George Michael – Symphonica (Live Album Review)

Released in 2014, George Michael’s Symphonica is a fluid masterpiece that melds exceptional live performances, captured between 2011-12, with studio mastery thereby ensuring the music and Michael’s vocal talents take centre stage with few distracting elements. With a collection of well-known covers, and a half dozen original songs thrown into the mix, Symphonica will captivate you from the very first note. 

Some may lament the studio manipulation, but most live albums are created similarly. Truthfully, I prefer the additional spit and polish for live performances can be hit and miss and that’s a core reason why I’m not a fan of attending concerts. It’s a case of once-bitten, twice shy, and I prefer higher production values when live recordings are released. 

Yes, dear reader, I’m one of those music lovers who doesn’t have a problem with artists using backing tracks at a concert if that’s what it takes to put on a good show. Is it pure and organic, no, but isn’t it better to have every note presented accurately than to have a substandard experience? I believe so!

The only aspect that I wish they had worked on a little more would have been the reduction of sibilance in Michael’s vocals. Michael’s vocal has always had a tad of sibilance, so I look upon it as artistic expression at this stage, but on a couple of the songs, it’s quite pronounced and temporarily takes you out of an otherwise relaxed experience.

Concerning the selection of songs, I find it incredible that Michael’s own works mix so perfectly with the classics of yesteryear. Seriously, it’s a seamless transition between tunes and goes to show just how incredibly talented Michael was as not only a vocalist but as a songwriter. 

While I was fortunate to have owned the stunning HFPA (High Fidelity Pure Audio) Blu-ray release, following a culling of formats, I now find myself limited to the streaming offerings and I have mixed feelings. The DTS-HD Master Audio 24-bit/96kHz edition of the album, from the Blu-ray, was as close to having a private audience with George Michael as I was ever going to get and while I have few regrets about downsizing my collection; this is one of them. 

The Dolby Atmos stream, via Apple Music, is admirable but it just doesn’t have the same presence as was heard on the physical counterpart. Interestingly, despite the Blu-ray format being capable, no surround mix was presented, yet, to my ears, it still had a greater presence. For many music fans, this won’t be an issue. For us audiophile-focused music lovers, however, it’s a substantial element for we strive to attain the best possible release. Nevertheless, I may have to try and seek out a vinyl edition, or hope for a reissue, as they’re incredibly hard to come by and go for insane prices on Discogs.

Symphonica is one release certainly worth owning but, as is often the case, it isn’t only a matter of sonic perfection for there are numerous releases of Symphonica, with different track listings, which makes choosing a definitive copy much more difficult.

For instance, the Blu-ray contained 17 songs, with the closer being You’ve Changed, as did the highly sought-after vinyl release, but the CD counterpart was abridged to 14 songs. The three songs removed were Roxanne, Going To A Town, and You Have Been Loved; all are exceptional performances and worthy of inclusion. Yes, incorporating these tracks would have gone beyond the limits of a single CD, but it would have been wonderful to have greater cohesion between versions by limiting the tracks, across all releases, to the finite runtime of the CD format.

Naturally, as a lifelong music lover, this should come as no surprise for it’s a constant problem within the music industry and a practice that I wish they would abolish for it would be far simpler if each version was the same so that fans don’t experience decision fatigue concerning which version we should pick up or listen to. Or worse still, feel compelled to pick up every edition; most likely the reason this is standard practice across the industry for the record labels’ ultimate aim is to make money and what better way to do that than by targeting the most dedicated of fans. 

Nevertheless, you might suggest that given the Dolby Atmos mix is enjoyable, that this is the version I should enjoy going forward. I thought so too until I realised that the Atmos Mix and its stereo counterpart, both Apple Digital Masters, only contain the 14 songs from the CD release.

Confusing matters further, a lossless 15-track edition is also available via Apple Music (a non-Apple Digital Master). Where did that come from? Seriously, can’t we just have a definitive edition? This 15-song version adds I Remember You as the final track on the album. Interestingly the Deluxe Edition (also not certified as an Apple Digital Master) tacks I Remember You to the backend of the album.

