Andrea Bocelli – Cinema (Album Review)

Every now and then an album comes along that is the pinnacle of perfection. Cinema is one such release that blew my mind the first time I heard it. While I’m keenly aware of Bocelli’s work, having been a fan since his 1994 pop/classical crossover Romanza, I wasn’t entirely prepared for the quality of Cinema. There is little doubt regarding Bocelli’s exceptional talent, but I feel that some releases, such as Passione, from 2013, failed to showcase his true talent. Despite that, the song selection, sequencing, recording, mix, and mastering on Cinema is exquisite. As you listen you’ll no doubt come to realise, as I have, that the songs not only bring out the best in Bocelli but that many of these interpretations surpass their original compositions.

While classical purists may lament yet another classical crossover from Bocelli, I truly believe that this is where his true talent resides for he takes listeners on a captivating journey through iconic movie soundtracks, masterfully infusing his signature operatic style with the emotion and grandeur associated with the silver screen.

Sonically, Cinema is stunning and it should be with the calibre of Bocelli and those who worked with him behind the scenes; some of the most decorated and respected people in the entire industry. That said, nothing truly prepares you for the sonic journey you’re about to undertake, so without further ado, join me as I delve into the selection of music Andrea Bocelli chose to cover on Cinema.

Maria (From "West Side Story”) opens the album with a stunning rendition of this timeless classic that is perfectly suited to Bocelli’s tenor vocal range.

La Chanson De Lara (From "Dr. Zhivago”) is a hauntingly beautiful tune filled with the passion and depth that only Bocelli could deliver. His ability to convey raw emotion through his voice is truly remarkable, as he brings the heart-wrenching signature tune from Doctor Zhivago to life through song.

Moon River (From "Breakfast at Tiffany’s”) always reminds me of Frank Sinatra, for I prefer his recording of this classic tune, but Bocelli's tender interpretation of this beloved ballad is nothing short of mesmerising.

E Pit Ti Penso (From "Once Upon a Time in America”) is a magnificent duet with Ariana Grande that showcases Bocelli's versatility and ability to harmonise flawlessly with other artists. Their voices blend beautifully, creating a poignant and captivating performance.

Be My Love (From "The Toast of New Orleans”) will leave you captivated for Bocelli’s heartfelt interpretation captures the romantic essence of the song via his rich and resonant vocal style.

The Music of the Night (From "The Phantom of the Opera”) is one of the most recognisable pieces of music the world has ever known and I’ve always considered Michael Crawford’s interpretation to be the one to beat. That said, I’m extremely impressed with Bocelli’s rendition as his operatic foundation truly shines through in this powerful rendition.

Por Una Cabeza (From "Scent of a Woman”) sees Bocelli deliver the rendition of this tango classic in a passionate and captivating manner whereby his smooth and velvety vocal adds a layer of seduction to the song. That said, it isn’t my favourite track from the album but Cinema wouldn’t be the same without it.

Sorridi Amore Vai (From "Life Is Beautiful”) is a lovely song, but I’ve always wondered how it would sound with a slightly slower tempo. Regardless, as I listen, I remain amazed at the control Bocelli has over his vocal delivery as many artists tend to reach too high and it often sounds forced. It is this self-constraint that makes him one of the best vocalists in the world and ensures that this song is thoroughly enjoyable.

Mi Mancherai (from “Il Postino: The Postman”) is one of the standout tracks selected for Cinema for Bocelli’s emotional performance of this song is deeply moving. His ability to convey longing and sorrow through his voice is truly remarkable and each time this tune comes on, all I can do is close my eyes and appreciate the masterpiece that Bocelli has created. It’s an audible experience that really needs to be heard first-hand to be fully appreciated.

Cheek to Cheek (duet with Veronica Berti) [From "Top Hat”] is a masterful tune and while it has been interpreted innumerable times, I never tire of it. However, as good as the Bocelli/Berti version is, no one does it better than Ella Fitzgerald and Louis Armstrong, for their recording from their 1956 album Ella And Louis is a timeless classic.

Brucia La Terra (From "The Godfather”) delivers a touch of nostalgia with Bocelli’s incredible rendition of this Italian classic. His emotional performance, coupled with the beautifully arranged orchestration, evokes the bittersweet essence of the iconic film.

No Llores Por Mi Argentina (duet with Nicole Scherzinger) [From “Evita”] is filled with passion and intensity and reminds me vividly of Elaine Paige’s exceptional interpretation. It’s a beautiful song and Bocelli pays homage to its lineage as only he could.

