prowess simply wasn’t captured, within each song, on this record. Despite that, it’s still one of my favourite albums from 1978, I just wish there was a little more spit and polish applied to the recording and mastering of this classic album.

Where The Stranger was sonically lush, 52nd Street is hollower by comparison. As an Apple Digital Master, and Hi-Res Lossless version, it’s fair to say I expected more and can only put down the average sonic presentation to the recording style and processes. Granted, not every Apple Digital Master is a home run, but I find more often than not; they are. Yes, the style of music is slightly different with fewer rock and blues influences, replaced with a touch of jazz, but the problem is that you’ll be listening to your speakers rather than being enveloped in the soundstage. I liken it to Meat Loaf’s Bat Out Of Hell; another masterpiece that was poorly recorded. 

Some may even suggest this underproduced feel adds to its appeal, but I know how I like my Billy Joel albums to sound and this is one example whereby the version provided to Apple Music isn’t flawless. Even adding a touch of EQ doesn't completely address these issues for it amplifies the problems in a different direction. For instance, adding a little bass and reducing the treble slightly results in a muddier midrange but doesn’t correct the flatness of the recording.

Does a better edition exist, particularly on a physical medium? Perhaps, but as I don’t have another version to compare it to, at this point in time, that comparison will have to wait for a future update.

Lamenting the sonic quality, however, I find it interesting to note the music falls into line with the album’s artwork as the rawness of the sound is visually represented. It’s one of those moments where you can forgive recording elements and look compellingly into the artwork and see correlations with the music. Subsequently, when looking at 52nd Street as an entire package, it makes sense that it’s a little underproduced if we consider the music against the album artwork.  

Big Shot has never been my favourite tune as I feel it starts too abruptly and Joel’s nasally vocal can be grating on the senses. That said, if I have the album on in the background, and don’t pay particular attention to this aspect, it’s thoroughly enjoyable.

Honesty is an incredible ballad that has stood the test of time for it sounds as fresh with modern ears as it would have when initially released. It is Joel 101 and most certainly a highlight from 52nd Street; a beautiful song! 

My Life has a great toe-tapping head-bopping rhythm. The piano work, Joel’s vocal (particularly the echo applied), and the rock-solid backbeat ensure that My Life is an exceptional tune. While Joel has never needed backing vocalists, Chicago’s Peter Cetera and Donnie Dacus are valued additions to My Life as their backing harmonies are exquisite.

Zanzibar is one of the more obscure tracks on 52nd Street for its somewhat off-beat nature and stylistic shifts throughout shouldn’t work, yet they do. It may take a few listens to fully appreciate Zanzibar, but when you let the music flow, rather than analyse it, you’ll find it’s much more enjoyable. 

It should also be noted that the great Freddie Hubbard recorded the trumpet solos further linking the jazz influence to the overall style of the song and album. In fact, I think it would have been wonderful had Hubbard been included on other songs throughout as I feel the combination of styles would have taken 52nd Street to another level entirely. 

However, the fade-out on the second solo begins too early. Thankfully, an unfaded version of Zanzibar exists on My Lives, thereby allowing Hubbard’s brilliance to become even more prominent on this classic tune. 

Yes, sometimes less is more, but that is most certainly not the case here; although, I do understand why the second solo’s length was reduced as keeping it in would have not only detracted from the flow of the album but would have exceeded the ideal play length of the vinyl record.

Stiletto is one of the greatest songs of all time! That introduction, the beat, the rhythm, the jazziness. I love everything about Stiletto and the shifting styles, while risky from a fluidity perspective, is utterly perfect. A hidden gem if there ever was one. 

Rosalinda’s Eyes is a little underwhelming, particularly after Stiletto. It’s a solid tune, but you’re unlikely to seek it out on its own. 

Half A Mile Away picks up the tempo and brings us back to the brass-driven rhythm that works particularly well with Joel’s vocal recordings. Half A Mile Away may not have been a hit but it’s a great tune that should have achieved more recognition, if for no other reason than that incredible vocal performance. 

Until The Night is another beautiful ballad by Joel and it would have been the perfect final tune as I don’t feel 52nd Street closes the album out well. The shift in vocal pitch, throughout, is a highlight as it lifts the listener’s attention through the more sombre elements of the song, but in all aspects Until The Night is a perfect song and another hidden gem that deserves more recognition than it often receives. 

52nd Street, despite being the title track, is atrocious. It really should have been left off the album as it does nothing to encourage the listener to spin the record again and is one of the all-time worst closing tracks, on any record, by any artist, let alone one of such stature as Joel. 

