Paul McCartney – Egypt Station (Album Review)

Released in 2018, Paul McCartney’s 17th studio album, Egypt Station, is a testament to the enduring brilliance of one of the world’s greatest musicians. As a living legend, McCartney owes nothing to fans, yet his career knows few peers. While some may point to select albums as not being his most innovative, Egypt Station is not only one of the best albums from 2018, but it is one of the most creative and appealing from McCartney’s illustrious career.

McCartney's ability to craft melodies that stand the test of time knows no bounds and Egypt Station validates this as the music contained within is a masterful blend of his signature pop-rock sound that effortlessly weaves through various musical styles. While not quite a concept album, the music has been built around a train station abstraction. The aim is that when listened to in its linear manner, each song represents a different station (theme/intended meaning) along the way. It’s intriguing, certainly, but outside of streaming options, the artwork more fully encompasses this creative arch. 

Egypt Station is one album where I can say with complete confidence that those of you who only stream are disadvantaged for the vinyl counterpart that I’m fortunate to own, a tri-fold concertina-styled design, is packed with a visual journey to accompany the audible expedition. It really is quite exquisite. The CD release, and other subsequent editions, replicate and further the artwork found on the vinyl release meaning that collectors can be thoroughly immersed in the tactile as well as the musical aspects of this particular release. Additionally, while the sonic reproduction on Apple Music is excellent, the vinyl release takes the album, sonically, to another level entirely. With the vinyl counterpart, you’ll experience a far greater sense of depth and presence to the music; particularly on songs such as the epic closer Hunt You Down / Naked / C-Link, for Tim Loo’s cello comes alive on the vinyl release. The Apple Music stream is akin to hearing the album whereas you’ll feel the music in your soul should you pick up the vinyl release. 

Yes, the lossless Apple Music stream is an Apple Digital Master, yet something has been lost in the delivery from the original master to the music lover. Of course, it could simply be a case that the vinyl record was mastered so incredibly well that that is the defining element. It isn’t a night or day difference, for it rarely is, but it is something to be aware of if you’re looking to get the very best sonic reproduction of this modern classic.

Opening Station is a short ambient tune that launches the album perfectly and flows beautifully into I Don't Know.

I Don't Know is simply stunning! All musical elements are crystal clear with a slow hypnotic rhythm that will immediately connect with your soul. It’s, without a doubt, one of the best songs from Egypt Station.

Come On To Me shifts the tempo to that of a rock-focused tune infused with catchy hooks. With a pleasing composition that has an eclectic feel, Come On To Me is an instant toe-tapper and one that would be ideally suited as a stadium-filling tune. 

Happy With You presents us with another audible shift, this time focused on an acoustic-based presentation. Happy With You is thoroughly enjoyable and further highlights McCartney's vocal capabilities; an astonishing achievement for a man of his years.

Who Cares is an awesome rock and roll song with a fantastic message. I wish I had a song such as this during my teenage years. Nevertheless, Who Cares has a spirited rhythm that ensures this tune stays with you well after you’ve heard it. Fantastic!

Fuh You is the only song on the album that doesn’t grab my attention. It’s campy, over-produced, and the drums sound is too flat within the mix. A style, perhaps, but not one that interests me.

Confidante feels like a heartfelt conversation with a close friend and is an excellent example of McCartney's emotive storytelling. 

People Want Peace is short but meaningful. It had the potential to be campy but isn’t and is a great example of McCartney’s continued commitment to spreading positivity through his music.

Hand In Hand is a simply beautiful song and is one of McCartney’s greatest songwriting achievements. An instant classic! 

Dominoes has a catchy hook and groovy rhythm. The pop-rock styling on this track always reminds me of Julian Lennon’s style; particularly on Photograph Smile.

Back In Brazil adds a touch of world music to the album, showcasing McCartney's continued willingness to experiment with sounds and musical styles.

Do It Now is absolutely gorgeous and is music at its very best. It blows me away every time I listen to the album.

Caesar Rock harkens back to McCartney's early rock 'n' roll influences, complete with catchy guitar riffs and spirited vocals and is one song that only gets better the more I listen to Egypt Station. 

