Elton John – Don't Shoot Me I’m Only The Piano Player (Album Review)

Elton John's sixth studio album, Don't Shoot Me I'm Only The Piano Player, released in 1973, is another creative peak in John’s illustrious career. Combining his piano and vocal skills, with Bernie Taupin's vivid lyrics, results in a captivating musical journey full of eclectic rock, pop, and glam influences that longtime fans and newcomers alike will thoroughly enjoy.

Despite Don't Shoot Me I'm Only The Piano Player being one of John’s greatest musically driven releases, the album artwork is simply exquisite and is a perfect example of evocative storytelling and how the artist need not be on the cover for it to be impactful. It’s also a perfect piece of cover art for the larger canvas of the vinyl record; a format that was at peak popularity when this album was released. 

One unfortunate aspect, as I’ve yet to pick up a copy on vinyl, is that the sonic quality of the digital stream on Apple Music is adequate but substandard for the hits and album-only tunes on this record. Presented as a non-Apple Digital Master, and replicating the 1995 remastered edition, the lossless Apple Music stream simply sounds a little too flat for my liking with restricted dynamics and a shallow soundstage. Purists would argue, and I’d likely agree with them, that a vinyl option would be preferable for this particular release, but I can’t help but feel that what is ultimately needed is a respectful remaster. For instance, if I were to listen to Elton John’s self-titled second album and then follow it up with Don't Shoot Me I'm Only The Piano Player, the sonic difference, from Apple Music alone, is so stark that this 1973 release simply can’t compete as it pertains to sonic pleasure. That said, an adjustment to your EQ settings may be all that is needed to reign in the sonic presentation; one closer to your liking. 

Daniel is a lovely introspective and melodic opener. Add in John's piano and vocal melodies with Taupin's evocative lyrics and you’ve got a memorable tune that has remained a highlight within John’s back catalogue for decades.

Teacher I Need You offers a somewhat familiar nostalgic reflection of a schoolboy’s crush on his teacher; we’ve all been there, haven’t we? Nevertheless, from the very first note, we’re met with energetic piano riffs and catchy melodies that result in it being a fun little tune. It’s that simplicity and merriment that is sometimes all that is required to thoroughly enjoy music.

Elderberry Wine offers a blend of pop and rock influences, with a compelling piano arrangement and vocal delivery that ensures Elderberry Wine is exceptional and will likely result in an earworm; a thoroughly enjoyable one that will compel you to spin the album, and this song, again and again.

Blues For My Baby And Me is a beautiful ballad. 

Midnight Creeper shifts the tone somewhat and while it’s initially a jolt to the senses, the groovy upbeat tune, driven by funky piano chords and a lively rhythm, is so appealing that you’ll slip right into the song and rock out. 

Have Mercy On The Criminal is a masterpiece and is without a doubt one of John’s greatest recordings.

I'm Gonna Be A Teenage Idol has a spirited energetic rhythm and catchy chorus. It may be an album-only tune, but it’s one of John’s many hidden gems.

Texan Love Song is a considerable shift in the sequencing of the album and feels as if it would have been more suited to being included on Tumbleweed Connection. Nevertheless, while Texan Love Song is unlikely to be anyone’s favourite tune, it grows on you the more you listen to the record and becomes a natural progression in the linear structure of the album.

Crocodile Rock, with its 50s feel, is one of the most memorable tunes John has ever recorded. If nothing else, the inclusion of John playing a Farfisa organ gives Crocodile Rock its unique sonic quality; one that is quite whimsical. 

High Flying Bird is a lovely closer that will compel you to play the album again. It may not be John’s most recognisable tune, but there’s just something about it, perhaps the harmonious vocals, that makes it thoroughly enjoyable. 

In Don't Shoot Me I'm Only The Piano Player, John's musical brilliance shines through with each carefully crafted note. This album stands as a further testament to his ability to captivate listeners with his virtuosic piano skills and emotive vocal storytelling. Ultimately, it is not only one of his greatest releases, but it is amongst the very best records released in the 70s.

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Elton John – Self-Titled (Album Review)

Elton John has no shortage of classic albums that can be seen as both revolutionary and standing the test of time, but this self-titled second album sees John return to the studio with an even more polished production than was heard on his debut Empty Sky. 

