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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Herb Alpert & The Tijuana Brass – Going Places (Album Review)

Herb Alpert & The Tijuana Brass mesmerised audiences in the 1960s with their unique fusion of jazz, pop, and Latin music but it is their 1965 release, their fifth studio album, !!Going Places!!, that is ultimately timeless. With a unique mix of jazz, pop, and Latin styles, along with infectious melodies, captivating arrangements, and undeniable charisma, !!Going Places!! continues to delight listeners even decades after its initial release. As much as I adore Alpert’s solo works, particularly Rise, the light-hearted and whimsical style of !!Going Places!! is hard to beat.

Throughout the album, Herb Alpert's talent as a bandleader and arranger shines brightly. His arrangements are meticulously crafted, blending the vibrant sounds of brass and percussion with infectious rhythms. The result is a spirited and cohesive musical experience that is instantly recognisable.

While some will point to the risqué artwork as being a selling point, the music contained within really surpasses the visual attraction. However, I’d be lying if I said that the cover art wasn’t part of the appeal. Subsequently, this may be one of those records that you need to own on vinyl, just for the cover art alone, as it depicts the era and the mischievous nature of the music. Plus, let’s be honest, it’s going to look amazing, on display, in anyone’s record collection.

Vinyl may offer the best way to appreciate the album visually but sonically the Apple Music stream, an Apple Digital Master, is exquisite. Other than the vinyl warmth and fullness, a byproduct of the format, the Apple Music stream is likely to appeal to most music lovers as it’s detailed but not fatiguing with a smoothness and a wonderful sense of depth and separation between musical elements. It’s the real deal but don’t take my word for it, take a listen as we delve into the songs that make !!Going Places!! such a landmark release.

Tijuana Taxi instantly captivates with its lively brass section, catchy melody, and irresistible Latin-infused rhythms. On this tune, and quite frankly via all his recordings, Alpert’s trumpeting takes centre stage, showcasing his virtuosity and ability to infuse warmth and energy into every note.

I’m Getting Sentimental Over You transitions beautifully from Tijuana Taxi. While it’s a little more mellow, by comparison, it is equally addictive and a lovely song to listen to with its intricate melodies and lush orchestration. I’d also go as far as saying that I much prefer this interpretation to the original, or most others, as Alpert et al infused the song with additional life that, upon reflection, was needed.

More And More Amor offers a romantically slowed styling and declaring it a musical masterpiece doesn’t come close to adequately describing More And More Amor. You’ll simply want more (yes, pun intended) as it’s the perfect song to play on repeat with your beloved in your arms as you dance across the room.

Spanish Flea is an iconic and playful tune featuring lively trumpet melodies, infectious rhythms, and an energetic interplay between the brass section. Music doesn’t get much better than this!

Mae is a delightful and breezy instrumental that exudes charm and sophistication.

3rd Man Theme is a captivating and vibrant interpretation of this classic tune. Originally composed by Anton Karas, 3rd Man Theme showcases Alpert's ability to bring new life to familiar melodies and just between us, it is significantly better than the original.

Walk, Don't Run is about as rock and roll as jazz gets. Of course, it wasn’t always that way as the original Johnny Smith recording is rather jazzy, but you can clearly hear how Alpert et al were able to go beyond that early style. The dynamic brass arrangements, spirited percussion, and Alpert's dazzling trumpet create an exhilarating listening experience.

Felicia is another soulful and romantic ballad that highlights Alpert's tender trumpet playing. Add to that the orchestration of The Tijuana Brass and what you’re left with is a truly mesmerising musical experience.

And The Angels Sing showcases Alpert's masterful trumpeting skills while the band's tight arrangements and the interplay between the trumpet and the rest of the ensemble result in a captivating and uplifting performance.

Cinco De Mayo is a vibrant and celebratory instrumental piece that pays homage to Mexican culture and traditions.

A Walk in The Black Forest is one of the best songs from !!Going Places!! as the band, Alpert included, brings their energetic and lively approach to the piece thereby creating an enchanting musical journey.

