Halestorm – Back From the Dead (Album Review)

Halestorm's 2022 release, their fifth studio album Back From The Dead, is a triumphant album that is not only on par with their prior records, but in many respects trumps all that has come before. Loaded with raw energy, captivating lyrics, and Lzzy Hale's signature powerhouse vocals, Back From The Dead stands as a fierce testament to the band's evolution and enduring spirit and is amongst the best albums released in 2022.

Back From The Dead also marks Halestorm’s greatest album artwork to date as it’s evocative of their musical style and portrays the emotive frustrations of the last few years into a piece of visual art that would look incredible on the larger vinyl canvas. While I’ve yet to pick up a release on vinyl, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite. It’s so enjoyable that I question if I need the vinyl counterpart, but that is a null thought as the artwork is worthy of ownership alone. Nevertheless, it’s wonderful to hear modern hard rock music recorded, mixed, and mastered so well, for it is the exception rather than the norm.

That said, as it pertains to the Dolby Atmos surround sound mix, also on Apple Music, it isn’t as hard-hitting and rocking as the stereo mix and sounds a little muddy in places. The treble is dialled back and is, subsequently, a little less pronounced, but Hale’s vocal is also a little distant in the surround mix. It’s as if the album was recorded for stereo and then mixed to the surround format as an afterthought. I’m all for Atmos mixes when done with intent, but I certainly don’t believe it should be done for the sake of ticking a box. 

Back From The Dead is a killer blues-based hard rock opener that sets the tone for the entire album. It’s Halestorm 101 and while it may not break new ground, you know exactly what to expect and Halestorm delivers. 

Wicked Ways is one of Halestorm's greatest recordings. Hale’s incredible vocal is the magical element that ensures Wicked Ways is a highlight of the album. Naturally, it isn’t only Hale’s prowess on the microphone that makes such an impact for the band is on fire throughout this hard rock masterpiece. Wicked Ways is what can only be called a stadium-filling tune and if you don’t agree, may I suggest you listen again and turn the volume up to 11.  

Strange Girl is the perfect follow-up to Wicked Ways. The tempo may be a little slower, but the hard rock and heavy metal core elements remain present. With Strange Girl, you’ll be met with a wall of sound but that’s far from a bad thing, especially for this style of music. It's emotional and raw and Halestorm has never sounded this good. 

Brightside is best described as an album-only tune with killer rhythm and guitar elements. It’s a solid rocker that keeps the album flowing and sometimes that is all that is required. 

The Steeple is groovy and is, as with the entire album, proof that rock and roll isn’t dead. There’s no doubt in my mind that The Steeple will be incredible when performed live for if Hale’s vocal delivery or the guitar solo doesn’t get you, the tribal nature of the song will. 

Terrible Things slows the tempo considerably, but it’s a beautiful song and Halestorm has the musical chops to deliver both ballad-styled tunes and heavy hitters alike.

My Redemption slowly brings us back to rock elements more frequently associated with Halestorm and while I wouldn’t suggest that My Redemption is a standout song, it’s another album-filling tune that ensures Back From The Dead remains a memorable album experience. 

Bombshell is nu-metal meets heavy metal meets rock and roll. There’s a plethora of elements to appreciate with Bombshell and it’s one of those songs that will likely take multiple listens in order to fully appreciate. When you find the musical elements that speak most to you, Bombshell quickly becomes a wonderful addition to the album and Halestorm’s expanded catalogue of music. For me, it’s the bass tracking and Hale's vocal, for they are the backbone of the song.

I Come First has a killer introduction. That riff and Hale’s vocal dexterity are exceptional. The result is an addictive toe-tapping head-bopper that is thoroughly enjoyable. 

Psycho Crazy, from the very first note, puts me into a pleasurable bass coma. Unfortunately, as the song progresses, the focus on the bass element is reduced within the mix. Subsequently, I’d suggest that Psycho Crazy is a little overproduced in that it is trying too hard and should have fewer musical elements, thereby allowing for a cleaner recording and overall presentation of an otherwise solid tune. 

Raise Your Horns is simply magnificent. While I’ve mentioned it countless times throughout this review, Hale’s vocal is spectacular. She truly has never sounded better and if Raise Your Horns doesn’t leave you impressed, you’re listening wrong for Hale is one of the greatest vocalists the world has ever known and even after all these years, she’s just getting started.