Released in 1970, Elton John marked the beginning of a legendary career that would not only change John’s life but would have a profound influence on the popular music landscape for decades to come. With his masterful piano playing, gorgeous lyrics, and melodic style, Elton John remains an album experience through and through. While popular songs such as Your Song and Border Song are worthy singles in their own right, the sequencing of Elton John is utterly perfect.

Interestingly, Elton John was never intended to be a career-launching album for it was merely supposed to present a polished overview of the music from John and (Bernie) Taupin for other musicians to select from and record for themselves. I think I can speak for all of us when I say that I’m glad that intent failed for it is unimaginable to consider the musical landscape sans Elton John’s contributions.

While John and Taupin, along with the band are to be revered for the music that comprises the Elton John album, Gus Dudgeon, the album’s producer, was arguably a visionary creative and was so influential in that role that he would go on to produce many of John’s most respected classic era albums including Goodbye Yellow Brick Road.

Visually striking, this self-titled debut is a perfect accompaniment for the larger vinyl canvas. What has always confused me, however, is the fact that the rear album artwork presents the names and standing photographs of the contributing musicians to this master recording. Yet, there isn’t a single song from the album listed on the rear sleeve. Instead, you’ve got to venture into the gatefold for such information, along with lyrics and additional liner notes. It’s a bit of an oddity as one naturally turns the album cover over when perusing them to see if a song stands out from the list thereby compelling the purchasing or playing of the album. The CD counterparts don’t replicate this aspect, thankfully, but the 2017 vinyl reissue that I’m fortunate to own, replicates the original artwork. Regardless of that aspect, it’s a beautiful reproduction with a slightly textured cover that ensures damage will be minimal for Elton John is one of those albums that you can’t help but to continually play. 

While some vinyl collectors don't play their records, or will place the album artwork on a Now Playing stand, I prefer to hold the artwork and when I drop the needle on the record, I’m blown away. The musical reproduction of this release is said to have been remastered from the original analogue tapes and based merely on the sonic presentation that emanates from my speakers, I don’t doubt it. The only problem is the inconvenience of the format, for when the digital counterparts sound as good as they do. In the modern convenience era, it certainly takes a determined mind to commit to a vinyl playback ritual. 

Recorded, mixed, and mastered with kid gloves best describes the sonic wonder that you’ll experience when listening to this album, regardless of format or delivery method. While the vinyl reissue is thoroughly engaging, so too are the Apple Digital Master stereo and Dolby Atmos streams from Apple Music. While I prefer the stereo mix, that is likely due to hearing this album in that way for decades. Nevertheless, the Atmos mix is additive in that it has been delicately crafted and offers a fuller, and more immersive, presentation than the stereo mix permits. Some instrumental elements are more noticeable, having been freed from the refines of two-channel audio, but the only downside I’ve noticed is that the width of the soundstage is a little shallower than the stereo mix. That may sound strange given the surrounding nature of the Dolby Atmos format, but the stereo panning in the two-channel original mix seems to have a greater distance to the left and right than the Atmos stream does. Regardless, both are thoroughly enjoyable I will say that the Atmos stream is one of the best implementations of this technology that I’ve had the pleasure of hearing.

While most of the digital reissues for Elton John, post-1995, have included three bonus tracks, they’re superfluous to the flow of the album. I have subsequently chosen to omit them from this review and as such you’ll find a shared Apple Music playlist below that presents the album with its original 10-song structure. Of course, while I may be less than enamoured with the bonus material, you may appreciate it. Hence, you can check out the 13-track edition by clicking here. If you’re interested in delving even further into this release and the Elton John era, the 2008 Deluxe Edition features additional demos as well as BBC session recordings.  

Your Song is one of John’s most enduring tunes. The love song theme will pull at the heartstrings while the musical aspects of the song continue to progressively build, eventually culminating in one of the most beautiful songs ever written and recorded. 

I Need You To Turn To is an incredible pop ballad. When I hear music this pure, I can’t help but wonder if John, Taupin, the musicians, and the production team were aware of just how incredible the music was at the time when they were creating it. 

Take Me To The Pilot is an upbeat, piano-driven tune that complements John’s vocal styling. With its infectious hooks and melodies, Take Me To The Pilot is a standout even if its only claim to fame is as a solid album tune for this is one song that is not easily forgotten. 