It’s an absolute mess, isn’t it? 

Still, for this review, I’m going to stick with the Deluxe Edition in its entirety, as all songs are featured, but while I consider the first 17 songs to be nothing short of perfection, I intend to remove I Remember You from my digital library for I feel it detracts from the highly polished production values heard throughout the rest of the album.

However, there’s a problem. Not a big one, but it needs to be addressed. The Deluxe Edition is not an Apple Digital Master. Few Deluxe Editions, by any artist, are and it simply makes no sense to me whatsoever. If the label goes to the trouble of remastering a release for the Apple Digital Master program, then why are the more complete editions omitted from this process? Surely it would be worth doing for those of us who appreciate the expanded offerings of Deluxe Editions.

Common sense, clearly, isn’t very common when it comes to what record labels do and how they manage their catalogs. I’m sure they’ve got their reasons for these discrepancies, but from a music lover’s perspective, I simply can’t comprehend why they make things so challenging. 

I’m sure by now you’re wondering why it matters if the Deluxe Edition is an Apple Digital Master or not. Well, dear reader, it’s an issue for two reasons. The first is that for those who enjoy surround mixes, they should be able to get the complete series of recordings in Dolby Atmos. Secondly, and this applies more to me, I find that the Apple Digital Master of Symphonica is less shrill, more rounded, and therefore a little more enjoyable when directly compared to the non-Apple Digital Master. Despite that, given I want the same 17-track experience that the Blu-ray and vinyl counterparts allow for, I’m left with no choice but to go with the slightly less appealing and sonically compromised Deluxe Edition. Of course, if I had not compared releases, I likely wouldn’t know what I’m missing out on so that perspective needs to be taken into account.

Through, a George Michael original from Patience, is a beautiful song to open the album with and it’s as if it should have always included an orchestra for this live performance trumps the original recording. The strummed introduction, intermingled with vocals and subtle symphonic elements, sets the tone for the entire album and subsequent performances. 

My Baby Just Cares For Me is upbeat and jazzy and would do any jazz club in New Orleans proud. The horn section in this song is perfectly balanced and I appreciate this as sometimes the brashness of brass instruments can overpower a song. 

A Different Corner slows things down a little with gorgeous vocals and acoustic guitar and bass strumming. It’s a simple and uncomplicated rhythm, but one that highlights Michael’s extraordinary vocal capabilities. Dating back to the mid-80s and the final Wham! release, Music From The Edge Of Heaven, the live performance of A Different Corner captures the soul of the studio recording and is the perfect counterpart to that 1986 release.

Praying For Time was originally released as the lead single on Michael’s second solo album Listen Without Prejudice Vol. 1 and is one of his greatest and most memorable tunes. While the original studio recording is marvellous, in its own right, this live performance takes the song to another level entirely; magnificent!

Let Her Down Easy is a song I adore. It was originally written and recorded masterfully by Terence Trent D’Arby (Sananda Maitreya) on the album Symphony Or Damn. The song is just so soothing, especially as it’s presented in a lullaby style, and Michael performed it beautifully.

The First Time Ever I Saw Your Face is an absolute classic and this live recording represents one of the very best interpretations of the song I have ever had the pleasure of hearing. 

Feeling Good is epic! George Michael performs this tune masterfully. That said, I still consider Nina Simone’s version to be the pinnacle recording of this classic song.

John And Elvis Are Dead is a lovely live recording of Michael’s tune; first heard on Patience. While I never considered John And Elvis Are Dead to be a standout song, although it’s a wonderful studio recording, this live performance changes that perspective for it flows so incredibly well within the live album structure that I couldn’t imagine Symphonica without it. Plus, it’s a little more relaxed than the studio release meaning that it can be fully appreciated in a relaxed setting when listening to Symphonica.

Roxanne will appeal to any fan of The Police for this live recording is a beautiful interpretation of their original tune from their 1978 release, Outlandos d’Amour. As solid as the original is, the jazz-influenced live recording by George Michael is exceptional and amplifies the song beyond The Police’s version. 