While Back From The Dead demonstrates Halestorm's musical growth and experimentation, it’s an album that provides further validation to their unwavering dedication to the hard rock industry, their fans, and to the music itself, for Back From The Dead is full of electrifying performances.

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Elton John – Goodbye Yellow Brick Road (Album Review)

Goodbye Yellow Brick Road needs no introduction as it is arguably Elton John's greatest commercial achievement and is seen by many as his most iconic release. There’s certainly no doubt that it is one of the greatest albums ever written and recorded, but I remain hesitant to call it his greatest recording as I feel that undermines the other incredible music he has made throughout his career.

Released in 1973, Goodbye Yellow Brick Road, John’s seventh studio album, is a blend of rock, pop, and ballads, combined with Bernie Taupin's poignant lyrics, resulting in a timeless masterpiece that continues to captivate listeners. Aside from the music, the album artwork, created by Ian Beck, is amongst John’s greatest. Yes, it’s corny and cliché but in a good way. Some album covers just set the imagination running and if you want to stand out from the crowd and offer music lovers another reason to purchase an album, this incredible cover art is the first step in achieving that goal; especially during an era that was focused on the larger vinyl format.

Sonically, while I’ve been fortunate to have owned the 2014 vinyl reissue and the associated High Fidelity Pure Audio (HFPA) Blu-ray audio release, these days I find the lossless Apple Music stream, an Apple Digital Master, to be exquisite and in every way that matters, a true musical peer to the physical counterpart. Plus, while I always enjoyed the Blu-ray release, I found the vinyl reissue sounded too flat for my liking. The result was a reproduction that was less dynamic than would be ideal. Granted, the Blu-ray release contained the exceptional 5.1 mixes from Greg Penny, along with the same stereo remastering delivered via Apple Music, but I can’t listen to it everywhere and anywhere, hence the stream is more than adequate for the needs of this modern listener. Yes, dear reader, convenience can be a wonderful thing. That said, it would be nice if the surround mix was released on Apple Music et al.  

Funeral For A Friend / Love Lies Bleeding has to be one of the greatest lead-off songs in all of recorded music history. Admittedly, this opening tune could be considered as two unique songs but the combining of them, into an epic 11-minute medley, was the work of pure genius as the song seamlessly transitions from a sombre piano-led funeral dirge into a vibrant rock anthem.

Candle In The Wind is a beautiful melancholic ballad that honours the life of Marilyn Monroe and displays John's emotive vocals as well as Bernie Taupin's touching lyrics. Even the 1997 version, altered lyrically for Princess Diana's funeral, is beyond reproach. 

Bennie And The Jets is a funk-infused glam rock track with a catchy chorus, but I’ve never appreciated the faux concert element as I feel it is extraneous to the song. That aside, Bennie And The Jets has a distinct style and sing-along nature that has made it a fan favourite over the years.

Goodbye Yellow Brick Road is nothing short of pure perfection. From the first piano bars to John’s emotive vocals and Taupin’s poignant lyrics, to the backing band’s extraordinary playing, Goodbye Yellow Brick Road is a quintessential timeless ballad.  

This Song Has No Title follows Goodbye Yellow Brick Road beautifully. It’s a rather simplified composition, but when you have a vocalist like John, sometimes you don't need much more than a piano and a minor musical accompaniment.

Grey Seal has a fantastic introduction, but I must confess that I’ve never really jelled with the song as I find it to be a little all over the place from a compositional standpoint. That said, Goodbye Yellow Brick Road wouldn’t be the same without it. 

Jamaica Jerk-Off sounds as though it was left over from another recording session, rather than being part of the Goodbye Yellow Brick Road sessions. It’s an acquired taste and I just don’t feel that reggae and John go well together. Nevertheless, it has a unique style that adds to the variety of recordings found on the album.

I've Seen That Movie Too returns the album to a manner more in line with John’s overall style. It’s a beautiful ballad, a hidden gem, and is one of the greatest tunes John ever recorded. Magnificent!

Sweet Painted Lady is a lovely song with a playful arrangement and vivid imagery that creates an engaging listening experience. It’s musical storytelling at its very best. 

The Ballad Of Danny Bailey (1909-1934) is a solid album-only tune and while it continues the narrative style commonly associated with John’s recordings, with some exceptional musical compositions and elements, it is unlikely to be anyone’s favourite tune. It isn’t that it’s bad, it’s just not exceptional.

