Elton John – Madman Across The Water (Album Review)

Released in 1971, Madman Across The Water is not only part of Elton John’s classic era, but it’s arguably his, and long-time collaborator Bernie Taupin’s, creative peak. With a compelling blend of rock and pop and an orchestral musical style, Madman Across The Water is an iconic and distinctive release that would present Elton John as a consummate musician. 

Some may logically point to other releases from John’s classic era as being the defining moment of his career. The self-titled Elton John, Don't Shoot Me I’m Only The Piano Player, and Goodbye Yellow Brick Road would be valid examples, but the cohesive album experience felt throughout Madman Across The Water, knows no peer.

Where things get a little rocky, however, is regarding the various masterings and sonic presentation of Madman Across The Water. Most fans are unlikely to concern themselves with such aspects, but for the rest of us who appreciate this release in a far deeper context, it’s important that we seek out the very best version of the album we can find. 

While everyone’s preference will differ, my subjective opinion is that the 2016 remaster offers listeners the very best, modern, sonic representation of this classic album. It’s important to note that the 2016 remastering was also the source used for the 50th Anniversary releases in 2022. As I was already fortunate to own this particular mastering on the 2018 vinyl edition (an exceptional reissue in its own right), I decided to abstain from purchasing the album again when the anniversary editions were released. Truthfully, I’m not one for bonus content and given it’s streamable if I wish to hear it, that was adequate enough for me. 

While I consider the 2018 re-released record to be the very best version of this album that I’ve had the pleasure of hearing, I can’t take it everywhere with me. Yes, my edition came with a digital download code, but there’s no meta-data to indicate which master was used to encode the lossless WAV files. I could create a needle drop as I have in the past with out-of-print releases, but that time-consuming process has become less appealing since Apple Music turned on Hi-Res and Lossless options at no additional cost. That said, there is a problem with the editions of Madman Across The Water on Apple Music et al that further complicates the attainment of what I consider to be the definitive release. 

Long-time readers will note my penchant for Apple Digital Masters, but this is one example where I suggest you avoid it like the plague as it’s the most compromised and least pleasing version of the two available on Apple Music. It simply doesn’t have the depth or presence in the soundstage to leave you in awe. Whereas the 2016 remastering is immersive, engaging, and offers a much smoother reproduction. Regarding the Apple Digital Master edition, the publication date is from 2011 thereby indicating a different mastering to the 2016 remastering sessions. Unfortunately, there’s no additional information relating to a 2011 remaster. It would be a logical assumption to, therefore, propose that this Apple Digital Master was derived from the 1995 remastering, yet without any further validation, this is mere conjecture. As I delved deeper to try and ascertain what was going on, the various streaming services all seem to have different versions of this classic release and while I’d love to give you a comprehensive breakdown of every streaming service and digital download store version available, it would be a tedious read. 

When so many variances exist, it creates an unhealthy paradox of choice that becomes overwhelming and leads to decision fatigue. The good news, however, is that all services have the Deluxe Edition and within that version is what I consider to be the superior mastering from 2016. As such, in order to share this review, of the core album, I’ve created a playlist from the Deluxe Edition for you to enjoy.

Tiny Dancer serves as a magnificent opening track. Its soothing and tender melody immediately captures the listener's attention, and John's emotive vocals convey a sense of intimacy that has made it an enduring favourite among fans; even amongst those who associate the song via the well-known mondegreen. 

Levon boasts a captivating storytelling narrative, driven by a powerful piano arrangement. John's evocative vocals bring the character of Levon to life, painting a vivid picture of his life and struggles, but perhaps more importantly, it is an incredible performance that is so sonically beautiful that it automatically becomes one of John’s greatest recordings. 

Razor Face is a hidden gem with a compelling blend of bluesy undertones and John’s expressive vocal delivery. The song’s raw emotions and subtle instrumentation make it a memorable addition to the album. 

Madman Across The Water is a true showcase of John’s musical prowess. Featuring intricate piano work, a sweeping orchestration, and a simply incredible vocal presentation, Madman Across The Water leaves a lasting impression. Additionally, you may also wish to check out the original recording of this tune as it’s got a greater rock edge thanks to the guitar work of Mick Ronson. 