Overall, while it can be suggested that 52nd Street is the most unique of all of Joel’s albums, in that it doesn’t conform to a natural progression from his previous releases, it simultaneously offers music lovers an album filled with infectious melodies, intricate arrangements, and insightful lyrics. Yes, I’m critical about certain elements and while it isn’t his greatest album, I’ll be damned if I don’t admit to thoroughly enjoying it every time I listen to it. Let’s put it this way, Joel’s catalogue of music is enhanced by the presence of 52nd Street and, sometimes, that is all that is needed. 

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Bonnie Tyler – Natural Force (Album Review)

There are classic 70s albums and then there are underrated masterpieces such as Bonnie Tyler’s second studio album, Natural Force. 

For those unaware of Tyler’s musical style, her unique Welsh vocal presentation is addictively good. You’ll hear a feminine gentleness along with a guttural extension that constantly amazes you. Her uniqueness is her strength, but the huskiness that has become a trademark may have never come about had Tyler not undergone surgery to remove nodules present on her vocal cords. Subsequently, Tyler has a vocal delivery that is like no other but ensures she is amongst the greatest vocalists of all time.

Released in 1978, Natural Force achieved modest success, particularly within the US, but with a different cover and album title. I can’t begin to understand why the cover art was changed for US audiences as I consider the international album artwork to be one of the greatest album covers of the 70s. The album title change is less of a shift as it adorns the song It's A Heartache for its title track, but other than some beancounter at the record label, stateside, trying to make a name for themselves, I can’t see why this was required. Thankfully, this practice isn’t as prevalent as it once was.

Despite the shift in artwork, the track listing remained the same. That is until the CD releases added Don’t Stop The Music and It’s About Time. Usually, I’m not a fan of bonus tracks, as they can be questionable at best, but as it pertains to these additions, I consider them utterly perfect as they blend in with the other songs seamlessly. It’s as if they should have always been there but were omitted due to the ideal runtime of the vinyl record. 

Additionally, there is now the Expanded Edition, a streaming/digital download exclusive, that includes the German 7” Version of Don’t Stop The Music. While I could lament its inclusion, as it’s somewhat repetitious, you’ll see why I’m not going to, later in this review. 

While not necessarily paramount to the appreciation of Natural Force, I find it fascinating that Tyler didn’t pen a single tune. Granted, not all musicians or vocalists express their art by writing lyrics, but Tyler sings with such conviction that you’d assume she’d be personally invested in the message. Instead, the songs are primarily written by co-producers Ronnie Scott and Steve Wolfe with a cover of Stevie Wonder’s Living For The City and (You Make Me Feel Like) A Natural Woman by Gerry Goffin, Carole King, and Jerry Wexler, along with the rocking upbeat tune Yesterday Dreams by Brian Cadd. While we shouldn’t ignore Tyler’s incredible vocal prowess, it is important to acknowledge these songwriters for if the songs weren’t exceptional, Tyler wouldn’t have been able to imbue life into them.

Sonically, the Apple Music stream is the direct counterpart to the CD release and subsequently should sound the same when played back via the same stereo system. While it isn’t an Apple Digital Master, it need not be for the cd-equivalent stream is simply magnificent with a full-bodied sound and a spacious stereo image that ensures immersion is paramount to the experience. Could it be better? Perhaps, but if a remastering was to change the sonic presentation of the album, not necessarily for the better, I’d then suggest that it isn’t worth doing for the current stream isn’t significantly flawed in any way.

It’s A Heartache is one of the best-selling singles of all time and for good reason; it’s exceptional! Tyler’s raspy, yet smooth, vocal is stunning and the rhythm is so addictive to the senses that you’ll be experiencing it long after the song has ended as it has the potential to create a thoroughly enjoyable earworm within the listener’s mind. While It’s A Heartache is Tyler’s song and no one does it better, you really should check out Rod Stewart’s version for it’s complementary to Tyler’s and is thoroughly enjoyable.

Blame Me is an incredible song with so much raw emotion that it will leave you in awe. Plus, the musicality, while taking a slight backseat, is incredibly complementary to the vocal element, particularly with regard to the reserved nature of the guitar solo that is ever-present, yet not all-encompassing.  

Living For The City is a great rock tune. It has attitude. It has pizzazz. Most importantly, however, it has a rhythm that immediately connects with the listener’s soul and the extension on Tyler’s notes is, again, masterful. As for how Tyler’s interpretation compares to Stevie Wonder’s original recording, it’s significantly better. Wonder’s original, by comparison, sounds like a demo whereas Tyler’s rendition is a full realisation of what Living For The City always should have been. 