Despite Repeated Warnings is a sprawling epic that is quintessentially McCartney for not only is the message one that is important to hear, but the musical aspects are so layered and diverse that you’ll latch onto different aspects of the song upon each listen.

Station II seems somewhat superfluous, especially at this late stage in the album. It does, however, set us up for the masterpiece that is Hunt You Down / Naked / C-Link.

Hunt You Down / Naked / C-Link is hands down the best song on the album and one of the greatest songs, or combination of, that McCartney has ever recorded. It’s also the ideal closer, for it’s memorable and will simultaneously encourage you to spin the album again.

McCartney's willingness to experiment with new sounds and themes, while staying true to his roots, ensures this album is a captivating and enjoyable musical journey. If nothing else, Egypt Station is a testament to McCartney's enduring artistry and is an essential addition to any music lover’s collection for this is McCartney at his very best.

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Nina Simone – I Put A Spell On You (Album Review)

Nina Simone had one of the most distinctive voices in all of recorded music history. Her skill and control over her vocal delivery knew no bounds and no truer is that statement than when listening to her 1965 opus I Put A Spell On You.

Adding to the musicality is the visual accompaniment and while it may be contentious to suggest that the cover art of I Put A Spell On You is one of Simone’s greatest, it is certainly up there. I’m also fortunate to own the 2020 Acoustic Sounds reissue; a release that is second-to-none as it pertains to the reproduction of the cover art and the gatefold design and inner artwork that draws you further into Simone’s world.

I’ve also been fortunate to have owned the High Fidelity Pure Audio Blu-Ray release and while the DTS-HD Master Audio stereo mix (24/96kHz) was lovely, it pales in comparison to the reproduction that Chad Kassem and his team were able to achieve on the aforementioned vinyl reissue. Seriously, every aspect is bettered and if you want to see an example of how classic albums should be reissued, I suggest you track down a copy for it offers a sonic reproduction that knows no peer. 

Even the Apple Music stream, a stereo Hi-Res Lossless Apple Digital Master, can’t reach the smoothness and refinement heard on the vinyl counterpart. As for the Dolby Atmos mix on Apple Music; let’s just say that it exists. Don’t get me wrong, if you prefer streaming and aren’t the least bit interested in vinyl, you’ll thoroughly enjoy the streaming counterpart. I listen to it often as vinyl simply can’t be played everywhere and the stream is good enough that I never feel the need to create a needle drop. That said, the vinyl reissue does take the experiential aspect of I Put A Spell On You to another level entirely; ensuring that you’ll be captivated from the very moment the needle hits the groove. 

I Put a Spell On You is as much a Nina Simone song as it is a Screamin' Jay Hawkins’ classic. However, while Hawkins may have recorded the original, I doubt there would be many who would proclaim his rendition as being superior to Simone's. I also love the Creedence Clearwater Revival interpretation as it takes cues from both Hawkins and Simone and if you want to take the song up a notch, on the metal-infused dial, you could always listen to Marilyn Manson's rendition. Regardless of how many musicians have covered the song well, I always return to Simone's rendition as being the definitive recording of the song. She made it her own and I doubt anyone will ever be able to top it.

Tomorrow Is My Turn is a classic tune that oozes with longing and anticipation. Simone’s vocal control shines as she navigates the song’s emotional peaks and valleys. It’s this mastery that ensured Simone was a world-class musician with music that is ultimately timeless. 

Ne Me Quitte Pas is spectacular! Simone's trembling vulnerability and expressiveness make this track a standout on the album.

Marriage Is For Old Folks is witty and incredibly entertaining. Seriously, if you don't have a smile on your face when listening to this song, you're taking life too seriously. It’s a fantastic tune and perfectly suited to Simone; particularly the doo, doo, dooo, de-doo scat-styled lyrics.

July Tree is a beautiful addition to the album that will linger in your mind long after the song ends. 

Gimme Some picks up the tempo with an addictive rhythm that will have you head-bopping and toe-tapping from the very first note. Plus, that Little Richard inspired vocal growl of Simone's is stunning!

Feeling Good is one of the album's most iconic tracks for Simone's powerful vocals and the brassy instrumentation creates an exhilarating experience that has to be heard to be believed. If, however, you’re after a more contemporary interpretation of this classic, George Michael performed it beautifully. 