Indian Sunset is simply magnificent! John’s vocal throughout, but particularly during the introduction, is the epitome of perfection. 

The most powerful aspect, however, is the gradual layering of musical elements with the shift back to the vocal. It’s nothing short of a masterstroke and I remain amazed as to why Indian Sunset remains somewhat hidden, never appearing on any of John’s compilation releases. It’s a shame for it’s one of his greatest songs that few people have heard outside of this album. 

Newer audiences were, however, exposed to it in 2004 as it was sampled on the chart-topping posthumous single Ghetto Gospel by Tupac Shakur. If nothing else, Indian Sunset proves that John and Taupin are musical geniuses and a collaborative team like no other.

Holiday Inn shifts the mood of the album but sounds as if it should have been included on Tumbleweed Connection. While it is a little disjointed, in relation to the rest of the songs from Madman Across The Water, it has some exceptional musical shifts with infectious piano riffs and a catchy chorus that make it an enjoyable addition to the album. 

Rotten Peaches won’t necessarily be anyone’s first pick when it comes to the best songs from Madman Across The Water, but it grows on you the more you listen to it and is the quintessential album-only tune.

All The Nasties is another of John’s hidden gems. With that in mind, it’s tragic that this masterpiece has been overlooked for so long.

Goodbye is the perfect closer. Short, but beautiful! Goodbye will, undoubtedly, compel you to listen to the album again for Madman Across The Water can rarely be appreciated via a single play-through. 

Madman Across The Water is an extraordinary album that epitomises Elton John's artistic brilliance. The album's diverse musical arrangements, poetic lyrics, and powerful vocals further showcase the depth and range of John's talents. Madman Across The Water, subsequently, remains a timeless classic that has continued to captivate audiences across generations, solidifying its place as one of the finest works in Elton John's illustrious career.

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Tina Arena – Love Saves (Album Review)

Love Saves, Tina Arena’s thirteenth studio album, is a captivating musical journey that showcases the iconic Australian singer's versatile vocals and heartfelt storytelling. Comprised of a collection of songs that revolve around love, compassion, and resilience, Love Saves is Arena’s greatest musical achievement. 

That declaration extends to the recording, mix, and mastering of this release for it is flawless. While it may not be presented as an Apple Digital Master, the Hi-Res Lossless presentation on Apple Music will leave you in awe. The result of such perfection is that one can enjoy the music and not be distracted by production aspects that are unrelated to the songs themselves.

Church is a lovely opener that sees Arena’s gorgeous vocal float atop the musical bed. It is, however, not the strongest song from the album and is therefore surprising that it was chosen as the lead single from Love Saves. While some, perhaps even yourself, may disagree, I simply feel many stronger songs could have been selected to launch Love Saves to Arena’s fans. 

Cry Me A Miracle is magnificent and would have been a stronger opener. It’s musical bliss and Arena’s vocal is so raw and unprocessed that it’s as if she’s in the room with you. 

Outrun The Night continues with the trademark piano-backed style that works so well with Arena’s overall vocal presentation. Outrun The Night has a Lady Gaga feel to it, but that shouldn’t be seen as a deterrent for this is one of Arena’s most beautiful recordings. It’s just that I would love to hear Gaga cover Outrun The Night. 

Can’t Say Anything is a musical throwback to Arena’s 90s era, but with a modern twist. It sounds familiar, yet fresh and magnificent. The hook will compel you and that rhythmic drive, with Arena’s sensational vocal, ensures that Can’t Say Anything will be a memorable standout and an incredible tune should Arena choose to perform it live. 

Devil In Me is a killer song. Your body will move involuntarily, as if controlled by the music, for this is yet another musical and vocal masterpiece from Arena.

Dancing On Thin Ice slows the tempo and is a beautiful ballad. Arena can still hit every note with such incredible control. It goes to show that age is just a number for at 55 years young, Arena’s arguably a stronger and more confident vocalist than at any other time in her illustrious career. Incredible!