Zorba The Greek is lively and spirited. The band's lively brass arrangements, rhythmic percussion, and Alpert's passionate trumpet playing transports listeners to the festive and lively atmosphere of Greece. As with many of the covers heard on this album, Zorba The Greek is a stronger song than the original, Zorba’s Dance, by composer Mikis Theodorakis. It’s an incredible closing track and will undoubtedly compel you to listen to the album again.

From start to finish, !!Going Places!! is a joyous celebration of music, filled with irresistible melodies, impeccable musicianship, and a sense of exuberance that is impossible to resist. Whether you're a jazz enthusiast, a lover of Latin music, or simply a fan of great music, this album is a must-listen.

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Rival Sons – Darkfighter (Album Review)

Turn it up loud for Darkfighter with its raw energy and hard rock bluesy sound soars to greatness when you play it at rocking volume levels. Trust me on this, something was missing upon the first listen but as soon as I turned the volume up, the album’s intent and overall presentation became immediately apparent; a clarity that results in Darkfighter being one of the best releases in 2023. 

Darkfighter will appeal to fans and newcomers alike but Darkfighter is not Feral Roots. Nor is it Hollow Bones. It’s the culmination of all their previous albums meaning that Darkfighter is an evolution; one that is so well done that I can’t help but form correlations to the artistry of Led Zeppelin, Creedence Clearwater Revival, and Bad Company et al. Importantly, however, Rival Sons are anything but a cover band. They’re not even imitators. They have a unique style and while nostalgic, for those of us who appreciate the classic artists of yesteryear, Rival Sons is ensuring that classic-styled rock and roll remains alive in the modern zeitgeist. 

Of course, to reach classic status one can’t simply rely on the music as it’s the overall presentation that results in an album being instantly iconic. Yes, streaming music has spoilt us for we no longer need to consider the album artwork prior to, or while, listening. It’s almost a lost element in music appreciation for album artwork used to be the doorway to finding something new and interesting. Yes, there are numerous examples where the music didn’t live up to the artwork but this release is certainly not one of them as the audible and visual components offer the perfect complementary counterpart to each other. 

Naturally, the music is the most important element and with that in mind, the eight tracks of Darkfighter blend classic rock elements with a modern and addictive twist. The result, as we’ll find out, is a captivating listening experience full of hard-hitting guitar riffs, groovy bass lines, and infectious rhythms with some of the very best vocals you’re likely to hear this century.

Mirrors opens the album epically. The choral-style instrumental opening ensures the senses are warmed up and ready to rock for the classic rock and roll style, with Jay Buchanan’s soaring vocals, will instantly appeal to rockers the world over. On Mirrors you’ll hear a little influence from Led Zeppelin, with a touch of Soundgarden, but don’t let that deter you for it is nothing more than a subjective correlation as Rival Sons are simultaneously peerless; particularly in the modern era.

Nobody Wants To Die is a hard-hitting rocker. While the guitar solo is what air guitar dreams are made of, it is the exceptional bass and drum rhythm throughout that will impress.

Bird In The Hand shifts the tempo, somewhat, but your soul immediately matches the rhythm and the distortion applied throughout Bird In The Hand is perfect. Bird In The Hand may not be the quintessential stadium-filling tune, but I desperately want to hear it in that setting for the jamming live expansion that Rival Sons could bring to the table on this song, I feel, would be nothing short of amazing. 

Bright Light is magnificent and is captivating from the very first note. As the introduction builds and the rest of the band enters the mix, Buchanan’s vocal intertwines perfectly with the overall rhythm ensuring that Bright Light is one of the best songs from the album. It’s also a standout within their growing catalogue, as well as being one of the best songs of, at least, the last decade. Classic rock and roll never died, it just held its breath until Rival Sons arrived on the scene.

Rapture is a modern masterpiece! The electronic distorted guitars, mixed with the acoustic, and the rhythmic background ensure that Buchanan is once again highlighted and his performance is simply incredible. Just listen to how he holds his notes throughout the chorus. What an incredible vocalist!

Guillotine is one of my favourite songs on the album, primarily because of the chorus. Poetic is the best way to describe it and while I don’t normally listen to music for literal interpretation, this one is contemplative and you’ll find yourself singing along as you ponder life. Yes, sonically, Guillotine is all over the place, but that simply adds to the complexities of the song and it works surprisingly well. 