Nelle Tue Mani (Now We Are Free) [From “Gladiator”] is the quintessential closer. While the entirety of Cinema is magnificent, this is one interpretation that will bring you to tears for Bocelli’s performance is flawless, moving, and emotionally engaging. We are truly blessed to have access to such incredible music.

No matter how hard I try, mere words can not adequately explain just how incredible this album is. Cinema beautifully highlights the profound connection between music and cinema, demonstrating how the power of melodies can enhance storytelling and evoke a wide range of emotions in audiences. Ultimately, Bocelli's velvety vocal effortlessly transports listeners to the heart of each film's narrative, reminding us of the lasting impact that music has on our cinematic experiences.

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Bruce Cockburn – O Sun O Moon (Album Review)

In the ever-evolving world of music, few artists can boast a career as diverse and influential as Bruce Cockburn. With a legacy spanning over five decades, Cockburn has consistently captivated audiences with his thoughtful lyrics, virtuosic guitar playing, and unique vocal style. His latest album, O Sun O Moon, released in 2023, showcases his enduring talent and serves as a testament to his artistic evolution. Seamlessly blending folk and rock elements, Cockburn's music will continue to resonate with listeners worldwide with this latest release; one of his very best!

While there isn’t much to say about the album artwork, it’s an appealing piece of visual art that plays into the album’s title quite well. I can only imagine how impressive it would look on the larger vinyl canvas and while I aim to pick up a copy, from a sonic perspective I’m smitten with the lossless stream available via Apple Music. As I listen to the record, it becomes clear that Cockburn is in the room with you and every instrumental element has the space to breathe. It really is a well-recorded, mixed, and mastered album.

Of course, sonic quality alone is for nil if the music isn’t exceptionally good and while I don’t always appreciate music for its literal meaning, instead choosing to enjoy the human vocal as another instrument in the mix, join me as I take a look at the songs that make up O Sun O Moon. And, yes, dear reader, you can most certainly enjoy the very best a singer/songwriter has to offer even if, like me, you don’t pay attention to the lyrical stories expressed via the songs.

On A Roll sets the musical tone for the entire album. While the rhythm will infect your soul, it is the catchy chorus that I find myself drawn to as well as the mid-song guitar solo; although I do wish the mix was somewhat different so that the solo could take centre stage for I feel it is too concealed.

Orders slows the tempo a little but the gorgeous guitar work throughout is thoroughly pleasing to the senses. Orders is delivered poetically in Cockburn’s chosen style and as with On A Roll, it is Cockburn’s delivery on the microphone that makes Orders so compelling. It’s singer/songwriter gold and makes for a perfect accompaniment when you’re after music that is both bold and relaxing.

Push Comes To Shove sees me turn the volume up. Exquisite comes to mind for the recording and the mix is utterly perfect with a jazz-inspired tune that is one of the best songs from O Sun O Moon and is without a doubt one of Cockburn’s greatest recordings.

Colin Went Down To The Water is one of those songs that will create an earworm; a pleasing one, but I’d be lying if I didn’t say that it isn’t the strongest song on the album. My feeling is that it is a little too repetitive and while I acknowledge that others may love that approach, it has the potential to cause fatigue upon repeat listens.

Into The Now is a lovely song sung in a near-lullaby style. It may not be a standout, but Into The Now ensures that the album structure of O Sun O Moon is one of the very best records released in 2023.

Us All flows beautifully from Into The Now and Cockburn’s beautiful tones float lovely on the musical bed of the song. It’s an outstanding mix!

To Keep The World We Know takes us back to an upbeat tempo, yet there’s little to no jolt to the senses. It will have you toe-tapping and head-bopping; a great tune.

King Of The Bolero is a magnificent song. Truly magnificent! King Of The Bolero is a textbook example of how to write, record, mix, and master a perfect tune. It’s songs like this that prove just how incredibly talented Cockburn is as a musician.

When The Spirit Walks In The Room continues the sonic masterpiece and is one of my favourite songs from O Sun O Moon. Cockburn’s gravelly vocal presentation here is the highlight for he takes every note and intonation right to the edge of his capabilities and holds it so that, as with Us All, his vocal delicately hangs in the air just above the backing musical elements.

Haiku (Instrumental) is a lovely musical interlude.

O Sun By Day O Moon By Night is essentially the inspiration behind the album’s title and it’s a fantastic tune. Yes, to some it may come across as a little preachy, particularly in the chorus, but it’s lovely nonetheless.