Mother To Her Child is another song I’d love to hear Lady Gaga cover. Purists will likely detest that comparison, but it’s suggested with nothing but pure admiration for both of these incredible vocalists. Plus, when a song such as Mother To Her Child is this exceptional, it deserves to be heard, and appreciated, by a broader audience than Arena generally attracts. 

Dared To Love You First is lovely, not a standout, but lovely nonetheless. It’s, for lack of a better term, the quintessential album-only tune. 

Love Saves has a delicate composition and is worthy of the title track position. As with all the songs from Love Saves, Arena’s vocal is recorded so perfectly that you’ll be lost for words. Anyone who has heard Arena’s music will know just how incredible she is as a vocalist, but it is songs such as Love Saves that secure that opinion for there are few vocalists, particularly in the modern era, that can sing with such perfection. 

House is more upbeat and pop-driven, but it’s a great song that’s thoroughly engaging and is a perfect tune for the closing moments of the album. For those of you who pick up Love Saves on vinyl, House is the final song and will likely compel you to play the album again. However, I really appreciate the bonus track on the CD and streaming counterparts as it’s simply lovely.

Danser Sur La Glace is, as I’ve already suggested, a coveted closing tune. Normally I dislike bonus tracks, but this is one example of how to do it correctly. It’s familiar, because it is the French version of Dancing On Thin Ice, but it is uniquely fresh as the language shift allows us to enjoy the song in a purely musical manner; for those of us not well-versed in the French language. Regardless, Danser Sur La Glace is a perfect way to close Love Saves and is so captivating that I find myself playing the album on repeat, for hours on end. 

A modern masterpiece of timeless songs would be an apt description for this 2023 release. From anthemic tunes to soul-stirring ballads, combining powerful vocals, heartfelt lyrics, and a diverse range of musical styles, Arena’s artistry shines throughout, ensuring Love Saves is not only one of the very best albums released in 2023, but is Arena’s greatest album to date.  

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KALEO – A/B (Album Review)

Released in 2016, KALEO’s second studio album, A/B is an exceptional release with a unique blend of rock, blues, and folk influences, combined with the soulful and gritty vocals of frontman Jökull Júlíusson. With its rich musical diversity and emotionally charged lyrics, A/B presents a compelling journey that captivates listeners from start to finish.

Part of the compelling nature is the recording itself; one that has been captured, mixed, and mastered with pure perfection. The lossless Apple Music stream, an Apple Digital Master, is equally impressive and while I have heard, and thoroughly appreciated, the vinyl release for A/B, I feel that the best way to appreciate this album is via the lossless Apple Music stream for the differences are minimal at best. Naturally, the stream can’t compete with the physical nature of a record, but it’s so sonically pure that I don’t feel as though I’m missing out on anything from an audible perspective.

No Good is an instant classic that sets the tone for the entire album with some killer beats, riffs, and an exceptional vocal presentation that is perfectly suited to the song and KALEO’s overall style.

Way Down We Go slows the tempo of the album, but it’s simply magnificent and is, without a doubt, a standout tune on A/B. Júlíusson’s vocal is yet another highlight but you’ll be in rhythm and blues heaven with a bass and drum rhythm that reaches to the very depths of your soul. This is music you can feel and the sensory aspect has to be experienced firsthand. Therefore, may I recommend, that you take your headphones off, and play this masterpiece on speakers. 

Broken Bones is sublime!

Glass House picks up the pace again, featuring infectious rhythms and bluesy guitar riffs. While Glass House may be run-of-the-mill rock and roll, there’s nothing wrong with that!

Hot Blood exudes intensity and passion. The song's upbeat tempo and catchy chorus make it a standout track, showcasing the band's versatility in creating different musical moods.

All The Pretty Girls is a slower tune with a very interesting vocal presentation, in comparison to the other songs on the album. That said, it works extremely well with its gentle acoustic arrangement. It just goes to show the level of musicality that is present within the band, even at this early stage in their career.

Automobile is an incredibly catchy tune. I love it!

Vor í Vaglaskógi is sonic perfection! While it is the only non-English language song on the album, the vocal delivery is velvety smooth and is an absolute pleasure to listen to. The music, sans lyrics, is equally impressive. It’s such a beautiful song that I hope KALEO will, one day, release an entire album in their native Icelandic tongue.