Horses Breath seamlessly transitions from Guillotine but the introduction is too drawn out. If you were to listen to this song on repeat, or via a playlist, the introduction would likely generate frustration. Similarly, the outro, while more succinct, shifts the flow of the song and the sequencing of the record. It’s a shame considering Horses Breath is a standout tune on an otherwise perfect album. 

Darkside is a beautiful closer and is the perfect bookend to Darkfighter. While the musicality is off-the-charts, it really is Buchanan’s vocal performance here, and throughout the entire album, that will compel you to listen to the record on repeat. Even if you don’t, Darkfighter is such an incredible modern rock masterpiece that it will stay with you until you’re ready to experience history again, for this album will stand the test of time and will be highly revered for decades to come. 

Darkfighter successfully combines classic rock influences with a modern touch, resulting in a captivating and diverse collection of songs. The musicianship is top-notch, and Jay Buchanan's vocals are as impressive as  any of the greatest vocalists from the rock and roll genre. Subsequently, fans of rock music, from any era, will find much to enjoy when listening to this modern classic. 

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Air – Talkie Walkie (Album Review)

Released in 2004, Air's third studio album, Talkie Walkie, is a captivating sonic journey that beautifully combines dreamy melodies, lush instrumentation, and ethereal vocals. As you listen to this sonic masterpiece, you’ll be left in awe of the atmospheric soundscapes the French electronic duo were able to achieve. 

While it is questionable as to how memorable the cover art design is, for 10,000 Hz Legend does a better job in that regard, it's the music that will ultimately make you sit up and take notice. Talkie Walkie was released on vinyl nonetheless and the larger canvas size would certainly present the album artwork nicely, but you’ll find yourself looking at your speakers, wondering just how that incredible sonic presentation is emanating from them as the album plays.

Listening to the lossless Apple Music stream, a non-Apple Digital Master and direct counterpart of the CD release, I’m instantly struck by the recording, mix, and mastering for CD quality rarely sounds this impressive. It’s so good that I can say with a clear conscience that Hi-Res Lossless audio would yield no additional benefit. Some may disagree, of course, but the purity in the recording is delivered in bucketloads with this particular lossless stream.

Venus is an enchanting opening track that sets the tone for the album with core piano chords, an addictive rhythm, and ethereal vocals all dynamically layered to envelop the listener. 

Cherry Blossom Girl is a standout track that combines catchy pop sensibilities with Air's trademark ethereal sound. Think of the overlapping harmonies commonly associated with the Bee Gees.

Run shifts the musicality to the eerie side of the sonic spectrum. It isn't a bad song but the eeriness of the track results in mental confusion, thereby preventing ultimate relaxation at this point in the album.

Universal Traveler offers listeners a spacious enveloping soundstage. However, the harmonious lyrics are repeated ad nauseam and that aspect alone can diminish the sonic impact of Universal Traveller. In fact, this is one song that I feel would be stronger sans lyrics as it would offer a much more relaxed presentation. 

Mike Mills is a delightful instrumental piece that showcases Air's intricate melodies and lush arrangements. 

Surfing On A Rocket is a killer tune, and arguably the best song from Talkie Walkie, with an upbeat and vibrant style that will see you move involuntarily to the rhythm. While the lyrical content is repetitive and somewhat similar to Universal Traveler, Lisa Papineau’s vocal delivery is so compelling that you won’t mind for this is one song that could easily be listened to on repeat, indefinitely.

Another Day will capture your attention in a mesmerising dreamlike haze. It’s an incredible experience and one that needs to be heard in order to be fully appreciated for there are times when the English language is incapable of describing such beauty. 

Alpha Beta Gaga has an upbeat tempo that will hook you from the very first moments of the tune. The playfulness of the song is a result of the whistling melody that will stay with you as you enjoy the rest of your day. If only all earworms could be this enjoyable!

Biological shifts the fluidity of the album, again, and while it isn’t out-of-place with regard to the overall thematic style of the album, I’m not entirely sure it’s positioned in the correct sequencing for it is vastly different to Alpha Beta Gaga. Also, the distorted bounce beat can be rather distracting when listening on headphones; not so much, however, when listening via speakers.