No Strings On Louise takes a bluesy Rolling Stones’ meets country music twist. One could be forgiven for thinking that The Rolling Stones made an impromptu appearance on this song but as a fan of The Stones, I think it’s wonderful and it’s one of my favourite songs from Elton John; despite its stylistic shift.

First Episode At Hienton is a sonically beautiful tune. Its haunting composition will envelop you in the immersive soundstage throughout, thereby making it one of the most captivating songs from the album.

Sixty Years On has a unique and somewhat pointless introduction. I class it as the sonic equivalent of 2001: A Space Odyssey in that it gets your attention due to the progression of sonic elements rather than the song itself. Nevertheless, once the song starts and the senses start to settle, Sixty Years On becomes a masterstroke in its own right.

Border Song is a gospel-inspired gem. John’s piano, lyrical delivery, and the symphonic backing elements all build to the moment when the choir comes into the mix. It’s a sonic experience that has to be heard firsthand for Border Song will touch your soul in a way that simply cannot be adequately described.  

The Greatest Discovery is one of John’s greatest recordings and as with many of his tunes, it should be heard firsthand for any commentary is going to do nothing more than butcher what can only be considered a musical masterpiece. 

The Cage is New Orleans Jazz meets Rock and Roll with a killer rhythm and groove. 

The King Must Die is grandiose and aligns with John’s persona. As the song builds in intensity, featuring dynamic shifts in tempo, the orchestral arrangements add further majesty, thereby resulting in it being a quintessential closer; one that permits reflection, as well as compelling the listener to play the album again. 

Elton John is a remarkable release that is up there as one of the greatest albums in music history. It laid the foundation for John’s illustrious career and remains a testament to his enduring musical legacy. Most importantly, however, it deserves greater recognition than it often receives. We frequently point to Goodbye Yellow Brick Road as John’s magnum opus, but this self-titled release is equally its peer. If you’ve never heard it, nor given it a chance, you’ll be shocked with regards to just how impressive this release is for it is Elton John to the core and is thoroughly captivating from the very first note to the last. 

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ABBA – The Visitors (Album Review)

Released in 1981, The Visitors marked a significant turning point in ABBA's career. After all, it would be their eighth and final studio album before returning with Voyage, some four decades later, in 2021.

While many may disagree, I don’t consider Voyage to be a natural evolution and subsequently don’t consider it to be a follow-up to The Visitors. I much prefer to consider Voyage as an independent album; one that is ABBA at its core, but one that also doesn’t belong in their foundational back catalogue. It’s much the same as my opinion of the Eagles’ Long Road Out Of Eden; an excellent album in its own right, but one that is incapable of following The Long Run. Sometimes the fundamental aspects contributing to the specialness of an artist, or band, are void when decades elapse between releases. We want to be enthralled, but it is also as if our expectations can only be met with disappointment for it’s rarely, if ever, what we had always hoped for.

Subsequently, The Visitors is not only one of the greatest recordings ABBA ever made but it is the quintessential closing chapter and no matter what the Swedes release henceforth, I consider that their classic era ended with The Visitors.

Showcasing a more mature and introspective side to their music, The Visitors is an album that may not immediately appeal to those who appreciate ABBA’s catchy tunes such as Dancing Queen, Gimme! Gimme! Gimme! (A Man After Midnight), or Mamma Mia. It certainly wasn’t up to the same commercial standards as their highly successful mid-career releases, but success at the cash register is rarely an indication of quality and while sales weren’t to ABBA calibre levels, The Visitors was a monstrous sales success by any metric.

One may think that I’m suggesting that there aren’t any great hooks to enjoy when listening to The Visitors. That is certainly not the case, but the lighthearted off-the-cuff pop style, which had previously been an ABBA trademark, was largely omitted for a more serious style; one that I thoroughly appreciate.

This seriousness also extended sonically to The Visitors for it’s a master recording and arguably ABBA’s most sonically pleasing release. While I’m fortunate to own the Studio Albums vinyl boxset; the Apple Music stream, an Apple Digital Master, is the pinnacle digital release for I’ve never heard the album sound better.