Save Yourself is a lovely song but was always destined to be underwhelming following Vor í Vaglaskógi. 

I Can't Go On Without You is a soulful and heart-wrenching ballad that showcases the band's emotional depth. Júlíusson's powerful vocals shine through, making it one of the most emotionally resonant tracks on the album and a perfect closer that encourages the playing of the album again.

Overall, A/B is a stunning release that takes listeners on a captivating journey through various musical landscapes. From powerful blues-rock anthems to soulful ballads, the band showcase their musical prowess and emotional depth throughout the album. KALEO's ability to blend different genres seamlessly ensures A/B is a must-listen for fans of alternative rock and anyone seeking music with substance and soul. 

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Ronnie Milsap – There's No Gettin' Over Me (Album Review)

Released in 1981, Ronnie Milsap’s thirteenth studio album, There’s No Gettin’ Over Me, is a remarkable collection of country and pop-infused tunes that showcase his signature blend of storytelling, soulful vocals, and impeccable musicianship. 

As you listen to There’s No Gettin’ Over Me, you’ll find yourself singing along as you toe-tap and head-bop to the rhythm, for this album is thoroughly engaging and will touch your soul from the very first note to the last. The smoothness of the recording also plays a key role and it was recorded, mixed, and mastered beautifully. Yes, the edition available on Apple Music is merely the CD-quality counterpart, but don’t let that deter you for it is a mid-80s digital release that was done well. 

Despite the success of There’s No Gettin’ Over Me, it hasn’t seen a reissue or re-release on any format for decades. Granted, there was a four-album double cd reissue in 2017, but I loathe those types of compilations. Yes, at 35 minutes, the album is short, but I would much prefer to have the albums separated and presented as they were originally intended. Nevertheless, that is what streaming services and digital download stores are perfectly suited to deliver. The unfortunate reality is that should a reissue be made available, such a release would likely be remastered and as any music fan can attest to, that can either be a success or a dismal failure. Plus, when a CD-quality stream sounds as lovely as this one does, I really don’t want to see it being modified. That all said, I would welcome a vinyl reissue at some stage for this is one album that needs to live on in the social consciousness beyond the hear today/gone tomorrow uncertainty of music streaming.

Everywhere I Turn (There's Your Memory) is an incredible opener. Milsap knocks it out of the park with this tune. While you may be thinking of it as being nothing more than crooner music and a Barry Manilow-styled song, I’d argue that there’s absolutely nothing wrong with that style of music for Everywhere I Turn (There's Your Memory) is a vocal and sonic masterpiece.

(There's) No Gettin' Over Me was one of the most successful songs Milsap ever recorded and for good reason, it’s simply wonderful!

It's All I Can Do is a lovely tune and perfectly suited to the overall style of the album. 

Two Hearts Don't Always Make A Pair is easy listening country music 101. A beautiful song!

Jesus Is Your Ticket To Heaven may be a little too preachy for many, but this is one seriously addictive tune that quickly merges into an earworm; a thoroughly enjoyable one I might add.

I Wouldn't Have Missed It For The World is a singalong tune if there ever was one. Like many of the songs from There’s No Gettin’ Over Me, Milsap’s music is simply irresistible and if you can resist breaking into song, you’re more restrained than I am. 

Too Big For Words is a beautiful vocal ballad. Milsap’s vocal is stunning and it’s album-only songs such as this that ensures this is a masterful album and landmark release. 

It Happens Every Time (I Think Of You) is a little campy, but it is Ronnie Milsap and is therefore perfectly acceptable and is actually quite lovely; if you can get past the corniness of the song.  

It's Written All Over Your Face is a lovely tune with a country twang. As I listen, I can’t help but wonder how it would sound had Willie Nelson recorded this song. That isn’t to suggest that I dislike Milsap’s version, but there are certain songs that when you listen to them, you can hear other artists performing them and this is one such example. 

I Live My Whole Life At Night probably isn’t the strongest closer, for swapping it with It's Written All Over Your Face likely would have offered a more compelling reason to play the album again. Nevertheless, due to the record’s length, I find myself frequently playing the album on repeat and appreciating every minute. As solid as I Live My Whole Life At Night is, it is an album-only tune that is unlikely to be memorable, yet it simultaneously ensures the album as a whole remains thoroughly enjoyable. 