One September Day is a poignant ballad that showcases Simone's ability to convey deep emotion. Her voice, combined with the song's melancholic melody, is simply amazing. 

Blues On Purpose is an instrumental piece that lets the piano take the lead, demonstrating Simone's prowess as a pianist. It adds a bluesy, soulful dimension to the album, with a touch of jazz, that will appeal to just about any music lover.

Beautiful Land is an interesting folk-inspired song that plays into Simone’s unique phrasing and emotional depth. However, it’s the weakest song on an otherwise perfect album. It will always be an album-only tune, but this record wouldn’t be the same without it. 

You've Got to Learn is a beautiful tune with warm and comforting vocals that make this song feel more conversational than songs normally are.

Take Care of Business closes the album on a high note ensuring that I feel compelled to spin the record again.

I Put A Spell On You is more than just an album; it's a journey through the spectrum of human emotions and is nothing short of pure perfection. Nina Simone's artistry shines through each track as she navigates love, pain, empowerment, and introspection. I Put A Spell On You is, subsequently, a testament to her ability to connect with her audience, on a deep and profound level, making it an endearing classic.

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Elton John – Sleeping With The Past (Album Review)

Elton John's career has been nothing short of legendary, with a discography that spans decades and genres. In 1989, he released Sleeping With The Past, an album that would be a departure from much of his 80s output and one that would ultimately see him return to the top of the charts. With a focus on the rhythm and blues sounds of the '60s and '70s, Sleeping With The Past is true to its namesake and John and Bernie Taupin didn’t disappoint for this release not only pays homage to a bygone era but embraces it and presents it to a new audience to reflect upon. 

Speaking of new audiences, while John may be somewhat winding down his career, particularly the touring aspect, he’s never been more popular. As such, his record label decided in recent years to reissue his legacy recordings, beyond just that of his classic 70s-era music, on vinyl. Subsequently, Sleeping With The Past was reissued in 2017, although I’ve yet to pick it up on vinyl; a shame considering it is also one of my all-time favourite Elton John albums. 

In the meantime, I will endure listening to this masterpiece via the lossless Apple Music stream that is derived from the 1998 remastered CD release. It’s adequate but is unlikely to fill your soul for you’ll hear the music, but you won’t necessarily feel it. Plus, the bonus tracks, Dancing In The End Zone and Love Is A Cannibal just aren’t great. As such, I’ll be sharing with you a playlist of the core album tunes, for I feel the album is stronger sans the bonus material. 

Durban Deep launches the album with an interesting 80s twang and as much as I adore Sleeping With The Past, I have to admit that Durban Deep isn’t the strongest opener. It isn’t fundamentally bad, but it does sound as if it were a song left over from one of John’s lackadaisical mid-80s releases. That said, the more you listen to Sleeping With The Past, the more you’ll find yourself enjoying Durban Deep as it signifies the exceptional music that you’re about to hear. 

Healing Hands is where Sleeping With The Past really starts, for me at least. It’s a highlight from the album with its catchy upbeat melody that melds perfectly with John’s compelling vocals. Yes, it has a very late 80s sound, especially with the addition of the backing vocals, but good music is good music and Healing Hands is a timeless classic.

Whispers is a beautiful, stripped-down ballad, that will draw you in from the very first notes. John’s emotive singing also captures your attention and while much of his 80s output, post The Fox in 1981, failed to impress, Whispers showcases that an artist with the skill of John can return at a later date, with an astonishing selection of songs, and once again leave the fans speechless.

Club At The End Of The Street shifts the tone of the album and takes a more upbeat approach compared to Whispers, yet the contrast isn’t nearly as jarring as you would think. It’s, therefore, an example of perfect track sequencing, for the senses thoroughly enjoy the placement of this catchy pop-rock tune.

Sleeping With The Past harks back to the Motown era of yesteryear; a core inspiration for the entire album. While it may not be a song that is immediately identifiable with John’s legacy, Sleeping With The Past is the perfect title track for it encompasses all intended musical influences.

Stone's Throw From Hurtin’ is blues meets country and further showcases the versatility that has been a cornerstone for John throughout his entire career. Stone's Throw From Hurtin’ was never going to set the charts on fire but is perfect as an album-only tune with some killer guitar licks. 