When You Arrive isn’t a standout, but it is the perfect closer for O Sun O Moon for it encourages me to play the album again. It also does what all good closers should; it allows one to contemplate the music they’ve just listened to, meaning that it is a perfect way to end a relaxing night of music listening.

Bruce Cockburn's O Sun O Moon is a musical masterpiece that effortlessly blends folk and rock elements to deliver a deeply satisfying listening experience. Each track on the album showcases the artist's immense talent and artistic growth and that isn’t bad considering Cockburn is fast approaching his eighth decade. It just goes to prove that age is but a number for O Sun O Moon is one of the best albums released in 2023 and if it were to be Cockburn’s final album, then it wouldn’t be far-fetched to suggest that this release was a pinnacle moment in his illustrious career.

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Natalie Merchant – Keep Your Courage (Album Review)

Released in 2023, Natalie Merchant’s eighth studio album, Keep Your Courage, once again focuses on introspective lyrics, folk-inspired melodies, and her distinct vocal style. Merchant’s longevity in the industry is a testament to her prowess as a vocalist and performer, but never has she released such a poignant and sonically pleasing album for I dare say that Keep Your Courage is the greatest creative work of her illustrious career.

As regular readers of Subjective Sounds would note, I appreciate the human voice as an instrument in the mix rather than as a storytelling device and while the songs included on Keep Your Courage explore isolation, love, politics, and feminism, which will appeal to those who appreciate dissecting songs for their literal meanings, I remain in awe of Merchant’s vocal reach throughout as they are thoroughly pleasing to the senses.

Turning our attention to the visual senses and one finds the album’s artwork to be truly unique. Merchant normally appears on her cover art design, but the Joan of Arc statue certainly plays into the album’s title as well as much of the lyrical context throughout. The chosen design, with the coloured elements in the lower left-hand corner, is intriguing for I can’t fathom their purpose or meaning, but they simply work. Without them, the album cover would have been a little visually dull in its monochromatic state.

For those of you interested in picking up a physical release, you’ll be pleased to know that these coloured elements are continued throughout the artwork and look simply incredible. Plus, if you’re after a vinyl version, you’ll get a fourth side containing four songs, from Merchant’s previous albums, never before released on vinyl. While the bonus songs may not have been intended to flow in the context of the album structure, it is far more appealing than when an album is presented across three sides and the fourth is either left blank or contains an etching. Thankfully, the vinyl release didn’t truncate the album either; a common practice that can be mildly frustrating.

Sonically, the Hi-Res Lossless Apple Music Stream, an Apple Digital Master, is nothing short of perfection. It is, without a doubt, one of the most beautifully recorded, mixed, and mastered albums you’re likely to hear in the modern era. The soundstage is spacious and every musical note is given air to breathe as Merchant’s stunning vocal soars through the backing music in a divine experience that has to be heard to be believed. Masterpiece doesn’t even come close to describing the sonic presentation of Keep Your Courage.

Big Girls (feat. Abena Koomson-Davis) is a beautiful song to open the album on. From the first piano notes, to Merchant’s glorious vocal, the sonic sparseness is the highlight here as it allows the mind to relax and reflect before the other musical elements come into the mix. Big Girls has a little bit of everything. There are the singer/songwriter elements, a jazz influence, as well as a tad of pop to be heard. Stunning describes it, but it’s also an understatement.

Come On, Aphrodite (feat. Abena Koomson-Davis) is easily my favourite song from the album. The seamless transition from Big Girls is utterly perfect and Abena Koomson-Davis’ inclusion here is both complementary to Merchant as well as being a standout element. Without Koomson-Davis’ contribution, Come On, Aphrodite wouldn’t be as impressive as it is for the vocal elements are the strongest aspect of this song with regard to the ebb and flow of the tune.

Sister Tilly is a thoroughly relaxing sonic journey. You’ll find yourself closing your eyes and listening in a captivated manner for music should always sound this good, yet it seldom does. What a beautiful song!

Narcissus flows beautifully from Sister Tilly and it would be fair to say that as far as the sequencing of the album goes, Keep Your Courage is seamless. While it isn’t a standout tune, the more I listen to Keep Your Courage the more I find myself increasingly captivated by Narcissus for Merchant’s vocal prowess, control, and delicacy is an experience in and of itself.

Hunting The Wren shifts the tone to be one of a more melancholy approach than we’ve heard thus far. It’s haunting and will make you sit up and take notice but the boldness of the sonic experience ensures that the senses are heightened when listening to this memorable tune.