Alone In Kyoto is a mesmerising tune that closes the album out beautifully. With its absence of lyrics, the song evokes emotions of solitude, contemplation, and longing, leaving a lasting impression that encourages repeat listens to not only the song but also the album. 

Overall, Talkie Walkie is an incredible sonic journey that just about any music lover will appreciate as the album is both introspective and accessible. The seamless fusion of electronic and organic elements, coupled with its dreamy melodies and ethereal vocals, make it a standout in Air's impressive discography and is one of the best albums released in 2004. 

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Kenny Rogers – Life Is Like A Song (Album Review)

Kenny Rogers' Life Is Like A Song is a testament to the timeless charm and enduring talent of one of country music's most beloved artists. Released in 2023, this album showcases Rogers' rich and distinctive voice, heartfelt storytelling, and ability to touch listeners' hearts with his emotive delivery.

Given this emotional presentation, one can’t help but reflect on Rogers’ life. As such, posthumous albums are usually amongst my least favourite records as there’s sadness amongst appreciation and admiration. Naturally, the question of how soon is too soon comes up and in the case of Rogers, it has been a few years since the world lost this incredible musician. The time is therefore appropriate but one must also question the motives of such a release. Sadly, the music industry and artist estates have a bad habit of going through the archives and releasing any and everything they can get their hands on, all the while repacking it several times to take advantage of the most dedicated fans. 

Thankfully, Life Is Like A Song doesn’t feel like a release done purely for financial gain. It’s so incredible that it is as if Rogers himself signed off on this release. If anything, it pays tribute to both the man and the musician, in the best way possible; by the sharing of a new selection of music that had been, until this album, previously unreleased. Yes, there are a couple of songs that were previously issued, but Life Is Like A Song is primarily an album of new studio recordings. 

What makes Life Is Like A Song so compelling is the impeccable song selection and sequencing. I shouldn’t be surprised, however, as Rogers’ wife Wanda served as one of the Executive Producers, thereby, ensuring her husband, of over two decades, was beautifully remembered. The only bump in the road is attributed to the final bonus song on the Deluxe Edition; At Last. It’s a lovely song, but it doesn’t flow well and is a poor closing track, on this particular edition. That said, The core 10-track release closes masterfully on Goodbye. Although, the first bonus track, Say Hello To Heaven, on the Deluxe Edition is also an incredible closing moment. Regardless, vinyl enthusiasts will likely be content with the 10-track album structure; particularly with that incredible album artwork.  

Delving even deeper into this release, you’ll find the mix and mastering to be superb. While I’ve only, thus far, experienced the album via Apple Music, the lossless stereo stream, an Apple Digital Master, is mind-blowing. When a digital stream sounds this impressive, it makes one wonder if they need to attain the physical counterpart; other than for the thrill of ownership and the retention of a physical product. As it pertains to the Dolby Atmos stream, also on Apple Music, the soundstage is expansive but the result sounds a little hollow when compared directly to the stereo mix. I put this down to the likelihood that these songs were never recorded with surround sound in mind and as is often the case, simulated surround lacks the true nuances that one would experience with a production that was intended to offer a discrete mix from the get-go. Subsequently, I much prefer the stereo mix as it simply sounds right.

Love Is A Drug sets the tone for the journey ahead and is a perfect country-styled tune that blends seamlessly with Rogers’ legacy. His vocal prowess and the soaring melodies are expertly crafted meaning that Love Is A Drug is a standout tune. 

I Wish It Would Rain is a stunning mid-tempo ballad that showcases Rogers' storytelling capabilities. 

Am I Too Late (with Kim Keyes) is a vocal masterpiece that brings Rogers and Keyes into the room with you. The musicality is subtle, but for a song like this, that is all that’s required for the harmonious intertwining vocals will leave you in awe. 

Tell Me That You Love Me (with Dolly Parton) is a fantastic toe-tapper and one of the greatest songs on the record. Parton is once again a perfect collaborator and while Rogers’ recordings with other female vocalists should not be overlooked, Rogers and Parton had a vocal chemistry that transcends the humble duet. 