If I Sing You A Love Song was the last of the five singles released, from Natural Force, but it ultimately failed to set the charts on fire. That isn’t uncommon as the more singles that are released the less attention they tend to receive. It’s the nature of the music industry but it's disappointing when you consider just how magnificent If I Sing You A Love Song is. It’s a hidden gem, if there ever was one, and is one of the most spectacular recordings of not only the 70s, but in all of recorded music history. Hence, it was deserving of much more recognition than it received at the time and I can only hope you will enjoy it as much as I do for this is one song that needs to be heard and shared. Magnificent!

Heaven, not to be confused with the song Heaven from Tyler’s 1998 release All In One Voice, is a fun upbeat tune that will have you toe-tapping and head-bopping throughout. It isn’t the greatest song on the album, however, and is therefore surprising that it was chosen as the lead single. 

Yesterday Dreams is a great little rocker.

Hey Love (It’s A Feelin’) was the fourth single released from Natural Force but as with If I Sing You A Love Song, it failed to garner the attention it deserved. We music-loving fans have a truly limited attention span, don’t we? Of course, if the record label doesn’t push a release, it quickly disappears from the social consciousness. Nevertheless, Hey Love (It’s A Feelin’) is an incredible vocal-ballad-styled tune and is a core reason why Natural Force is such an incredible release. 

(You Make Me Feel Like) A Natural Woman will forever be Aretha Franklin’s tune, but the covers that have been done over the years, including this one, are exceptional. Tyler performs it masterfully and there’s little doubt that her raspy vocal adds emphasis to the song, thereby making it bolder than it otherwise would have been. If you’re interested, may I suggest you also check out the renditions by Carole King, Mary J. Blige, and Celine Dion for they too are worthy of appreciation.

Here I Am as the third single was a solid choice, particularly for the era, but was it single-worthy? There are better songs that could have been issued as a single, for Here I Am hardly has Top 10 written on it. Don’t get me wrong, it’s a great tune that enhances Natural Force, for the album wouldn’t be the same without it, but if I had been alive when this single was released, I doubt I would have picked it up.  

Baby Goodnight slows the tempo, thereby highlighting Tyler’s magnificent vocal as she traverses this delicate ballad. It’s such a good song and, in my opinion, should have been released as a single. 

Don’t Stop The Music has a 70s rock/disco vibe that may slightly age the song but there is no doubt just how exceptional Don’t Stop The Music is. It’s another song from Natural Force that I would have flagged for a single release for I truly believe it would have followed It’s A Heartache to the top of the charts. 

It’s About Time is a raw rocking tune; it works so incredibly well and while it was never meant to be included on the album, before the release of the CD and Expanded Editions, it flows seamlessly ensuring that it is a value-added addition for fans. 

Don’t Stop The Music (German 7” Version) isn’t presented in the German language, as one may assume from the titling of the song, but it is merely the edit that was released in Germany. How different is it from the original? Not different enough to make it worthy of inclusion. Don’t get me wrong, it’s a great edit/mix, with a slightly different vibe, but for all intents and purposes, it’s the same song. That said, sometimes I catch myself wondering if I prefer this version to the original and to be completely honest, there are times when I do prefer the German 7” Version as it’s a little less bombastic than the original. Regardless, it’s a great closer to the Expanded Edition of Natural Force and it encourages me to play the album again.

Natural Force is one of the best albums released in the 70s and is a landmark release from 1978 that showcases Tyler in her prime; captivating audiences with her powerful vocal and rock-infused musical styling. Full of energetic rock anthems, and emotion-filled ballads, Natural Force will appeal to just about any classic rock fan and music lover alike.

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ABBA – Arrival (Album Review)

Arrival, ABBA’s fourth studio album from 1976, is a seminal recording and in many ways can be considered a pinnacle moment of ABBA’s career as it signified a change in style from the more whimsical to a more thoughtful and highly polished musical style. 

More than anything, however, Arrival is an entertaining listen. Yes, many of the songs have been played to the point of exhaustion yet, and perhaps this is ABBA’s gift to music lovers the world over, we seemingly never tire of listening to these outstanding tunes. With timeless classics such as Dancing Queen, Money, Money, Money, and Knowing Me, Knowing You, Arrival is difficult to ignore for it’s akin to a greatest hits release. 

As with the best recordings from any era, as ABBA’s music continues to age gracefully, a new batch of fans come along to enjoy it and while I wasn’t born until 1979, my childhood musical memories are so intertwined with Arrival that I, with a healthy dose of bias and nostalgia, consider it to be their greatest musical achievement. 