Yes, I thoroughly enjoy the aforementioned vinyl reissue for it is smooth with a thoroughly pleasing tonal warmth, while also ensuring that every element is clearly present within its soundstage. However, it isn’t convenient. Vinyl purists likely have their pitchforks at the ready but when an Apple Digital Master release sounds this good, and I can enjoy it anywhere, at any time, there’s something incredibly freeing in acknowledging that reality.

The Apple Digital Master edition is of particular note given that ABBA’s catalogue, including The Visitors, has been remastered numerous times, yielding different results each time. It has understandably left fans and collectors frustrated for the differences are noticeable and not to everyone’s tastes. That said, I feel that the Apple Digital Master solves many of the problems associated with prior masterings and is subsequently the perfect way to listen to and appreciate not only The Visitors but ABBA’s back catalogue.

Speaking of digital releases, all post-1997 editions have been issued with bonus songs. As long-time readers will note, I generally favour the original sequencing of albums. This is, unfortunately, not currently available on Apple Music, so I’ve had to share with you a playlist that replicates the original 9-track album. Of course, you can also appreciate the bonus tracks or the Deluxe Edition by clicking on the previous links if you wish. Interestingly, for those paying attention to such things, the Deluxe Edition is the non-Apple Digital Master release of the album.

Returning our thoughts to the musical presentation, and associated artwork, the cover art design is also indicative of the maturity the band were presenting via their music. However, knowing what we know now about the marriage breakups of the band members, one can read more into the album artwork than on any other ABBA release for the band members are separated and independent. Intentional, or not, I can’t imagine a better album cover for what was, at the time, to be their final album for it visually reflected their emotional status, their maturity and independence as well as their need to be taken seriously.

The Visitors was an interesting choice to open the album with. The somewhat spacious synthesised introduction will either capture your attention or you’ll wonder if it was at all necessary. I fall into the latter category but once the song passes the first-minute mark, you get a real sense of direction as the music continually builds its melody until the harmony hits with memorable effect. It’s, therefore, simultaneously, ABBA’s weakest and strongest opener. I’ll let you decide as to which you feel it is but suffice to say that it’s worthy of being the album’s title track.

Head Over Heels is an upbeat catchy tune that will appeal to longtime and casual fans alike. Agnetha Fältskog’s lead vocals are utterly perfect with Anni-Frid Lyngstad (Frida) entering the chorus seamlessly, ensuring that their vocal interweaving is as captivating as ever.

When All Is Said And Done is a poignant reminder of the relationship breakdowns within the band. Where The Winner Takes It All grappled with Björn Ulvaeus and Fältskog's divorce, When All Is Said And Done is a direct commentary on the split between Benny Andersson and Frida. While music often deals with relationships, ABBA differs from many others in that they were working with each other to make these exceptional recordings all while their personal lives were unravelling. It takes courage to bare it all in such circumstances and as you listen to Frida’s lead vocal, you can hear the emotion in her voice for such heartache is rarely easy to restrain. When All Is Said And Done is, subsequently, one of her greatest vocal achievements.

Soldiers is powerful and thought-provoking. Containing a blend of rock and pop elements that had not been heard since the release of The Album in 1977, Soldiers showcases a level of versatility that makes for a captivating listen.

I Let The Music Speak is a beautiful and introspective ballad showcasing the songwriting prowess of Ulvaeus and Andersson. The delicate piano arrangements and heartfelt lyrics make it a landmark tune and while it may not be ABBA's most notable song, it is the one that will forever live in the annals of music history.

One Of Us is memorable, due in part to the pensive pop verses and catchy chorus. It’s also one of Fältskog’s greatest vocal recordings and reminds me fondly of her recording style throughout Arrival.

Two For The Price Of One is one of ABBA’s classic quirky tunes, with a little controversial subject matter, but Ulvaeus vocalises it so well that you’ll forget the literal interpretation and be captivated by the hook and harmonious intertwining, all of which is nothing short of musical perfection.

Slipping Through My Fingers is another stunning vocal performance from Fältskog. Yes, I acknowledge that she’s always been my favourite of the four core musicians in ABBA, but when heartfelt lyrics are met with tender vocals, music simply doesn’t get much better than this.

Like An Angel Passing Through My Room is a gorgeous ethereal tune to close the album on and is one of the reasons why I’m less than impressed with the reissues that offer additional tracks. It’s not that the bonus material is bad, but Like An Angel Passing Through My Room is the quintessential closer that allows one to contemplate the music they’ve just heard while also encouraging the listener to play the album again.