One More Try was originally released on Michael’s highly successful debut solo album Faith and it’s a George Michael classic that remains as fresh today as the day it was written and recorded. This live rendition honours the original studio release perfectly and the addition of the symphonic orchestra is complementary and therefore takes nothing away from the original. 

Going To A Town is one of the most beautiful songs ever written and is one of the greatest songs Michael has ever sung for it’s simply stunning and is perfectly suited to Michael’s vocal style. To say that I’m blown away would be an understatement, but if you’re as impressed by this recording as I am, then I suggest you check out Rufus Wainwright’s original from Release The Stars. 

Cowboys And Angels is another George Michael original from Listen Without Prejudice Vol. 1. It’s a nice classical meets jazz-styled tune, but it’s the worst song on Symphonica for Michael’s vocal sibilance is far too prominent. Thankfully, the sibilance isn’t a detracting element on the original studio recording, so the song can still be thoroughly enjoyed via that release. 

Idol is an underrated Elton John and Bernie Taupin collaboration from John’s 1976 album Blue Moves. This live recording, however, is one of those examples where an artist records a lesser-known cover, makes it their own, and that recording then becomes the standard to which all others are compared.

Brother Can You Spare A Dime is an American Classic and one that George Michael recorded and previously released on Songs From The Last Century. As good as Michael’s studio recording is from 1999, this live interpretation is about as good as it gets. The orchestral elements are off the charts and are not that far removed from Michael’s original interpretation, while Michael’s velvety smooth vocal ensures that Brother Can You Spare A Dime will remain in the social consciousness for decades to come.

You Have Been Loved was originally featured on Michael’s album Older and this live recording doesn’t break any new ground but it remains a lovely ballad with some exceptional jazz drumming and beautiful symphonic elements. That said, this is one case where I prefer the original recording to the live rendition. 

Wild Is The Wind has been recorded by some of the greatest musicians the world has ever known, but it really doesn’t matter which version you listen to as Wild Is The Wind is simply gorgeous. That said, Michael’s interpretation is one of, if not the, greatest ever recorded. 

You’ve Changed is what I consider to be the perfect closer and, again, I feel the label got the sequencing right when they closed the HFPA Blu-ray Audio version and vinyl releases with this beautiful jazz number as it is reflective and also compels me to listen to the album again.

I Remember You isn’t the strongest closer as it’s rawer, from a production and recording standpoint, than the rest of the songs featured on Symphonica. I also find the harp to be distracting, along with the audience, and subsequently, while I Remember You is included in this review, I remain convinced that the right decision, for me, is to omit it from my digital library, thereby allowing You’ve Changed to close the album out pleasantly.

Overall, sans I Remember You, Symphonica is a powerful and emotionally charged album that showcases George Michael's vocal range and songwriting talent, as well as the beauty and power of a symphony orchestra. Whether you're a fan of George Michael or simply a lover of beautiful music, this live album is worth a listen; you may even add it to your collection, for it is truly remarkable.

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Leo Sayer – Leo Sayer (Self-Titled Album Review)

Released in 1978, Leo Sayer’s self-titled album, his sixth studio recording, is a timeless classic that showcases the singer’s vocal prowess and musical talents. With its blend of pop, rock, and disco, this album offers a diverse range of musical styles that are guaranteed to captivate listeners from start to finish.

Captivation naturally begins with the album artwork and while it isn’t the most noteworthy, or inspirational, of Sayer’s career, it stands out from the crowd as the minimal design draws your eye directly to the typeface and Sayer’s portrait. In the modern era, it’s easy to overlook album artwork but in 1978, when the predominant music format was the vinyl record, it was often as essential as the music was for sometimes the first encounter of an artist would be the cover design that you’d see each time you visited your local record store. 