Dirty Little Girl is a solid rocker with John straining his lyrical pronunciation to great effect. My only criticism is that I feel the song is too long and an increase in tempo would have likely addressed that issue.

All The Girls Love Alice is a killer rock and roll tune. It’s one of John’s many hidden gems with its infectious melody and strong vocal performance contributing to its allure. There really isn’t anything not to like about All The Girls Love Alice, although the ending could have been truncated.

Your Sister Can't Twist (But She Can Rock 'N Roll) is a brief and upbeat track that adds a touch of rockabilly to the album's sonic palette; it’s a fun little tune!

Saturday Night's Alright for Fighting is one of the greatest songs in rock and roll history. 

Roy Rogers slows the album down somewhat and sounds as though it would have been better suited to Tumbleweed Connection. That said, it doesn't sound out-of-place on Goodbye Yellow Brick Road as it’s a lovely reflective ballad that relaxes the senses following the intense pace of Saturday Night’s Alright For Fighting.

Social Disease is a lively track with a country-rock vibe. I love it!

Harmony closes the album beautifully with a heartfelt ballad that reflects on love, friendship, and finding inner peace. The poignant lyrics, and John's emotive performance, leave a lasting impression and will compel you to spin the album again.

Whichever way you look at it, there is no denying that Goodbye Yellow Brick Road remains an essential record that not only defined John's career but also left an indelible mark on the entire music industry. Its diverse range of musical styles, emotionally resonant lyrics, and John's charismatic delivery make it a timeless masterpiece that continues to enchant listeners across generations.

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Air Supply – The One That You Love (Album Review)

Released in 1981, The One That You Love marked another successful chapter in the Australian soft rock duo's career. Building upon their signature sound of melodic ballads and heartfelt lyrics, this album continues to capture the hearts of listeners with its emotive tunes and strong vocal performances. The result is a record that is not only one of the best albums of their illustrious career, but is what I consider to be amongst the greatest albums released in 1981.

While the music may be exceptional, the album artwork is uninspiring. Seriously, the rear photo of the band, featured on the original releases, would have been far better to adorn the album cover for the hot air balloon on the initial releases, and the series of hot air balloons on the Australian reissue, is about as pointless as you can get. I really should add this album to The Worst (And Most Disturbing) Album Covers Of All Time ranked list, but it almost isn’t worthy of inclusion. Yes, dear reader, I’m extremely critical of this album artwork for it is an immediate deterrent and is unlikely to appeal to anyone, other than the most ardent fans. It certainly doesn’t showcase, or represent, just how outstanding the music is.

As for the sonics of the Apple Music stream, the lossless non-Apple Digital Master is derived from the CD counterpart and is sonically pleasing. Could it be better? Absolutely, but I wouldn’t want an overzealous remastering for the current dynamic range of the recording is already quite pleasant. It could do, however, with a slight boost to the mid and low end of the audio spectrum. Naturally, EQ settings can address this issue, but modern digital options can also be a little too aggressive and sometimes the minor adjustments of a skilled mastering engineer yields better results. 

Disappointingly, much of Air Supply’s back catalogue has remained untouched for decades with CD reissues only showing up within the Japanese music industry. Modern listeners who are not interested in picking up secondhand copies are, subsequently, left with few options outside of streaming and digital download stores. Yes, we need to be grateful that the music remains readily available, but the collector within would prefer that all music remains in print, both physically and digitally, for it gives music lovers a choice and further guarantees cultural heritage. 

Don't Turn Me Away gets the album started with a solid soft rock tune. I don’t, however, feel that it was the perfect opening track for it isn’t as strong as many of the other songs on the album and should have been repositioned in the album’s sequencing.

Here I Am is the song that should have been the lead track for it is much more in tune with Air Supply’s renowned and revered style. Here I Am, subsequently, sets the tone for the rest of the album; one that is filled with memorable ballads, melodies, and harmonies that will appeal to longtime fans and newcomers alike. 

Keeping The Love Alive has a beautiful flow for the verses are simply incredible. Yet, in classic Air Supply form, it’s the addictiveness of the sing-along choruses that are the ultimate highlight as the shift from verses to chorus, and back again, makes for a thoroughly engaging listen.

The One That You Love, the album's title track, is a timeless classic that remains one of Air Supply's most iconic songs and again, as the song reaches the chorus, you’ll feel compelled to sing along.  