Guardian Angel lifts the senses following the tonal shift of Hunting The Wren and while it’s a rather simple composition, it allows Merchant’s delicate vocals to reach every aspect of your soul. Merchant is so clear and present, in the mix, that your speakers will disappear and should you close your eyes, you’d swear she is in the room with you. Plus, the musical interlude around the midway point is nothing short of incredible. Guardian Angel is a true masterpiece in every sense of the word.

Eye Of The Storm isn’t quite the song Guardian Angel is, but its beauty is complementary and it’s songs such as Eye Of The Storm that make Keep Your Courage one of the best albums released in 2023 and one that will remain a landmark recording for Merchant.

Tower Of Babel shifts the tempo. The horn and rhythm work here is off-the-charts good. An incredible tune and one that sees my body moving involuntarily to the groove. My only criticism is that it’s too short. That said, good things come in small packages.

Song Of Himself is more relaxed, compared to Tower Of Babel, but unless you’re listening for it, you’re unlikely to notice the stylistic shift. While there isn’t a bad song to be heard on Keep Your Courage, Song Of Himself is a classic album-only tune that few will seek out but is necessary in order to hold the structure of the album experience together.

The Feast Of Saint Valentine is simply gorgeous. What an incredible closing tune! Initially sparse in its chosen musical style and mix, when the music begins to build, every element becomes crystal clear thereby ensuring that The Feast Of Saint Valentine is a memorable closer that will compel you to play the album again. That is, of course, provided you don’t choose to put this magnificent song on repeat for it’s one of the best tunes from the album and one of the best songs Merchant has ever recorded.

There’s no denying Merchant’s songwriting and vocal abilities for she is a master of the craft. Yet, just when we thought that we had heard the best that she has to offer, Keep Your Courage comes along in 2023 and bests all other creative output from this incredible songstress. While I can’t wait to hear more music from Merchant, if Keep The Courage were to be her final album, then I’d consider her extensive catalogue of music to be complete and that this final recording was the apex of her creativity.

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The 69 Eyes – Death Of Darkness (Album Review)

Death Of Darkness, the thirteenth studio album from The 69 Eyes is a stunning addition to the band's legacy and showcases their signature sound of melodic, haunting, and catchy gothic rock music. Add a touch of country, a little metal, and a dash of punk and The 69 Eyes is just about as compelling as any hard rock band ever could be. Oh, and I forgot to mention the vocal influences of Jim Morison, Johnny Cash, Nick Cave and Billy Idol. While Jyrki 69 incorporates all these legends and is legendary in his own right, Death Of Darkness is a musical masterstroke that incorporates all band members beautifully and will go down in history as one of their greatest musical achievements.

Visually, Death Of Darkness offers one of their greatest album covers and is only comparable to X in that regard. As is the case, often with the presentation of modern album artwork, the full impact isn’t truly appreciated on the smaller canvas of one’s smartphone. Subsequently, may I suggest that if you love Death Of Darkness as much as I do, then consider picking up a physical copy for they look sensational.

Sonically, the lossless Apple Music stream, an Apple Digital Master, is superb. Yes, there is a little cymbal crunching in a couple of areas and while it is mastered to modern loudness standards, it’s mastered exceptionally well for the style of music. The soundstage is as wide as it is deep, resulting in separation between each and every musical element. It’s so good that I’m going to go out on a limb and declare that it is their best-sounding record to date.

Death Of Darkness sets the tone for the entire album with its heavy guitar riffs and dark and brooding atmosphere. It’s a great opener!

Drive has a killer riff and rhythmic introduction. If you haven’t turned the volume up by now, stop reading and do so for Drive is simply magnificent and instantly reminds me of Billy Idol’s overall style. Even though Jyrki 69’s vocal is a little recessed in the mix, thereby allowing the musicality to take centre stage, I’m so glad that the mixing engineer chose this approach as the vocal subtlety works wonders here.

Gotta Rock is one of the greatest rock tunes of 2023 and one of the best in all of recorded music history. Without a doubt, it’s the best song The 69 Eyes have ever recorded. It’s a stadium filler, for sure, and stops me in my tracks every time it comes on. You’ll find yourself singing along to the addictively good chorus and, additionally, I simply love the synth elements throughout as it harks back to the 80s without necessarily intending to do so.

This Murder Takes Two (feat. Kat Von D) shifts the tempo of the album and while it could initially be seen as a jolt to the senses, the country-based Johnny Cash style is spectacular. Although, while I’m not convinced of Kat Von D’s inclusion, the more I listen to This Murder Takes Two, the more I come to appreciate her contribution. I would say, however, that I prefer their collaboration on the 2013 song Rosary Blue for that is one beautiful song from the get-go.