With a unique blend of pop, rock, and electronic influences, The Visitors stands as a testament to ABBA's enduring legacy and their ability to evolve with the times. The Visitors is subsequently deeply introspective and musically diverse, showcasing ABBA's ability to create memorable pop songs while tackling deeper themes. The culmination of this makes The Visitors a must-listen for both ABBA fans and those looking to explore the evolution of pop music in the early '80s.

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Elton John – The Fox (Album Review)

Elton John's 1981 studio album, The Fox, arrived during a transitional period in the singer-songwriter's career. By this point, John had already established himself as one of the most iconic figures in popular music, with a string of hits and critically acclaimed albums under his belt. However, The Fox continued the sonic departure from his classic era, embracing a more experimental and electronic direction that reflected the evolving music landscape of the early 80s.

Naturally, the shifting styles mean that The Fox will not appeal to all Elton John fans, but it’s an album that grows on your the more you listen to it. It, subsequently, stands as a testament to his versatility as an artist and his willingness to embrace new musical styles; a core reason why he remains relevant within the music industry to this day.

The Fox may be considered a unique album on its own, but several songs were originally recorded, during the same sessions, for John’s incredible, and severely underrated, 21 At 33. Subsequently, you may find it interesting to listen to that album first before reaching for The Fox as correlations are most certainly present. No, The Fox, is not merely a collection of previously discarded songs, but it is understandable as to why some may consider this to be the case.

Given the lacklustre commercial success, one can understand why the album has received no attention since the 2003 remastering that remains the gold standard for this release on Apple Music et al. That, however, shouldn’t be seen as a negative aspect for the 2003 remaster is stunning. The dynamic range presented will enthral as every musical element is clearly presented in the soundstage and turning the volume up, or even listening at lower levels, results in an exceptional sonic presentation that is more than anyone could ask for. Is there room for improvement? Perhaps, but there are no glaring issues to note and sometimes it is best to leave well enough alone; a trait the music industry often fails to understand.

Breaking Down The Barriers opens the album with a catchy and energetic melody. The modern 80s sound signature of included synthesizers and electronic elements set the tone for the entire album but as much as they’re present, they don’t detract from the song itself or John’s vocal delivery. Would Breaking Down The Barriers have been a far better song had it been recorded in his classic era style, probably, but it’s enjoyable just the way it is.

Heart In The Right Place features a tight moody rhythm section with some absolutely killer lead guitar licks. John's soulful vocals will also captivate you for it’s a hidden gem from his extensive catalogue. It’s without a doubt one of his best songs from the 80s and the incorporation of blues-based rock, with a touch of funk and some R&B, ensure that Heart In The Right Place is a memorable track.

Just Like Belgium is a solid pop-rock tune that initially makes me think of Bruce Springsteen; due to the musical style presented during the introduction to the song. Nevertheless, it isn’t a standout track, despite being lively and playfully energetic, but it is very 80s so if 80s music is your thing; you’ll love it!

Nobody Wins is one of the album's standout tracks for that tempo will instantly grab you. As with Just Like Belgium, Nobody Wins offers listeners a much-appreciated nostalgic trip down memory lane.

Fascist Faces has a driving soft rock sound signature and while there’s nothing wrong with that, John's processed vocal on this song can be a little off-putting. Additionally, the chorus isn’t overly compelling and all-in-all Fascist Faces just isn’t a great song. It works within the album structure, but it isn’t a song that you’d seek out, outside of the album format. A shame considering this was a songwriting collaboration with the one and only Bernie Taupin.

Carla / Etude / Fanfare / Chloe is a lovely song, or collection of songs, that is truly worthy of being a part of John's back catalogue and reminds me somewhat of Alan Parsons’ recordings. When the 2003 remaster was released, the four songs were combined into a single song and it works for it’s absolutely beautiful from start to finish. It really is one of the greatest pieces of music John has ever recorded.

Heels Of The Wind shifts the tone of the album as it’s an energetic track that showcases John's ability to blend rock and pop elements seamlessly.

Elton’s Song is lovely. While rather controversial at the time of release and while I don’t normally delve too deeply into lyrical meaning, this heartfelt tune, if released today, would be celebrated rather than receiving the same level of pushback and negative press it did in 1981. A lovely song!