This Heart Belongs To Me has an incredible rhythm. That piano entry is exquisite and is the backbone of the song as This Heart Belongs To Me turns into a soft rock masterpiece. It’s certainly reminiscent of the era, and some may suggest it sounds a little dated, but I adore it nonetheless.

Sweet Dreams, by comparison to This Heart Belongs To Me, is subdued, but that need not be a contentious issue for as the song slowly builds, the catchy chorus soars in a manner that only Air Supply can achieve for they are masters of the craft and Sweet Dreams quickly becomes one of the greatest songs of the 80s. 

I Want To Give It All slows the tempo considerably, but the vocal recording and intertwining of harmonies are thoroughly pleasing. While I Want To Give It All was never destined to be a standout tune, it’s songs such as this that make The One That You Love such an exceptional album experience. 

I'll Never Get Enough Of You is another standout that captures the sentiment of endless love. The sincerity of the vocals pairs extremely well with the song’s lyrics. As incredible as Air Supply performs this classic tune, I would love to hear Barbra Streisand cover it, for I feel she would take it to another level entirely.

Tonite is simply gorgeous. While not a standout, per se, as an album-only tune, Tonite is yet another reason why The One That You Love is one of the best albums ever released. 

I've Got Your Love is a brilliant closer that encompasses all elements of each song that came before it. The result is that you’ll feel compelled to play the record again for The One That You Love is one album that could be listened to on repeat indefinitely. 

Overall, The One That You Love is an exceptional album that showcases Air Supply's mastery of crafting emotionally charged soft rock ballads. With a combination of emotions through poignant lyrics, harmonious vocals, and well-orchestrated melodies, listeners will be captivated from the very first note to the last. While some songs stand out more than others, the album as a whole remains a testament to the duo's talent for creating music that is not only timeless but resonates deeply with listeners. If you're a fan of heartfelt ballads and timeless melodies, The One That You Love is a must-listen.

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Meat Loaf – Bat Out Of Hell (Album Review)

Bat Out Of Hell is an absolute classic and while few would dismiss its importance to the history of recorded music, most of us would agree that it’s a landmark album. It's a shame, however, that the sonic quality has never really lived up to the hype, but more on that later.

Released in 1977, Bat Out Of Hell, produced by Todd Rundgren and penned by Jim Steinman, has left an indelible mark on music history with its bombastic melodies, theatrical storytelling, and Meat Loaf's unmatched powerhouse vocals. It really is the complete package and there isn’t a bad track to be heard on the album. Certainly, some songs may appeal more to you than others, I know that is the case for me, but when you combine them in the chosen sequencing, Bat Out Of Hell becomes more than just a collection of songs for it is an album experience first and foremost. 

Aside from the music, the album artwork is also legendary and yearns to be seen on the larger vinyl canvas. Unfortunately, despite trying various editions, I’ve yet to find a vinyl copy that is mastered exceedingly well. Truth be told, there probably isn’t one definitive edition as Bat Out Of Hell has never been an album that will please audiophiles. Its recording is somewhat raw, thereby limiting the quality of the output, but in a strange dichotomy, that aspect adds to the appeal of the album. 

The problem that exists when recordings lack a little spit and polish from the production stage is that by the time it has been mastered, or additionally remastered, and then delivered to the music-loving consumer, the magic of the album tends to be severely reduced. In other words, you’ll hear the songs but there are moments whereby Bat Out Of Hell is sonically closer to muzak than music. Yes, dear reader, it can be that bad and while highly touted editions exist, it’s a case of once bitten twice shy. Plus, and this will drive vinyl purists insane, I thoroughly enjoy the Hi-Res Lossless stream, an Apple Digital Master, from Apple Music. 

Don’t get me wrong, I’m not suggesting that the Apple Music stream offers the definitive edition of this classic release, but I find that it is the least offensive with a smoother top end and a little fuller sound in the mids. The low end of the audio spectrum is still lacking on the Apple Music stream, unfortunately, but if we consider that to be part of the album’s style, I can live with that.

Of course, the stereo mix isn’t the only option available on Apple Music for the album is also presented in Dolby Audio. You’ll notice that I didn’t say Dolby Atmos and that is because Apple Music also delivers the legacy SACD and DVD-Audio surround sound mixes; if the record label delivers it to them. In this case, I believe it is taken from the 2001 surround mix counterpart, sans the two bonus tracks, but the lack of complete liner notes means that this is pure conjecture on my part. Despite that, the sonic presentation of the surround mix is fuller and more spacious than the stereo counterpart. I almost want to say that I prefer it, but some elements leave me a little unsure and displeased. The low end is a little muddier, by comparison, and after listening to the stereo mix for decades, the shift to a multi-channel mix can take a little getting used to. As always, our musical perspectives are subjective and there are numerous mixed opinions relating to the 5.1 surround mix on QuadraphonicQuad. My advice would be to find the version you’re happy with and stick with it. For me, it is the Hi-Res Lossless stereo mix from Apple Music.