California kicks things up a notch and is a killer rock and roll tune.

Call Me Snake is a monster of a song and reminds me, again, of Billy Idol, but Jyrki 69 takes that influence, makes it his own, and adds a little demonic touch to it. Magnificent!

Dying In The Night has a great bass introduction that continues throughout thereby setting a rhythm that, again, is somewhat planted in the 80s but with a modern twist. While it may be unintentional, Dying In The Night is a magnificently mellow tune that has a David Bowie vibe to it. A fantastic song!

Something Real is a solid tune but it isn’t a standout. I simply don’t feel it’s perfectly suited to the album as it sounds as if it were recorded at another time, with a different album in mind.

Sundown, similarly to Something Real, isn’t exceptional but it has one thing that the aforementioned track doesn’t; it sounds perfectly aligned with the other music on Death Of Darkness. Additionally, for those of you who love a guitar solo, there’s an incredible one to be heard here.

Outlaws is the perfect closing track for it’s got all the killer rock elements we expect from a 69 Eyes recording but most importantly it closes out the album with a mellow, yet energetic, feel that ensures that I’ll be spinning the album again.

Overall, Death of Darkness is a fantastic addition to The 69 Eyes' discography, and it's clear that the band has not lost their touch when it comes to creating dark and melodic gothic rock music. They simply keep getting better and better. Death Of Darkness may have a more melodic feel to it than their other albums, which may result in some questioning if The 69 Eyes have mellowed as they’ve aged, but I’d say they sound better on this 2023 release than they ever have. Death Of Darkness, subsequently, is a must-listen for fans of the band, the genre, and is a great starting point for those new to the music of The 69 Eyes.

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Mötley Crüe – Too Fast For Love (Album Review)

Released in 1981, Mötley Crüe's debut album, Too Fast For Love is a seminal piece of rock music that defined the glam metal genre via ten tracks of hard-hitting, high-energy rock that captured the Crüe's raw and rebellious sound.

With cover art reminiscent of The Rolling Stones’ Sticky Fingers, Mötley Crüe were demanding the world sit up and take notice and notice they did for the RIAA (Record Industry Association Of America) has certified Too Fast For Love as Platinum; selling over 1,000,000 units. Not bad for a debut!

While most fans lean towards their second album Shout At The Devil, along with Dr. Feelgood, fans should avoid Too Fast For Love at their peril for it is an astonishingly good album that is not only addictively compelling but gets better each time you listen to it.

Sonically, however, the lossless stream, via Apple Music, fails to truly impress. It’s your classic case of a memorable recording being remastered to meet modern loudness standards. It’s been mastered so hot that even tone controls have little to no beneficial effect concerning dialling the album to your personal preferences for the soundstage is unnecessarily muddy from the get-go. Look, it’s adequate, but it could have been so much more dynamic.

The Dolby Atmos stream also on Apple Music, disappointingly, does little to improve things. Other than being a little fuller, there really is no difference between this edition and the stereo mix. That’s not uncommon, especially considering the album was originally intended to be delivered in stereo, but it also feels as if it was a missed opportunity and only done to say that it was done rather than being undertaken because it offered music lovers another way to experience this classic album.

Despite the lacklustre remastering and reissue attempts, Too Fast For Love is really all about the music, so join me as we take a look at the songs, some of them classics, that make up this 1981 debut.

Live Wire is a killer opener. From the thunderous drum beat that sets the tone for the rest of the album, to Vince Neil's gritty and powerful vocals, and guitar riffs that are simply electrifying, Live Wire is nothing short of a classic hard rock anthem that has stood the test of time.

Come On And Dance has an incredible rhythm and a strong blues-inspired sound that works incredibly well with just enough distortion to amplify the song rather than detract from it. It is, without a doubt, one of my favourite Mötley Crüe songs.

Public Enemy #1 flows beautifully from Come On And Dance and Mick Mars’ licks are off-the-charts good. I don’t know about you, dear reader, but my air guitar is worn out from playing along to this high-energy punk-influenced track.

Merry–Go–Round slows the album down a little, but this ballad-styled song shouldn’t be overlooked for it is thoroughly enjoyable; even if it isn’t a standout. Although, Mars’ solo certainly amplifies the song and showcases the direction that he would take on future Mötley Crüe recordings.