Sacrifice is, undoubtedly, a standout with poignant lyrics and a haunting melody that has become one of John’s signature tunes. 

I Never Knew Her Name is a fun, energetic, and upbeat song that returns us sonically to the underlying Motown vibe.

Amazes Me is a lovely mid-tempo tune with lyrics that are not only evocative but are emotionally charged, thereby allowing John to do what he does best; tell stories via songs. 

Blue Avenue is a beautiful closer. John’s soothing vocals, combined with his calming piano backing, ensure this track is a standout that will encourage you to spin the album again. 

Sleeping With The Past not only paid homage to the music of a bygone era, but it's simultaneously some of the very best music Elton John ever recorded. As a result, much of John’s 80s output can be overlooked as each song from Sleeping With The Past adds a layer of richness to the album, making it a memorable addition to Elton John’s illustrious career; one that is up there with his greatest legacy releases. 

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Andy Gibb – Flowing Rivers (Album Review)

Released in 1977, Flowing Rivers is Andy Gibb’s debut studio album and is a timeless classic that showcases Andy's remarkable vocal prowess and undeniable songwriting skills. Carrying the weight of expectations that naturally come with being part of such an illustrious musical lineage, Andy not only rose to the occasion but also carved out a unique niche with this remarkable collection of songs.

From start to finish, each of the album's ten tracks carries a unique charm that will immediately captivate you with unforgettable hooks and a vocal delivery that oozes with sincerity. Yes, you’ll hear audible correlations to the Bee Gees when listening to Andy Gibb, but fans of both artists will likely attest that the association is merely complementary and that Andy’s recordings give fans a window into a different style that the Bee Gees simply could not present. From that perspective, Flowing Rivers is a unique masterpiece that shouldn’t exist in the shadows of the Bee Gees for it’s a notable release on its own. 

As it pertains to the availability of the album, sadly physical music fans are not covered as an official reissue, outside of the Japanese music industry, hasn’t been released since the late 90s. Yes, Flowing Rivers can be purchased via iTunes et al, but an artist with such a legacy deserves to have their music remain in print and it’s a travesty that Andy’s back catalogue is only available via digital means. 

Turning our attention to the lossless Apple Music stream, it’s almost certain that this release is derived from prior CD reissues and while it’s adequate, it isn’t going to set your sound system on fire. In reality, Flowing Rivers could be improved with a delicate remaster; not one that merely reduces the overall dynamic range and increases the volume. The album simply needs a little more oomph in its presentation and while some will point to EQ settings, they can often be too harsh; particularly those within the digital realm. The result is that you’re more likely to add a blanket of muddiness to the overall presentation than you are to address any of the existing shortcomings. A skilled mastering engineer is what’s ultimately needed to make this record sound even better than it already is. Nevertheless, it’s all about the songs that ensure Flowing Rivers is so compelling, so join me as I take a look at each song from the album.

I Just Want To Be Your Everything was a chart-topper the world over and there is little doubt as to why, as Barry Gibb penned this masterpiece with the infectious rhythm and catchy melody he’s renowned for. That said, had it not been for Andy’s smooth vocals, you’d find it impossible to sing along to. The result is that I Just Want To Be Your Everything is one of the best songs from the Gibb family camp. 

Words And Music is a lovely and timeless ballad. Describing it as magnificent would be an understatement. It’s certainly one of Andy’s greatest recordings and as music lovers, we are so fortunate to have such incredible music to appreciate and carry with us throughout our lives.

Dance To The Light Of The Morning is a fun and lively tune that highlights Andy’s versatility, but it’s ultimately an album-only tune that was never going to be a standout. While Dance To The Light Of The Morning is unlikely to compel you to listen to Flowing Rivers, the album wouldn’t be the same without it.

Too Many Looks In Your Eyes has a beautiful arrangement that highlights Andy’s emotive vocal throughout. When I suggest that the album and Andy Gibb’s music are hidden gems, it’s songs such as this one that I am referring to, for Too Many Looks In Your Eyes is one of the greatest songs from the 70s. Had it been released as a single, I’ve no doubt it would have gone to the top of the charts; it’s that good! 