Straight Into Love (with Jamie O’Neal) is, however, even more impressive than Tell Me That You Love Me with its instantly captivating melodic hooks. Granted, the shift in tempo plays a role here but Straight Into Love is simply magnificent nonetheless and O’Neal’s inclusion here is one to be held in high regard for her vocal capabilities are simply stunning. 

Wonderful Tonight is, as I’ve suggested before, one of the most magnificent ballads ever recorded. While it is Eric Clapton’s song first and foremost, and many exceptional interpretations of this classic song have been recorded, this Kenny Rogers recording is one of the greatest as it pays homage to the original, not drifting too far from the song’s origins, while simultaneously sounding fresh and becoming an essential tune in Rogers’ extensive catalogue of music. 

Catchin' Grasshoppers is a musical marvel with a beautiful opening that leads into Rogers’ vocal that soars above the musical bed with emotional depth and passion. 

That's Love To Me is a beautiful ballad combining Rogers' signature country sound with a touch of pop and easy listening. The infectious melodies and sing-along chorus make it an instant earworm but it is Rogers' charismatic delivery that will resonate with listeners. 

I Will Wait For You has a cinematic and relaxed feel to it. While it isn’t a standout tune, it’s lovely nonetheless. 

Goodbye pulls at the heartstrings, naturally, but what a gorgeous song to close the core album on. Rogers has never sounded so good and performs the Lionel Richie classic masterfully. His gravelly vocal presentation on Goodbye is simply magnificent. The control he has over his range, on this particular song, is incredible and it wouldn’t be far-fetched to suggest that it’s one of his most powerful performances.

Say Hello To Heaven (Bonus Track) is touching, emotional, and moving. It’s a difficult song to listen to, however, for you feel the anguish of the song’s meaning. Despite being a masterpiece, I’d be lying if I said that it isn’t an emotional rollercoaster ride of a song. One that deserves to be listened to, certainly, but one that you simultaneously wish you hadn’t heard. 

At Last (Bonus Track), as I alluded to earlier, simply isn’t the strongest song to close the album with. That doesn’t mean that Rogers’ rendition of this classic tune is flawed, for it isn’t, it’s just a little too upbeat following Goodbye and Say Hello To Heaven. Nevertheless, this won’t prevent me from spinning the album again for it’s an instant classic and is one of the best records released in 2023. 

While Life Is Like A Song undoubtedly stands as a testament to Rogers' remarkable career, it also serves as an important reminder of his profound musical legacy. Rogers' ability to tell stories through his songs and evoke genuine emotions is showcased at its finest on this album and if there is a greater gift to Rogers’ fans, following his death, I know of none.

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Kavinsky – Reborn (Album Review)

Released in 2022, Reborn is the second studio release from Kavinsky; an electronic musician with a knack for crafting mesmerising sonic experiences. If you haven’t heard of Kavinsky, you wouldn’t be alone for it’s been a considerable break between albums with his first studio release, OutRun, hitting the music scene in 2013. Yes, it may be suggested that his first studio release was Nightcall, from 2012, but at 35 minutes in length, it walks the thin line between being an album or an EP with Kavinsky choosing the latter. Nevertheless, Reborn is true to its namesake for Kavinsky’s music has never sounded better. 

Naturally, music isn’t just about the composition of notes that creates pleasant soundscapes for the artwork for Reborn is extraordinarily good. If there is one album that deserves to be presented on the larger vinyl canvas, this is that album. 

Similarly, if the quality of the recording, mix, and mastering weren’t up to scratch, then Reborn wouldn’t be as compelling as it is. The lossless Apple Music stream, an Apple Digital Master, is stunning. You’ll be enveloped in the soundstage from the very first moment of the album to the last. While I suggest that this is one album everyone should own on vinyl, for the artwork alone, when a digital stream is this good, one needs to question if such attainment is necessary. 

Pulsar opens the album with not only a pulsating sound signature but one that will reach into your soul for the rhythmic beats mimics that of a pulse. Subsequently, it has to be heard to be fully appreciated and while many people listen to music via headphones, Pulsar is one song that I feel is best experienced via speakers as your body senses every element that would otherwise be missed if only experienced via your ears.