Of course, for a record to be considered a classic album, as I consider this, the music and sonic reproduction have to be compelling. In this case, Sayer’s self-titled release is stunning. Presented as a lossless CD counterpart, via Apple Music, some may argue that there is room for improvement given that it isn’t presented as a Hi-Res Lossless Apple Digital Master. I, however, wouldn’t agree with that perspective for whoever undertook the mastering of this release got it right. There are no glaring omissions or elements that I feel need addressing. Subsequently, a remaster simply isn’t required and has the potential to further degrade the quality of the recording by succumbing to loudness demands. Sometimes it is best to leave well enough alone and simply enjoy the music. 

Stormy Weather opens the album with a catchy pop-rock tune that sets the tone for what’s to come. Sayer's soulful vocal shines as he extends every note right to the edge of his range as he sings about life’s ups and downs, accompanied by incredible instrumentation and infectious melodies. 

Dancing The Night Away, an Amazing Rhythm Aces cover, is a fantastic tune and is far superior to the original with its groovy basslines and funky guitar riffs. That’s perhaps one of the greatest aspects of Sayer in that while he’s recorded many covers, he always manages to extract the soul of the song, put his own spin on it, and match, or in this case surpass, the original.

I Can’t Stop Loving You (Though I Try) is a beautiful heartfelt ballad that showcases Sayer’s evocative vocals and is one of the highlights of this self-titled release. 

Phil Collins recorded the song for his 2002 album, Testify, but unless you’re a fan, it isn’t worth your time as it’s a second-rate interpretation at best. While I appreciate artists covering music they enjoy, if they can’t match or beat the original, I’d prefer they refrain from recording it in the first place. 

La Booga Rooga is a cover of Andy Fairweather Low’s 1975 original, an exceptional recording in its own right, but Sayer removes some of the blues elements and replaces them with an addictive up-tempo pop-rock technique that is perfectly suited to his style and the era. As to which is better, well it all comes down to personal taste and while I thoroughly enjoy both renditions, my preferred is Sayers; likely as it was his version I’ve always been more familiar with and the fact that his energetic vocal performance adds to the song’s overall charm, making it a joy to listen to. 

Raining In My Heart is a Buddy Holly cover and just like La Booga Rooga, I appreciate both interpretations, for different reasons. If I’m in the mood for the sound of the 50s, or Buddy Holly in general, then his version is superior. As part of Sayer’s self-titled album, however, Raining In My Heart is a masterful recording that complements Holly’s original while simultaneously ensuring this classic tune has a modernised feel; one with a combination of country-folk and pop-rock styles. Regardless of your preferred version, you simply can’t go wrong with a song as incredible as Raining In My Heart. 

Further to that, may I suggest you also check out the versions by Anne Murray and The Dave Clarke Five for they too are exceptional interpretations.

Something Fine, a Jackson Browne cover, is a beautiful interpretation that is very close to the style of Browne’s original recording. Both are so good that I can’t pick a preferred version. That’s actually a good thing as Sayer’s interpretation takes nothing away from the original. 

Running To My Freedom sounds a little dated, compared to the other songs on this self-titled release, but it’s a lovely classic rock tune with a catchy melody that will appeal to many.

Frankie Lee is a great upbeat song. There’s just enough of a rock edge to be considered a rocking good tune and the instrumentation throughout is the perfect accompaniment to Sayer’s vocal.

Don’t Look Away is another upbeat tune with Sayer’s signature pop-rock-infused styling. The instrumentation on this track is of particular note, with a driving rhythm section, pulsing keyboards, and fiery guitar riffs all coming together to create a rich and dynamic sonic landscape. Without a doubt, Don’t Look Away is a hidden gem and is one of the best songs Sayer ever recorded. 

No Looking Back is a beautifully crafted song that showcases Sayer's considerable talents as both a songwriter and performer. It is somewhat reminiscent, in style, of Elton John’s classic era with its piano and symphonic backing, but more importantly, it closes out the album just as closing tunes should whereby they allow for contemplation as well as compelling the listener to play the album again. 

In conclusion, 1978 was a year that yielded an incredible range of music, from all genres and artists, and Leo Sayer’s self-titled release is no exception for it’s a masterpiece that has stood the test of time and remains to this day a landmark release of the 70s. 

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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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