The Fox follows Elton's Song nicely and is the quintessential closing tune for it ensures I’ll spin the album again and stay within John’s extensive catalogue of exceptional music. As divisive as his 80s output may have been, The Fox, both the song and the album, are thoroughly enjoyable and are Elton John recordings to the core; albeit with a modern 80s twist.

While it may not be as accessible as his classic era recordings, The Fox, John’s fifteenth studio album, offers a unique listening experience for fans willing to venture into the uncharted territories of Elton John's discography. It's an album that rewards repeat listens for The Fox can be seen as a notable chapter in Elton John's illustrious career, capturing a moment of artistic exploration and evolution while staying true to his artistic vision.

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John Farnham – Whispering Jack (Album Review)

Farnsy, as he is lovingly known to Australian audiences, is an icon of the pop music industry. Despite that, many international readers will likely be unfamiliar with his music as international sales of his records, and a lack of touring, guaranteed him a position as Australia’s preeminent musical entertainer. 

Released in 1986, Whispering Jack became a classic Australian pop rock album that showcased Farnham’s impressive vocal capabilities via a series of timeless tunes. A commercial success, reaching number one on the Australian charts for 25 weeks, and becoming the highest-selling album in Australia, Whispering Jack has gone on to sell more than 1.68 million copies, as of 2006. That may not seem a lot by international standards, but this represents superstardom for an Australian artist where the population of the country is just over 25 million (16 million, at the time of the album’s release).

Whispering Jack is known as Farnham’s breakout album, but it certainly wasn’t his first outing as a performer for it’s his twelfth studio album. Previously, Farnham had been a pop teen idol, billed as Johnny Farnham, the Justin Bieber of his day, and lead singer of the Little River Band in the early 80s, but he never quite reach household name status until the release of Whispering Jack.

Farnham’s history and the way Whispering Jack came about is legendary and it would be a perfect candidate for defining the meaning of the “Little Aussie Battler”. On that note, it's important to acknowledge that Glenn Wheatley, a former bass guitarist for The Masters Apprentices, was responsible for primarily funding the recording of Whispering Jack and without his support, this exceptional recording would never have seen the light of day.

Wheatley's support ensured the Australian music-loving public would also experience the equally exceptional Age Of Reason (1988) and Chain Reaction (1990) with his latter albums being solid but not career-defining. Nevertheless, the one thing that always captured my attention was Farnham’s unique vocal style as his timbre is immediately identifiable. Similarly, the lyrics he’s singing are pronounced so eloquently that there’s rarely a need to refer to the liner notes for guidance on Farnham-themed karaoke nights as there isn’t a mondegreen to be heard. 

Sonically, the lossless Apple Music stream, of the non-remastered, non-anniversary, edition of Whispering Jack sounds superb. The remastered version is simply too loud and becomes fatiguing to listen to despite the nice boost in the low mid-range. Of course, if you adjust your EQ settings you can achieve similar results without brickwalling the entire recording.

Before we take a look at the songs that make up this classic Australian album, I must comment on how striking the album artwork is. It’s clean, minimalist, 80s (yet not tacky), and is instantly recognisable from a distance. Few artists ever have artwork that is so highly polished that it matches the recording contained within, but this is certainly one of them. 

Pressure Down is an upbeat pop-rock anthem that sets the tone for the rest of the album. Farnham's powerful vocals and the catchy guitar riffs make this track an instant classic. While it will take you back to the 80s, with a pop-synth sound that was revolutionary at the time, it interestingly doesn’t feel that distant from modern pop music; further validating its longevity of relevance. 

Interestingly, you may notice a few seconds at the beginning of the song that, when listening on speakers, is seemingly void of anything. However, when listening via headphones, especially with high gain on and at ear bleeding levels (not recommended–please protect your hearing), it’s possible to hear the whispering element. 

Initially, I had thought that the spoken word was ‘a restructure of subject or language.’ Of course, Google is our friend and as such directed me to Jane Gazzo’s Herald Sun column. Gazzo details the spoken words as actually being ‘there is no restriction on subject or language.’ Yes, there is an interesting and somewhat humorous story behind this revelation, but I implore you to read Gazzo’s piece for the full story. Gazzo has also recently published John Farnham: The Untold Story. I’ve yet to read it, hence this isn’t an endorsement, but I’m looking forward to checking it out when I have time.