Overall, There’s No Gettin’ Over Me remains a standout album in Ronnie Milsap’s illustrious career. With its mix of heartwarming ballads, upbeat tunes, and soulful performances, you’ll be swept into a musical wonderland that is most certainly one of the best albums released in 1981 and one of Milsap’s greatest recordings. 

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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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Earth, Wind & Fire – Raise! (Album Review)

Released in 1981, Earth, Wind & Fire’s 11th Studio album, Raise!, delivers the band’s trademark blend of funk, disco, R&B, and soul so well that you’d be mistaken for thinking this is a greatest hits compilation. Filled with infectious and uplifting tunes, Raise! sounds as fresh today as it was when it first hit record stores in the early 80s and is bound to captivate modern audiences, as much as their legacy counterparts, for Raise! is ultimately timeless. 

What is also enduring is Earth, Wind & Fire’s compelling artwork for they rarely disappoint in that regard as their albums are all worthy of presentation via the larger vinyl canvas. It’s disappointing to note that Raise! hasn’t been reissued on vinyl at all, despite some of their other albums seeing a reissue on the format. Given the modern resurgence of vinyl records, it seems like a missed opportunity and it isn’t as if Raise! is one of their lesser-known albums. That all said, the lossless Apple Music stream, an Apple Digital Master, is exquisite in every way imaginable. When streaming sounds this good, it makes one wonder why they should invest in the physical counterpart. 

Let’s Groove opens the album with a dance-floor vibe that sets the tone for the entire record. With an irresistible tempo, catchy melody, and some powerful instrumental elements, Let’s Groove will get you moving. 

Lady Sun continues the upbeat feel but is a little more soul focused than Let’s Groove. Don’t let that deter you, however, for the party has just started. In fact, if you were having a party, Raise! would provide the perfect background music for such an occasion. 

My Love slows the tempo a little but the disco vibes remain ever-present. The band's instrumentation and tight harmonies are nothing short of pure sonic bliss and while My Love may be overlooked as an album-only song, it’s one of the greatest groove meets funk meets disco tunes in Earth, Wind & Fire’s extensive catalogue. 

Evolution Orange is a lush musical experience. That said, it’s a quirky little tune that takes a few listens to fully appreciate. Part of the slow appreciation process is due to Maurice White’s vocal style, on this particular tune, as it differs considerably from the vocal tracking on the rest of the album. Subsequently, while the Apple Digital Master ensures his high notes remain tamed, I can only imagine how fatiguing Evolution Orange could be, especially if the CD, for instance, was mastered with loudness in mind. 

Kalimba Tree is a mesmerising musical interlude that could barely be called a song, due to its length, but it’s a perfect introduction to You Are A Winner.

You Are A Winner is infectious. Its sheer energy and positive message, while maintaining the core groove-fused musicality, is a trademark of Earth, Wind & Fire and is a core component that makes Raise!, and their music in general, so compelling. 

I’ve Had Enough will see your body moving involuntarily to the rhythm. Its smooth, laid-back, style, combined with elements of R&B and funk, ensures that I’ve Had Enough is not only magnificent but that it remains another hidden gem. Despite charting satisfactorily when released as a single, it simply doesn’t get the recognition it deserves.

Wanna Be With You initially slows things down, but its funk, disco, and R&B elements show their true colours rather quickly. While the tempo doesn’t reach the pace heard earlier in the album, Wanna Be With You is perfect in its own right while also being thoroughly relaxing. 

The Changing Times, in a similar manner to Wanna Be With You, has an introduction that is somewhat different to the core song and while it’s a style, I find it to be a little distracting. Nevertheless, as the closing track, The Changing Times allows for contemplation as well as compelling listeners to listen to the album again.

Raise! is a testament to Earth, Wind & Fire's incredible artistry and their ability to create timeless music. The album seamlessly blends different genres while maintaining a cohesive and infectious sound throughout. From the energetic and irresistible Let's Groove to the quintessential closer, The Changing Times, each song showcases the band's unmatched musical prowess and their ability to uplift and inspire listeners. Raise! is, subsequently, a must-listen for any fan of the band as well as being a perfect entry point for those who are new to Earth, Wind & Fire.