Turning to music, throughout a somewhat troubled childhood, was a great escape that I’m sure many of us have experienced. Subsequently, I found myself playing the cassette so much that even today, when listening to a crystal clear stream of the album, I still hear the blemishes that were present on the tape from being overplayed and subsequently beginning to wear out. It’s incredible how music triggers certain memories, isn’t it?

Speaking of the cassette format, considering its recent resurgence in nostalgic popularity, I remember reading, or hearing, that a pre-recorded cassette has approximately 250 solid plays in it before audible degradation started to naturally occur. That is, of course, provided your tape deck didn’t chew the tape. Naturally, I’ve no evidence to back up this proposed number, and we could most likely suggest the number was arbitrarily selected to push the sales of the Compact Disc, but my copy was played often enough, well exceeding that number, that I’m still surprised the tape remained listenable. It is only now, with hindsight in mind, that I recall being fascinated by the possibility that each play was damaging the tape. It was as if it were a live performance, slightly different each time the music was played, but never twice the same. Perhaps this organic uniqueness is what has driven the vinyl, and now the cassette, resurgence for no two copies are identical, meaning that each and every album, and each subsequent listen, is unique to you, the individual. 

Keeping our attention on the formats with a finite lifespan, the vinyl reissue of Arrival which was included in the 2020 reissue of the ABBA vinyl box set, The Studio Albums, is simply exquisite. While I was also fortunate to have owned the 2011 vinyl reissue, it was an ear-piercing mess. Yes, the majority of vinyl records are pressed from a digital source, in the modern era, but that alone doesn’t dictate sonic quality for a well-mastered original source, regardless of the technological medium used, will always offer a superior sound quality. Subsequently, if you care about how your music sounds, stay clear of the 2011 reissues. 

The truth is that ABBA’s catalogue, as exceptional as it is, isn’t the last word in sonic perfection and, in most cases, is let down by questionable mastering decisions. Hence, when a version is worthy of note, it is worth celebrating and that is certainly the case for the 2020 reissue, from the aforementioned boxset, as it sounds as good as you’re ever likely to hear.

While a half-speed master, pressed at 45rpm, was made available in 2016 I’m glad I didn’t pick it up as I’m tiring of single albums being pressed across three or more sides of a record. Seriously, Arrival in its original tracking has a runtime of 33 minutes, yet the half-speed master was delivered across four sides. It’s utterly ridiculous and while the discussion regarding the sonic benefits of 45rpm vinyl releases goes beyond the scope of this review, a well-mastered 33rpm record will, and does, sound incredible. 

While picking apart the mastering styles and various editions that change the overall presentation of ABBA’s music, it is important to remember that ABBA has a unique sound that is based primarily on applying techniques for radio-play and the chosen musical style of the era. Assuming that their music should be audiophile-grade will lead to disappointment, but a little further refinement will always be appreciated and that comes across in spades with the 2020 The Studio Albums vinyl box set.  

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The visual reproduction of the albums, while consistent over the years, has also been stepped up via The Studio Albums box set, resulting in artwork that is pleasing, collectable, and reminiscent of the original releases. It truly is a pleasure to own.

The cover artwork, for Arrival, is iconic and while the photograph of the band was taken while they were situated within the Bell 47 helicopter, it conjures up the imagination, doesn’t it? I remember as a young boy pondering if ABBA was otherworldly, for their music was uniquely exciting and the artwork that adorned this early cassette ensured my imagination ran wild. 

Interestingly, and I never realised this until much later in life, Arrival would be the first time the mirrored AB logo would be utilised as all previous releases used a different typeface with their first two albums highlighting the band members’ names. Yes, their earlier albums have all received updated artwork, when they were reissued, in order to bring the logo design in line with the rest of ABBA’s catalogue, but Arrival was the first to showcase this now iconic logo.

Of course, as much as I adore the vinyl reissue, you can’t necessarily take it everywhere with you. That’s where streaming services come in to fill the void. Apple Music and the lossless stream, an Apple Digital Master, is a little more dynamically compressed, than the 2020 vinyl reissue, resulting in slight mid-range muddiness and a little excess harshness in the treble range. As a result, I don’t experience as much enjoyment from the stream as I do from the record but the trick to appreciating the stream is not to compare the two. Easier said than done, I know, but by compartmentalising the vinyl edition as being an experience that requires a specific time and place, I find that the Apple Music stream becomes far more palatable. 