You’re The Voice is perhaps one of the most iconic and emotionally moving songs ever written and recorded and is arguably more relevant today than it was upon its release. It’s inspirational and puts humanity into perspective with simple yet clearly defined lyrics.

The inclusion of the bagpipes and a guitar solo in the chorus is nothing short of pop/rock gold for this is one power ballad that will captivate and guide you throughout the entire recording.

Farnham’s vocals on You’re the Voice are simply incredible and nothing short of world-class. Very few performers can sing with such raw honesty and I truly believe Farnham has never sung another song with such passion and conviction. Of course, it isn’t just Farnham, his musicians, and the production team that need to be acknowledged for this masterpiece as Chris Thompson, Andy Quanta, Keith Reid, and Maggie Ryder all deserve credit for writing such an incredibly beautiful song. ; one that has become an unofficial national anthem for Australia.

One Step Away has never really resonated with me. Perhaps it’s because it follows one of the greatest songs ever recorded, but it just feels out of place in the album’s sequencing. It’s fair to say that One Step Away is no one’s favourite track, for it’s a B-side at best, but Whispering Jack wouldn’t be the same without it. 

Reasons is a song I love because it was my first introduction to the whiplash sound in music. Yes, this synthetic sound was available before a hundred whiplash apps made it to your smartphone and into the zeitgeist. Additionally, the beat is addictive, as is the catchy guitar riff, memorable chorus, and atmospheric backing. It’s rather complex, with many elements to listen to, yet the soundstage never feels crowded. Reasons is what pop rock music is all about and you will definitely want to turn the volume up to 11.

Going, Going, Gone has an introduction that I feel detracts from the song and the flow of the album. Additionally, while the song may appeal to some, it isn’t a personal favourite. That said, it grows on you and over the years I’ve come to appreciate it as a solid addition to the album.

No One Comes Close has a bass guitar intro that’s simply magnificent (thank you, Roger McLachlan) as it forms the overall tempo of the tune. I mention this because I feel the bass guitar remains one of the most underrated instruments in music reproduction and creation and I love when it’s more prominent in a mix. While No One Comes Close doesn’t break any new ground, it’s a hidden gem, is thoroughly enjoyable, and ticks all the relevant boxes for what an upbeat pop-rock tune should sound like.

Love To Shine is a more experimental track that features a funky bassline and electronic elements to form the basis of a song that you just won’t be able to stop yourself from singing along to. Farnham's vocals are once again on point, as he delivers the song's lyrics with passion and energy, and while it was never released as a single, it probably should have been for I dare say it would have done well. 

Trouble is one of those truly unique tunes that are difficult to articulate. That said, it’s thoroughly enjoyable and I consider it to be one of the strongest songs from Whispering Jack for it is the epitome of the era from which it came. 

A Touch Of Paradise is, in my opinion, a sonic masterpiece. It’s incredibly soothing but also encourages you to turn the volume up and sing along to a simply gorgeous chorus. Farnham has sung many incredible ballads throughout his career, he’s a master of the craft, but there is something special going on here for A Touch Of Paradise, not unlike his performance on You’re The Voice, further showcases what a spectacular vocalist he is. 

No one could possibly outperform Farnham on this tune and even the original recorded by Mondo Rock, on their 1982 album Nuovo Mondo, is substandard by comparison. That’s not to suggest that Mondo Rock’s version is flawed, for it’s not and had Farnham never covered the song, I’d be singing the praises of the Mondo Rock recording as it’s got a blues-based rock styling that is thoroughly enjoyable. 

Let Me Out is the perfect song to close Whispering Jack on. Its edginess is its core appeal for the song is rooted in the pop rock 80s style that includes a little bit of everything, including a killer guitar solo, backing vocals, and some really believable synthetic horns that add to a jazzy feel not unlike Robert Palmer’s Addicted To Love. What’s not to like?

Overall, Whispering Jack is a classic Australian pop-rock album that showcases John Farnham's impressive vocal prowess. From the upbeat anthems to the poignant ballads, each track on the album is a standout in its own right, and the record as a whole remains a beloved Australian classic. If only all music could be this good!

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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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