Take Me To The Top is a fast-paced rocker with a killer guitar riff and a catchy chorus. The duelling guitar and bass rhythm is pure gold and while the shifting elements change the tempo throughout, it is these aspects that make Take Me To The Top one of the best songs off Too Fast For Love.

Piece Of Your Action has a killer riff and chorus that will get stuck in your head for days. It’s 80s rock and roll at its best. Magnificent!

Starry Eyes is a slower, more melodic, tune with a great hook, addictive rhythm, and some stunning guitar work.

Too Fast For Love is a high-energy rocker but it’s also a mixed bag. It isn’t fundamentally bad, but Neil’s vocal, in particular, is lacklustre and diminishes the impact that the song could have had. Also, the shifting direction of the song throughout drives me nuts. It’s Crue 101 but I simply don’t feel it’s a great title track.

On With The Show slows things down again, with a more ballad-like sound, that features some beautiful guitar work and some of Neil's best vocals on the album. Yes, it’s a little dated to the era and has a campy sound, but it’s solid nonetheless. As the album’s closer, however, it’s underwhelming and doesn’t always encourage me to spin the record again or stay within Mötley Crüe’s back catalogue; a shame considering a shift in sequencing may have had a vastly different impact.

Packed with high-energy rockers, melodic ballads, and killer guitar work, Too Fast For Love is a must-listen debut album that has not only stood the test of time but it showcases the drive and musical talent of this motley crew. While it isn’t their best creative output, it offers an insight into the monster of a band that they would ultimately become and is therefore essential for any fan of Mötley Crüe or the 80s hard rock music scene.

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The Rolling Stones – Aftermath (UK) [Album Review]

Released in 1966, the UK edition of Aftermath, was the fourth studio album from The Rolling Stones and the first to contain all-original compositions as the covers of yesteryear were no longer applicable to a band as well-versed in their sound as The Rolling Stones were at that time. Aftermath (UK), subsequently, flows perfectly within the release structure of their back catalogue as it simultaneously showcases their evolving songwriting abilities and experimentation with emerging musical genres, such as folk and psychedelia.

Newcomers to The Stones may be a little confused as to the UK designation but it’s a little less complicated than you may otherwise expect. The US edition of the album includes several additional tracks not found on the UK release, notably the hit single Paint It Black, and is also the sixth studio release from the English rock band. Aftermath was, after all, released during an era whereby a consistent worldwide release was not routine within the music industry. Each regional arm of a record label would subsequently decide on which songs would be included via their local release, as well as the associated artwork and design. The theory was that they could target a release specifically for their market. In this case, a more succinct runtime was appreciated by US audiences and as a result would have, theoretically, generated additional sales over the UK release.

One must remember that the world was far less connected in the past than it is today and there is certainly logic in that line of thinking. For instance, the cultural differences between the US and the UK, in the 60s, were quite noticeable. The UK was focused more on the counterculture movement, with an emphasis on music and fashion, while the US was focused on civil rights and family-friendly entertainment.

Despite these differences, both editions of Aftermath are worth adding to any respectable record collection but my preferred edition is the UK release, despite the omission of Paint It Black, as I feel the selected songs and sequencing are stronger, even though it has a longer runtime. I also find myself preferring the UK album artwork as the blurred cover art on the US release just isn’t appealing.

Of course, it’s the music that is paramount here and the stereo mix, delivered as a Hi-Res Lossless Apple Music stream, an Apple Digital Master, is thoroughly enjoyable. Yes, it’s a 60s recording and The Rolling Stones have always had a raw sound signature, but the stream is sonically smooth with detail across the entire soundstage that will simply fill you with joy every time you listen to the album. That is, of course, until you listen to the Mono mix via the In Mono collection. Simply take everything I just mentioned and amplify it by a factor of 10 for the Mono mix of Aftermath (UK) is simply magnificent.

I have so much admiration for the mono mix that rather than share with you the stereo version, I’ve created a dedicated playlist of the mono mix recordings, from the aforementioned collection, as it helps to target the specific album as it is otherwise buried in the 10-hour, 186-song, collection as the mono mixes aren’t available as separate albums. It’s a little frustrating, yes, but it prevents several similar, yet different, copies from clogging up the Rolling Stones album listings on Apple Music et al.

Mother’s Little Helper is one of The Stones’ most controversial songs, despite it being a catchy folk-rock tune, the lyrics address the topic of prescription drug abuse. An issue specifically of the 60s, yes, but one that is still applicable, if not moreso, in modern society. Regardless, it’s a great little tune.