As it pertains to the stream, the Bonus Track version, containing Fernando and Happy Hawaii, of Arrival is the only available release. Fernando I can tolerate, it’s a great song even if not applicable to the original album structure, but Happy Hawaii is an atrocity that should have never been tacked onto the back end of such an incredible album. Thankfully, streaming offers something a physical medium can’t; the ability to exclude particular songs from one’s virtual library thereby meaning that the tracking of Arrival can replicate the vinyl counterpart. Yes, I acknowledge that many CD players have a programme function that allows music lovers to do essentially the same thing, but you have to do it every time you want to play the CD whereas with Apple Music you set it and forget it.

Of course, Arrival has had so many different track listings, depending on region and format, that it can be incredibly frustrating to choose a preferred version. Considering I’m a fan of the vinyl reissue from The Studio Albums, which mimics the original vinyl release out of Sweden, I’ve decided to compile a Playlist within Apple Music that specifically looks at the core Arrival tracks. Subsequently, if you’re after Fernando, may I suggest you check out ABBA Gold, or take a listen to it via its original Swedish language version on Frida ensam, thereby leaving Arrival unaltered.

When I Kissed The Teacher is one of those classic, near cringeworthy tunes, that is remarkably good. In fact, it’s a little surprising that the censorship mob haven’t tried to have it cancelled for the risqué lyrics, telling the story of a student’s crush, and subsequent kiss with a teacher, would be right up their alley. That aside, it’s a fantastic song and Agnetha’s vocals are particularly appealing, thereby resulting in a perfect opening tune. The only negative aspect I can point to is that depending on the edition you are listening to, When I Kissed The Teacher can be incredibly shrill. Thankfully, my preferred vinyl edition and the Apple Music stream roll the treble off slightly, thereby making it a pleasurable listen. 

Dancing Queen is likely ABBA’s most well-known and successful tune. Its unmistakable entrance ensures that this disco-pop tune has become a landmark release from the Swedes. While the musical aspects are paramount to the success of Dancing Queen, Agnetha and Frida’s intertwining vocals are most certainly the highlight; absolutely stunning!

My Love, My Life slows the tempo down to a ballad’s pace and Agnetha once again stuns. While some may disagree, Arrival represents some of the very best vocal recordings and mixes in ABBA’s illustrious career. My Love, My Life is, subsequently, one of the most beautiful songs ABBA ever recorded and it’s severely underrated.

Dum Dum Diddle is catchy with a chorus structure that will have you singing along; even if you don’t know what a Dum Dum Diddle is. Don’t worry, fellow ABBA fan, I have no idea either but I’ll play my make-believe fiddle as I Dum Dum Diddle my way through this incredible song. While it has been said that it tells of a story of a woman scorned by her lover’s admiration of his violin, I’d prefer not knowing the context and instead prefer the nonsensical lyrics to become another musical layer in the mix that need not be unpacked. Basically, I just want to enjoy this folk-pop tune and not thinking about the lyrics too much allows me to do just that. 

Knowing Me, Knowing You is a beautifully lush tune. Frida’s performance here, much like Agnetha’s, on the songs where she’s lead vocalist, is exceptional. Knowing Me, Knowing You is a perfect song; absolutely flawless!

Money, Money, Money is another highlight and the musical style is unique, to say the least. It doesn’t often happen, but Money, Money, Money leaves me somewhat speechless as I simply can’t find the words to review this song. Perhaps it’s simply a case of needing to listen to it for yourself as it’s an experience. 

That’s Me continues the piano tuning from Money, Money, Money thereby making the album even more fluid than it already is. While That’s Me was never going to set the charts on fire, and was only ever released as a single in Japan, it’s a masterful song and is one of my all-time favourite ABBA tunes. 

Why Did It Have To Be Me? shifts the style of the album while encompassing a mix of musical styles and influences that ensure Why Did It Have To Be Me? quickly becomes a hidden gem in ABBA’s back catalogue.

Tiger is a sensational tune. The heavier sound signature works well and it’s another severely underrated masterpiece from ABBA. Of course, when you’re a band that has so many incredible songs, even those that are exceptional are bound to get buried and it’s therefore imperative that we all venture beyond ABBA Gold. 

Arrival is a beautiful, primarily, instrumental closer. The harmonious vocals are similarly stunning but overall there really isn’t much to be said about it. Yes, it closes the album out nicely, permitting contemplation, but I’d argue that it subsequently doesn’t encourage me to play the album again as it’s too relaxed. It’s a double-edged sword, of course, for Arrival wouldn’t be the same album without its namesake.

As a body of work, Arrival is a landmark release, featuring some of the group's most iconic hits. The blending of styles, with a touch of flamboyance and maturity, makes Arrival one of ABBA's greatest studio albums and is amongst the very best records released in 1976. 

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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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