Starlight has a dreamy quality about it and while it may get off to a slow start, it builds into a magical piece of music that, again, highlights Andy’s incredible vocal prowess.  

(Love Is) Thicker Than Water is one of Andy’s most memorable and enduring classics and features some beautiful guitar licks courtesy of Joe Walsh. It’s pop meets rock and is so thoroughly pleasing to the senses that you’ll find your body moving involuntarily to the rhythm of this masterful tune. Yes, it could be said that it is dated to the era, but good music stands the test of time and from my perspective, it sounds as fresh today as it always has. 

Flowing Rivers was an interesting choice for the title track for it isn’t the strongest song from the album or within Andy’s overall back catalogue. Don’t get me wrong, it’s a solid tune but isn’t worthy of being the album’s title track as it simply isn’t a standout, nor is it memorable. Still, it’s another of those songs that is enjoyable when listened to in the album’s sequencing; you just won’t look for it outside of the album structure.

Come Home For The Winter flows seamlessly from Flowing Rivers but the musical arrangement and pacing of this tune is far more appealing. You get a touch of pop, and classic rock, along with a country twang; the culmination of which becomes an addictively good tune that you’ll appreciate every time you play the album. 

Let It Be Me is a great little tune. Nothing to write home about, but thoroughly enjoyable nonetheless. 

In The End is a beautiful tune to close the album on as it encourages you to listen to the record again as it leaves you wanting more. It’s also contemplative, so should Flowing Rivers be the final album you listen to in the evening, you’ll be whisked away on a musical cloud of relaxation.  

Flowing Rivers is a timeless, and somewhat hidden, gem from the pop music landscape of the late 70s. Andy's incredible vocal talent, combined with the quality of songwriting on this album, cements his status as a pop icon. Yes, the renowned production team of Gibb-Galuten-Richardson (Barry Gibb, Albhy Galuten, and Karl Richardson) had a role to play here but as you listen to the album, each track showcases a different facet of Andy's natural talent, from his ability to deliver catchy pop hits to his knack for heartfelt ballads. Flowing Rivers is, subsequently, an album that shouldn’t be overlooked.

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Slipknot – .5: The Gray Chapter [Special Edition] (Album Review)

Released in 2014, Slipknot's fifth studio album, .5: The Gray Chapter, marked a significant moment in the band's history. It came six years after their previous album, All Hope Is Gone, and was the first without their founding member and bassist, Paul Gray, who tragically passed away in 2010. Additionally, it was also their first album without drummer Joey Jordison, making it a crucial test for the band's ability to adapt and evolve while staying true to their signature sound. 

Alessandro Venturella would be the new bassist from this release onwards, as was Jay Weinberg on drums, but neither musician took anything away from the founding members they replaced for they not only brought their unique style to Slipknot, but they ensured that the legacy of Gray and Jordison was maintained. The result was a seamless transition that would allow the fans to embrace the music, rather than constantly contrast one performer against another.

What isn’t up for debate is the production quality of .5: The Gray Chapter for this is an incredible release with a mix and master that, especially for the genre, is the definition of perfect. While I’ve yet to pick up a physical copy of this exceptional album, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is an experience in and of itself and has to be heard firsthand in order to fully appreciate just how spectacular every aspect of this recording is. The stream is subsequently so mind-blowing that I wonder if a physical counterpart is necessary as there isn’t a single element that I would change, nor is there any aspect that I feel could be improved upon. Yes, dear reader, it is that good! 

XIX is an eerie, atmospheric opener, that sets the tone for the entire album. Even if the rest of the album had been lacklustre, XIX is about one of the best opening tracks you’re ever likely to hear, from any album, in all of recorded music history.

Sarcastrophe flows seamlessly from XIX, but it isn’t long before Slipknot’s renewed burst of energy comes blaring out of the speakers with pounding percussive elements and frantic guitars accompanied by Corey Taylor’s intense vocals. Sarcastrophe is Slipknot 101 and while it may not be the first song that you think of when looking forward to listening to .5: The Gray Chapter, it harks back to their origins and longtime fans will no doubt appreciate the rawness of the recording. 