Stupid Girl is an excellent song that perfectly highlights the 60s era, from a musical perspective, for it too is controversial. Stupid Girl is largely compelling due to its simple composition but it’s also highly addictive with its driving beat and bluesy guitar riffs, along with Mick Jagger's snarling vocals.

Lady Jane is a gorgeous tune and a standout from Aftermath (UK). Jagger certainly knows how to perform a ballad for it’s one of The Rolling Stones’ greatest recordings with a musical backing that is as stunning as Jagger’s vocal delivery.

Under My Thumb is a song with a catchy and unforgettable melody. Perhaps controversial, due to misogynistic interpretations, Under My Thumb remains a fan favourite because the musicality is strong. Of course, long-time readers will note that I’m a music lover who appreciates the human vocal as an instrument in the mix, rather than a storytelling device, so it isn’t uncommon for the more controversial tunes to go unnoticed in my mind. Hence, I just groove along and thoroughly enjoy the music that I’m hearing. I consider that a gift as I dare say should I acknowledge all song meanings, I likely wouldn’t be as in awe as I am with the music I listen to.

Doncha Bother Me is rough around the edges and sounds more like a demo than a completed recording. Yes, I acknowledge the album was recorded in the 60s, but it is reminiscent of The Stones' earlier works along with the lower production standards. Of course, that sound has become somewhat of a trademark for them and a core sound signature that sets them apart from any other rock band.

Going Home is an epically long song for an era when songs were not expected to exceed the approximate 3-minute length; due to radio playback expectations. Yet, here we are with a song that is thoroughly enjoyable despite its repetitive nature. Of course, Going Home could have been a stellar 3-minute tune, but the 11-minute epic is reminiscent of an impromptu jam session; a good one at that!

Flight 505 is a fast-paced rocker with a catchy chorus, yet it has never truly appealed to me. Yes, Aftermath wouldn’t be the same without it, but it’s one of the poorer songs from this celebrated album.

High And Dry is similar to Flight 505 in that it isn’t overly appealing. Again, it sounds like a demo rather than a fully-fledged recording, but it has too much of a country twang for my liking and simply isn’t strong enough to be a standout tune.

Out Of Time (Version 1) is a melancholic ballad with a memorable melody and introspective lyrics. It’s an interesting contrast. While this is the original mix of the song, an alternative mix was also released on the Flowers album in 1967. I enjoy both renditions of Out Of Time and I subsequently find that I can listen to them interchangeably. There’s also the excellent strings version of the song that appears on their compilation Metamorphosis. However, as much as I enjoy that interpretation, I don’t feel it’s as solid as the earlier mixes.

It’s Not Easy is a thoroughly enjoyable blues-based rock and roll song. Its styling makes me consider it a precursor to just about any punk rock tune.

I Am Waiting is somewhat of an enigma as my mind struggles to determine which musical element it should be connecting with. Is it the guitar strum, the maracas, or the hypnotic vocal track? Things get even more complicated when the drum track kicks in and it’s as if all elements are fighting to be heard but none are specifically driving the direction of the song. Interestingly, that’s part of the strength of the song and while it bemuses me, I Am Waiting is not only one of my favourite tunes from Aftermath, but it’s one of the best The Stones ever recorded.

Take It Or Leave It has a slow melody that will see you toe tapping and head bopping to the rhythm. While it’s unlikely to be anyone’s favourite tune, Take It Or Leave It is musically compelling and I thoroughly enjoy its placement within the sequencing of Aftermath (UK).

Think has an incredibly engaging rhythm and compels me to turn the volume up; what a great tune!

What To Do isn’t a bad song and it encourages me to listen to the album again, but it isn’t a standout. Still, Jagger’s vocal presentation is the highlight here and the musical backing does exactly what it’s supposed to. Interestingly, I’m not sure how I feel about the backing vocals. They work, and sound fantastic, but the barbershop quartet feel is a little too US for a UK band; an interesting aspect considering What To Do was not included on the US release of Aftermath.

Overall, Aftermath (UK) represents a significant milestone in The Rolling Stones' career, showcasing the band's evolution as songwriters and their willingness to experiment with new sounds and genres. While some of the lyrics may be controversial by today's standards, the album remains a classic of the 1960s rock and roll zeitgeist and is a must-listen for any fans of the band or the genre.