Reborn (feat. Romuald) flows beautifully and showcases an album experience more than merely a collection of songs haphazardly sequenced. As solid as Romuald’s inclusion here is, however, I can’t help but feel that this song would have been stronger sans lyrics. Still, it’s thoroughly enjoyable and that opinion is but a minor quibble. 

Renegade (feat. Cautious Clay) is a killer tune and is one of the best songs on the album and one that will stand the test of time. It all comes down to the infusion of rhythm and vocals that are mixed perfectly to create a song that is a modern equivalent of what one may expect from an artist such as Stevie Wonder. 

Trigger is bold, epic, and immersive and you’ll find yourself involuntarily moving along with the musical moments as the song shifts its rhythm throughout.

Goodbye (feat. Sébastien Tellier) slows the tempo somewhat, but because of the instrumental nature of Trigger, and the slow build of Goodbye, it isn’t as disrupting to the senses as one may initially imagine. Tellier’s vocal is incredible and sits in perfect phase with the accompanying musical bed. Goodbye is, subsequently, the most beautiful song to be heard on Reborn; one that will see your soul relax as you listen to the music. Although, that ending is simply too abrupt.

Plasma (feat. Morgan Phalen) picks up the tempo and will compel you to get on your feet. Plasma, however, isn’t the strongest song on the album and while there are elements that I thoroughly appreciate, the song as a complete piece of audible art is just not quite as strong as I feel it could have been. It’s as if it needed a little more oomph with a reduction of a decibel or two on the vocal track in order to really come alive. 

Cameo (feat. Kareen Lomax) is a solid toe-tapper but is a low point within the album. Don’t get me wrong, that isn’t to suggest Cameo is bad, but when you have a collection of songs as exceptional as those heard on Reborn even a solid tune will be lacklustre by comparison. That said, when looking at the album as a whole, Cameo sits perfectly and flows seamlessly. 

Zenith (feat. Prudence & Morgan Phalen) shifts to a more reflective jazzy rhythm and while I normally dislike overly processed vocals, they’re taken right to the edge of what I consider acceptable and Zenith subsequently sounds fantastic. 

Vigilante (feat. Morgan Phalen) is an example of organised chaos. Yes, one should cancel the other out, yet the disjointed nature sits in perfect harmony. While Vigilante won’t appeal to everyone, and it’s difficult to dance to as the mind struggles to find the core rhythm, it’s intriguing nonetheless. 

Zombie (feat. Morgan Phalen) gets the body moving to the rhythm. Sometimes that is all that is needed, for not every song requires extended commentary, it just has to be emotive. 

Outsider returns us to an instrumental musical landscape for the remainder of the album and as much as I appreciate lyrics within electronic music, as I listen to Outsider, I can’t help but wish that Kavinsky had also released a version that was purely instrumental as Outsider and all the instrumental-based tunes heard on Reborn are where the French electronic musician’s skills are strongest.

Horizon is a beautiful closer that compels me to play the album again. While I’m not convinced the electronic nonsensical vocal-styled musical element was required, Horizon is one of those reflective songs that also ensure that if this is the last album you listen to today, you’ll be left in a thoroughly relaxed musical state. 

Whether you’re a hardcore electronic fan, or not, Kavinsky mesmerizes listeners with his signature sound. Each track is notable on its own, but when listened to as a whole, Reborn takes you on an immersive journey; one that needs to be experienced firsthand to be fully appreciated. While each listener will interpret the album subjectively, there is little doubt in my mind that Reborn is one of the best albums released in 2022.  

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Midnight Oil - Blue Sky Mining (Album Review)

Following a masterpiece is no easy task as subsequent albums will always be compared. That said, can Blue Sky Mining match the performance captured on Diesel And Dust?

Yes, and no! 

Few would argue that both albums are exceptional in their own right, with Blue Sky Mining winning, amongst other awards, the Best Album of 1990 by the Australian Record Industry Association (ARIA). While I do consider Diesel And Dust to be the stronger of the two, both were released during Midnight Oil’s creative peak; that is until the release of RESIST in 2022. 