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Alice Cooper – Constrictor (Album Review)

Released in 1986, Constrictor was Alice Cooper’s first album in three years since the release of the masterpiece that is DaDa. Although, Cooper would likely contest that declaration as part of the reason for the break between album cycles was to deal with his addictions; some of which nearly consumed the shock rocker and influenced his prior releases. Subsequently, Constrictor is a very different album to Cooper’s “blackout” releases (Special Forces [1981], Zipper Catches Skin [1982], and Dada [1983]) as it’s less artsy, thereby returning Cooper’s style to a more traditional hard-hitting rock album with radio-friendly tunes. That aspect alone shouldn’t deter fans, or newcomers, for his artistry has always been diverse, but Constrictor can be seen as a significant turning point in his career; a shift that would ultimately send him back to the top of the charts a few years later with Trash.

Visually, it’s one of Cooper’s more comical album covers and the snake still looks fake. That’s a good thing for it’s not only indicative of the era but also showcases Cooper’s more light-hearted persona. While I’ve yet to own a copy on vinyl, Constrictor is one album that needs a reissue on the format as the larger album artwork would look incredible amongst his other albums. 

On the topic of sonic quality, however, Constrictor is in desperate need of a remaster. It’s 80s rock, raw ,and hollow sounding, resulting in a little too much treble and not enough mid to low-end oomph. Some may suggest that it is perfect the way it is as many classic 80s rock albums have a thinner sound, but I find that I have to apply some EQ to get Constrictor to sound half decent. Granted, it’s not the end of the world, but it would be nice to hear what the master recording sounds like for the CD quality stream is merely adequate. 

Teenage Frankenstein kicks things off with a thunderous roar. Cooper’s distinctive snarl combined with the gritty guitar riffs and a rock-solid rhythm perfectly captures the spirit of the album. 

Give It Up has an infectious chorus and catchy hooks, but it’s the memorable pop-rock styling that is most notable. 

Thrill My Gorilla is an incredible tune. The soaring guitars with a playful tongue-in-cheek lyrical perspective ensure that Cooper’s combination of humour and shock rock remains at the forefront of the music.

Life And Death Of The Party slows the tempo, but it’s one of the greatest songs on the album and is a hidden gem in Cooper’s back catalogue. Additionally, that solo is what air guitar dreams are made of. Brilliant!

Simple Disobedience with its infectious hooks and drilling rhythm injects a dose of energy into the record. It’s one of those songs that has rarely been heard outside of the album and it’s a shame for Simple Disobedience is a stadium-filling tune. 

The World Needs Guts has a driving rhythm, anthemic chorus, and powerful guitar solos that create an empowering atmosphere that encourages listeners to face life's challenges head-on. I love it!

Trick Bag may channel the spirit of classic rock 'n' roll with a bluesy undertone and groovy rhythm, but it isn’t the strongest song on the album. While the musicality is solid, there’s too much vocal processing that makes Cooper sound as if he’s singing in a silo. 

Crawlin’ is a dark and brooding track with haunting guitars and eerie synths. Cooper's vocal delivery adds a touch of menace but it’s the song's heaviness that ultimately makes it a standout tune on Constrictor.

The Great American Success Story has a catchy melody and is a solid tune, but it’s too campy in the chorus to be notable.

He's Back (The Man Behind the Mask) embodies the essence of '80s glam metal with its driving guitars, synthetic elements, and anthemic chorus. As it was recorded for the Motion Picture, Friday the 13th Part VI: Jason Lives, it perfectly captures the dark and mysterious allure of the film. Yet, it also provides listeners with a perfect album closer; one that allows for reflection as well as encouragement to spin the album again. 

Overall, Constrictor showcases Cooper's ability to adapt to a changing musical landscape while maintaining his signature style. The album strikes a balance between catchy radio-friendly tunes and darker introspective moments. While it may not be considered one of his greatest releases, Constrictor is severely underrated and is a thoroughly enjoyable album that captures a pivotal moment in Cooper’s career.

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