Bat Out Of Hell is a sprawling rock opera that sets the tone for the entire album. Meat Loaf's passionate vocals combined with Steinman's poetic lyrics make this an unforgettable anthem.

You Took The Words Right Out Of My Mouth (Hot Summer Night) has the classic Steinman spoken intro that works well with the song, but I find the musicality of this track to be a little campy and rather dated. That doesn’t mean I don’t like it, anything but, it’s just an aspect such as this that would likely deter modern listeners who have yet to fully grasp the musical impact Meat Loaf had throughout his career. Regardless, this nostalgic ballad is infused with both rock and pop sensibilities and before it’s over, you’ll likely find yourself singing along to a song that very easily could have come out of the ABBA camp.

Heaven Can Wait is a beautiful heartfelt ballad that will leave a lasting impression for it’s, arguably, Meat Loaf’s greatest recording. 

All Revved Up With No Place To Go kicks the album back into high gear with this high-octane track. My only frustration is I feel it’s a little too jazzy. That, however, doesn’t prevent me from belting out every chorus and verse. 

Two Out Of Three Ain't Bad is one of Meat Loaf’s most iconic songs. While Meat Loaf is often remembered for his rock and roll numbers, ballads like this, and Heaven Can Wait, are the trademark tunes that showcased just how extraordinary his skill was as a vocalist.

Paradise By The Dashboard Light needs no introduction for it’s one of the greatest songs ever written and recorded for few rock operas are as addictively good as Paradise By The Dashboard Light. With a narrative featuring young love and lust, weaving in humour, drama, and intense musical interludes, the multi-faceted structure of the song keeps you engaged from the very first note to the last. Incredible!

For Crying Out Loud is the perfect bookend to an incredible album, for this sweeping power ballad encapsulates the grandeur that only Meat Loaf was capable of delivering. The result is yet another reason to put the album on repeat for it is a rare occasion when I listen to this masterpiece only once.

Bat Out Of Hell is one of the greatest albums ever recorded; even if not from a sonic standpoint. While Meat Loaf gets most of the credit, Jim Steinman needs to be remembered as the silent but extremely talented writer that was as important to Meat Loaf’s success as Bernie Taupin was to Elton John. Yes, both Meat Loaf and Elton John have worked with other songwriters, but their greatest and most creative achievements can about when they worked together. The result is a well-crafted timeless masterpiece.  

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Quarterflash – Quarterflash (Self-Titled Album Review)

Quarterflash's self-titled debut album, released in 1981, stands as a shining example of the vibrant music landscape of the early 80s. With a distinct blend of rock and pop, this album captures the essence of the era while simultaneously showcasing the band's unique style.

While 80s music fans would likely be familiar with Quarterflash, for it’s one of the very best albums released in 1981, you’d be forgiven if you have overlooked it, or never heard it before, as it’s disappointingly been out of print, certainly outside of the Japanese music market, for decades. As a result, we must be content with digital editions via streaming options or digital download stores. While the lossless Apple Music stream isn't an Apple Digital Master, it’s a beautiful master, nonetheless, that’s very dynamic with a lively and spacious soundstage. Yes, a remaster, done respectfully, would be appreciated but at this stage, I would welcome a CD or vinyl re-issue with the original mastering. 

Aside from having the music circulate on a physical format once again, the artwork is exquisite and, in my mind at least, deserves to be seen on the larger vinyl canvas. Universal Music Group should consider releasing a reissue of this classic album as modern collectors would love such a release. Even a small print run, perhaps a Record Store Day exclusive, would be well received.

Harden My Heart is the quintessential 80s power ballad; what a way to open this self-titled debut! With its hauntingly catchy melody and introspective lyrics, Harden My Heart creates an unforgettable atmosphere that sets the tone for the rest of the album.

While it should be celebrated that Harden My Heart received renewed attention following its inclusion on the Rock Of Ages soundtrack in 2012, the Julianne Hough and Mary J. Blige version is an atrocity. It's a shame considering both of these musicians are consummate performers in their own right.