While the previous paragraph never quite answered if Blue Sky Mining matched the performance of Diesel And Dust, I will say that it was Blue Sky Mining that would introduce me to one of the greatest rock bands Australia has ever produced. 

I know, I still haven’t answered the proposed question, have I? 

Perhaps it is best to say that the two cannot be separated or compared for whenever I think of Midnight Oil, I class both records as exceptional examples of what Midnight Oil is musically and what they stand for. 

Known for their politically charged lyrics and energetic performances, Midnight Oil continued their powerful musical journey with this album and while the mastering isn’t quite as lush as that heard on Diesel And Dust, it is thoroughly enjoyable and allows one to turn the volume up without experiencing fatigue. That aspect is particularly interesting as the original releases of the album were significantly more dynamic but the brick walling applied here certainly doesn’t detract from the emotive energy of the recording. Dare I say, it enhances it for compression is not always a bad thing.

Blue Sky Mine launches the album with a driving rhythm and anthemic sound that perfectly suits Peter Garrett’s vocal style. Although, it is far from the strongest song to be featured on the album and the production is a little dated when compared to modern standards. Nevertheless, from the get-go, Midnight Oil showcase their social consciousness as they deliver their opinion on workers’ rights. 

Stars Of Warburton slows the pace with a solid rhythm. While there is little doubt that Stars Of Warburton isn’t at the top of anyone’s favourite Midnight Oil songs, that chorus is where the magic happens. 

Bedlam Bridge has a somewhat chaotic introduction that’s a little left-of-the-centre, but it’s compelling and draws you into the story and sonic wonderland that is to come. On Bedlam Bridge, Garrett’s vocals are amongst his cleanest ever recorded; unlike his earlier punk-era recordings. As with Stars Of Warburton, the chorus, with its infectious beat and catchy melody ensure that it’s not only memorable but is one of Midnight Oil’s greatest recordings. The only disappointment is the closing moments of the song as I feel the street sounds are distracting. Yes, I acknowledge the segue between Bedlam Bridge and Forgotten Years, but I feel the outro is unnecessary and should have been repositioned to the intro of Forgotten Years. It’s just unfortunate that I also consider the first few seconds of Forgotten Years to be the perfect length.

Forgotten Years is one of Midnight Oil’s most recognisable tunes and there’s little doubt as to why, as the band’s musical prowess, along with Garrett’s powerful vocals, combine with perfect synergy to form an exceptional tune.

Mountains Of Burma is evocative and is amongst Midnight Oil’s finest recordings. 

King Of The Mountain has to be one of the most energetic, infectious, and hard-hitting rock rhythms in rock and roll history. There’s a little Punk, a lot of Rock, and Garrett’s commanding vocals. What more could one ask for? 

River Runs Red slows the tempo considerably and very well could have been a Crowded House tune; that should be seen as a compliment. Sonically, River Runs Red is simply gorgeous. The musical layering is exceptional and is amongst the very best I’ve ever heard. It really is that good!

Shakers And Movers is a solid song, but I would class it as a B-side. However, a B-side for Midnight Oil, particularly at this point in their career, would be a hit for any other band.

One Country is another passionate performance with a powerful message from The Oils. Recorded with an acoustic focus, One Country becomes a contemplative listen that makes you sit up and take notice. It’s simply gorgeous! 

Antarctica is a mesmerising closer. It’s thoughtful songs such as Antarctica that are Midnight Oil’s trademark, but it’s even more important as the final track on an album for you can either play the record again or sit and reflect on the music you’ve just heard. Whatever you decide to do next, one thing is for certain, Antarctica leaves a lasting impression. 

Blue Sky Mining may not have reached the heights of Diesel And Dust, but it’s still one of the greatest albums Midnight Oil ever recorded. The higher production quality is noticeable, and appreciated, but it never sounds overproduced. Granted, fans of their earlier works may disagree, but you can’t please everyone. Nevertheless, with the album's powerful lyrics, energetic performances, and distinctive sound, Blue Sky Mining is a must-own, and listen, for fans and newcomers alike.

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