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Billy Squier – Don’t Say No (Album Review)

Released in 1981, Don’t Say No features ten tracks of hard-hitting rock music with catchy riffs and powerful vocals that ultimately became Squier's breakout success, following his solid solo debut The Tale Of Tape. Spawning several hit singles and earning him critical acclaim, Don’t Say No is a quintessential example of the 80s hard rock sound, featuring heavy guitar riffs, synthesizers, and anthemic choruses. It’s 80s to the core, but the high production values ensure that it not only remains a highlight of the era, but still holds up today.

The artwork, however, hasn’t aged so well and is arguably one of the most uninspiring pieces of album artwork that I’ve ever seen. While it doesn’t qualify for a position on The Worst (And Most Disturbing) Album Covers Of All Time, it equally doesn’t compel me to pick up the album from the visual standpoint alone. Let’s just say, at times like this, I’m glad we listen with our ears and not our eyes.

Listening to Don’t Say No, via Apple Music, is subsequently pleasing. There’s clarity, fullness, and a vibe that will keep you coming back for more. That said, at times I feel there is a veil over the recording and that it truly doesn’t come alive. Of course, that could just be an opinion based on wanting to pick up the extremely well-received vinyl reissue from Intervention Records but until I get a chance to pick up the vinyl version, this Hi-Res Lossless Apple Digital Master is the perfect counterpart; even if the aforementioned reissue is artist approved.

Unfortunately, one common limitation of streaming is that we don’t know if Squier signed off on the release or not. While that normally wouldn’t be an issue, Squier did approve the vinyl reissue and it would be interesting to know what involvement he had in the 2010 remastering from which I believe the stream on Apple Music is derived. Nevertheless, it’s the music we’re after, isn’t it? Please join me as we explore the incredible songs that make up this landmark 1981 release.

In The Dark starts off slowly but it isn’t long before it turns into a high-energy rocker with a driving beat and a blistering guitar solo that sets the tone for what's to come.

The Stroke is likely Squier's most well-known song, with its instantly recognisable riff and catchy chorus. Rock music doesn’t get much better than this, does it?

If you’re interested in the crossing of musical streams, Eminem sampled the tune on his 2013 song Berzerk. It isn’t the greatest Eminem tune, by any standards, but it’s great to hear Squier’s killer riff extended beyond his recording. In fact, it isn’t the only time Eminem was inspired by Squier for he also sampled the next song on the album, My Kind Of Lover, on his 2014 song Shady XV.

My Kinda Lover is a fantastic mid-tempo rocker with a chorus that will compel you to sing along.

You Know What I Like is the first non-standout album tune but its driving rhythm and Squier’s corresponding vocal delivery ensure that it is vital to the overall album experience.

Too Daze Gone is a mondegreen waiting to happen; I love it! Too Daze Gone is one of the greatest songs from Don’t Say No. You’ve likely never heard it outside of the album structure but it should have been a hit; if for no other reason than its wittiness. Of course, if you’re like me, you’ll also be drawn to the addictively good funky basslines, memorable guitar riffs, and piano playing.

Lonely Is The Night is simply magnificent. How this wasn’t released as a single is beyond me for it has that Led Zeppelin feel that just screams chart-topper. Of course, it sounds like Zeppelin because the styling is very similar to that of Nobody's Fault But Mine from their 1976 release, Presence.

Nobody's Fault But Mine wasn’t an original Led Zeppelin tune, however, just a re-arrangement and new interpretation for the core of the song was originally written and recorded by Blind Willie Johnson in 1927. The original was so compelling that it’s had numerous interpretations, with varying styles, throughout the years and while Lonely Is The Night wouldn’t be considered a direct descendent, the spirit of the original Blind Willie Johnson tune lives on through this tune as much as it does via the other recordings that have been made.

Whadda You Want From Me is a fast-paced rocker with a killer guitar riff and a catchy chorus. What more could a rock and roll lover ask for?

Nobody Knows slows the tempo down with an acoustic-styled number containing a beautiful guitar element and a stunning vocal presentation. Nobody Knows is also perfectly positioned within the album structure for it gives the senses a reflective break before leading into the final two tunes.

I Need You is a funky power ballad with a heartfelt melody and vocal presentation that will see you singing along. What a great tune!

Don’t Say No is a substandard closer as it doesn’t always compel me to listen to the album again or further explore Squier’s back catalogue of music. While I don’t feel that the song should have been omitted, I would suggest that a re-sequencing would have been best to ensure greater synergy.

From start to finish, Don’t Say No will interest those of you who adore infectious melodies and hard-hitting rock tunes that have stood the test of time. It’s a must-listen and even if you’re not a fan of Squier’s, yet, you’re bound to find something to enjoy on this 80s masterpiece.

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