Find Another Fool continues the energetic momentum with an upbeat tempo that makes it a worthy follow-up to the opening track. Rindy Ross' powerful vocal delivery is, as always, evocative of the greatest female vocalists to sing rock music. Plus, it isn’t just her vocal prowess that’s impressive, for she’s an incredible saxophonist. Additionally, the musical style of Find Another Fool reminds me fondly of Kansas’ work on Monolith. 

Critical Times slows the tempo considerably, but it isn’t as much of a jolt to the senses as you may initially think as the emotive vocals and reflective lyrics are stunning. I should note that one of my all-time favourite vocalists, Timothy B. Schmit sings as part of the backing vocal harmony and is simply amazing. Could Critical Times have been recorded by the Eagles? Absolutely, but it wasn't and is, subsequently, one of the core reasons why I adore Quarterflash and consider it such an extraordinary album. 

Valerie picks up the tempo and while it has an infectious groove with a killer bassline and guitar solo, it’s not my favourite song from the album as the chorus is underwhelming and grinds on the senses due to its pitch.

Try To Make It True is musical bliss. That introduction and the song’s overall vibe ensure Try To Make It True is one of the best tunes on the album. 

Right Kind Of Love is a great lovely ballad with a catchy chorus and dynamic instrumentation that will see you singing along while simultaneously toe-tapping and head-bopping to the rhythm. Rindy's saxophone work, with the intertwining of Marv Ross’ guitar solo, is a standout and is the ultimate sonic trademark of Quarterflash.

Cruisin' With The Deuce is a musical masterpiece. It reminds me fondly of the musical style heard on Quincy Jones’ The Dude, for it has a similar funk meets jazz meets rock styling. Ultimately, Cruisin' With The Deuce is the complete package and if you only listen to one song from this self-titled debut, make it this one. It’s, honestly, amazing that Quarterflash was never more popular than they were for when music is this good, it deserves to be heard and shared. 

Love Should Be So Kind slows the album down considerably, but the reflective nature of the song showcases Quarterflash's lyrical depth and ability to craft poignant melodies. Love Should Be So Kind was never destined to be a hit, but it’s one of the best songs Quarterflash ever recorded, thereby making it an essential album-only tune. 

Williams Avenue closes the album on a high note and while it’s a jazzy shift from the otherwise mellow Love Should Be So Kind, the rock-infused sound, driving rhythms, and passionate vocals provide a more than satisfying conclusion to the Quarterflash musical journey; one that will find you compelled to play the album time and time again.

Quarterflash's self-titled debut album is somewhat of a hidden gem from the early 80s, and one of the best albums released in 1981, capturing the essence of the era's musical diversity. While Harden My Heart remains the standout hit, the album as a whole offers a well-rounded collection of classic songs that are so well-polished that it makes this album sound like a well-put-together greatest hits release. 

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

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

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

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

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

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

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

Blues For My Baby And Me is a beautiful ballad. 

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

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

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

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

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

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

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

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Grace Jones – Nightclubbing (Album Review)

Released in 1981, Nightclubbing stands as a remarkable testament to Grace Jones’ artistic prowess, avant-garde sensibilities, and genre-blending expertise. As an album that defies categorisation, effortlessly blending elements of new wave, reggae, funk, post-punk, and electronic music, it’s remarkably memorable and will appeal to audiences with broad musical preferences. Nightclubbing, Jones’ fifth studio album, offers a seductive and atmospheric experience that has left an indelible mark on the music landscape, not only in the 80s but in all of recorded music history.

Of course, it wasn’t only the music that was influential for the original album artwork is striking, to say the least. Sadly, due to a rights issue, the original album artwork, created by Jean-Paul Goude, is absent from streaming services and digital download stores. As there haven't been any worldwide reissued physical releases, since 2014, it’s unknown if this will impact the physical counterpart moving forward. What I can say, however, is the replacement artwork Island Records decided to put in its place isn’t all that bad. Okay, so if you look at all of the album covers, created by Goude, that are currently missing, it’s a little irritating, but on its own, however, I really like the design that somewhat replicates a compact cassette sleeve design. As such, and given the rights element, I won’t be utilising the original artwork within this review but you can always check it out on the various editions added to Discogs.

Speaking of different editions, while I’m extraordinarily happy with the Apple Music stream, an Apple Digital Master, I was fortunate to have owned the Blu-ray Audio release and with an extended runtime, on a single disc, that matched the sequencing of the Deluxe Edition, it was a party album that extended beyond the record’s original intent. While memory may be the most fallible way to recall the sonic quality of music, I find that I much prefer the fullness of the Apple Music stream as the Hi-Res Lossless version on the Blu-ray format could sound a little too accurate and subsequently clinical. Some music lovers will appreciate that style, but I prefer a warmer and smoother presentation and the Apple Music stream thankfully doesn’t disappoint in that regard. 

Walking In The Rain kicks the album off with a moody funk vibe that is truly captivating while Jones’ sultry vocal takes centre stage as she navigates through the electronic soundscape. While Walking In The Rain is most commonly associated with Jones, and it’s perfect for her style, the song is actually a cover by the Australian band Flash And The Pan from their 1978 self-titled debut. While that album is out-of-print, it can be heard via the 1995 release, Collection and is most certainly worth checking out if you appreciate Jones’ interpretation. 

Pull Up To The Bumper is an uptempo standout with a funky bassline. Jones’ suggestive lyrics, throughout this song, have often resulted in controversial interpretations, but as someone who appreciates the human vocal as another instrument in the mix, rather than a storytelling device, that aspect fails to be a contentious issue in this listener’s mind. Plus, the song's infectious rhythm, coupled with unconventional sound effects, creates a tune that is irresistible. 

If you simply can’t get enough of Pull Up To The Bumper, may I suggest you check out Coolio’s Ooh La La, from 1997, for this classic tune is sampled beautifully. Deni Hines' interpretation is also worth checking out if you’re after a smoother edition. Of course, there are also additional remixes and extended versions to be heard from Jones, herself, on the Deluxe Edition of Nightclubbing.

Use Me introduces a little reggae and showcases Jones’ versatility as an artist as she’s capable of infusing diverse musical genres to express emotive elements. As a cover of Bill Withers’ original, from the 1972 album Still Bill, Jones’ interpretation builds upon the original (an exceptional piece of music in its own right) while making it her own.

Nightclubbing is the album’s centrepiece and what a remarkable song it is. Iggy Pop and David Bowie certainly wrote a masterpiece when they penned this tune. Encapsulating the essence of nightclub escapades, Jones’ cool vocal glides above the electronic arrangement, evoking a mysterious and entrancing atmosphere. It’s without a doubt one of Jones’ greatest recordings, but it’s also an audible treat for listeners as the repetitive rhythm, both musically and within the vocal, forms a structural foundation that holds, together, all other musical elements. 

As captivating as Jones’ cover of Nightclubbing is, may I suggest you check out the original from Iggy Pop’s The Idiot; an incredible recording in its own right. 

Art Groupie shifts the style slightly, yet it isn’t detrimental to the album listening experience for Jones’ spoken word-styled delivery, remains at the forefront of the mix ensuring that aside from the electronic elements, Art Groupie is most certainly a worthy addition to Nightclubbing; even if it is an album-only tune.

I've Seen That Face Before (Libertango) is a reimagining of Astor Piazzolla's excellent Libertango, and between the atmospheric driving beat and melody, the fusion of styles provides an utterly compelling piece of audible art. As with Art Groupie, this is a song that is best described as an album-only tune, but it’s songs such as this that make Nightclubbing so compelling.

Feel Up returns us to a playfully infectious reggae-infused groove. While there isn’t much in the way of lyrics, instead a focus on repetition and spoken aspects, the mix of all elements is so compelling that, much like the rest of Nightclubbing, it is difficult to not be sucked into the musical void when listening to Feel Up.  

Demolition Man injects a little rock and roll into Nightclubbing but its funky bassline is the greatest defining element here. It’s, subsequently, surprising that it failed to garner much attention when released as a single for it’s a perfect song for the era in which it was released and has over the years become a signature tune for Jones. Originally written by Sting, and featured on The Police’s Ghost In The Machine post Jones’ recording, I much prefer Jones’ interpretation of the song.

I've Done It Again slows the tempo and overall style of the album considerably, but it’s a beautiful contemplative tune to close the album on.  

Nightclubbing is a masterful work of musical art that defies genre conventions and pushes the boundaries of musical expression. Jones' distinctive style, combined with innovative production and diverse influences, results in an album that continues to captivate and inspire listeners; inviting them into a world of sophistication, intrigue, and sonic experimentation.

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