AOV is a melodic and aggressive tune that highlights Slipknot’s dynamic and ever-evolving style. However, as exceptional as the music is on AOV, it’s Taylor’s vocal delivery that is of particular note here for the verses are poetic and the chorus is soaringly perfect. 

The Devil In I is the expected radio-friendly tune with a catchy chorus, sensational grinding guitars, and a rhythm that when turned up to 11 will collide with your soul. Yes, purists may feel these commercial-based tracks are a distraction, but just as I adore ballads, I absolutely love Slipknot’s more accessible tunes for they not only rock, but open the door for new fans to enter the fold.

Killpop showcases Slipknot’s softer side, for even the greatest headbangers need a palette cleanser from time to time. Additionally, the depth and level of detail in the soundstage of Killpop is sublime and while Slipknot's music has always been multi-layered, Killpop is a masterpiece in that regard.

Skeptic is an appropriate tribute to Gray, but it sounds a little too disjointed in places. It, subsequently, isn't one of my favourite songs from the album, but remains a worthy inclusion.

Lech is relentless and while it’s most certainly an album-only tune, .5: The Gray Chapter wouldn’t be the same without it.

Goodbye is another emotional song discussing Gray's death and the impact his passing had on the band. It’s an exceptional song with a gorgeous soundstage and vocal presentation. Its placement, mid-album, is interesting though. I would suggest it would have been better placed towards the beginning of the album or as the final track.

Nomadic is a high-energy, aggressive tune, that flows so seamlessly from Goodbye that you’d be forgiven for thinking of the two as a single song. 

The One That Kills The Least is a more melodic piece with an addictive rhythm, killer guitar licks, and more of Taylor’s exceptional vocal dexterity.  

Custer is a ferocious song with explosive energy, featuring Taylor's screaming vocals and aggressive instrumentals. It’s classic Slipknot!

Be Prepared For Hell is pure filler and should have been omitted from the album; despite leading us sonically into The Negative One.

The Negative One is a heavy, chaotic track that captures Slipknot's signature aggression and will appeal to long-time fans.

If Rain Is What You Want is an intriguing tune, but is it really a Slipknot song? I'm not sure! It sounds more like a repurposed Stone Sour tune, but that’s just me. That isn’t to say it's bad, just that I don't feel this qualifies as a Slipknot song per se. Nevertheless, it’s a haunting and atmospheric ballad that displays the musical talent within Slipknot. For those of you who collect vinyl, however, it is a rather strange way to close a Slipknot album as it’s the last song on the physical counterpart. 

Override is a dynamic, hard-hitting, track that suits Slipknot significantly better than If Rain Is What You Want. In fact, it’s one of their greatest recordings that many wouldn’t have heard, unless they checked out the Special Edition release, that is.

The Burden is a sombre closing to the Special Edition release of .5: The Gray Chapter and instead of going out with a bang, The Burden is more akin to a whimper. That isn’t to say that it’s fundamentally bad, but it isn’t the strongest song to close a Slipknot album on.

.5: The Gray Chapter is a powerful and emotional journey that explores themes of loss, grief, and rebirth. Slipknot manages to strike a balance between their familiar aggressive sound and a more melodic and introspective side. The result is that .5: The Gray Chapter is the definition of a perfect album; if it were a little shorter, that is. Had the runtime been reduced to that of a standard-length album, it would have been even stronger. Nevertheless, .5: The Gray Chapter is a testament to Slipknot's ability to evolve and grow with resilience while staying true to their roots. While it may not surpass their earlier classics, for many fans, it's a strong addition to their discography, nonetheless, and a must-listen as well as one of the best albums released in 2014.

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Neil Diamond – I'm Glad You're Here With Me Tonight (Album Review)

Neil Diamond's 1977 release, I'm Glad You're Here With Me Tonight, is a remarkable blend of heartfelt ballads and pop-rock anthems. This record showcases Diamond's signature style along with his ability to convey raw emotions through his distinctive voice. With 11 tracks that traverse love, longing, and introspection, this is one timeless gem from Diamond's extensive discography.

It’s, however, disappointing that I'm Glad You're Here With Me Tonight has been out-of-print for decades, with the last official physical reissue being released on both CD and Vinyl in 1988. While purists and collectors will suggest seeking out a used copy, I prefer to make my own memories with music and subsequently look forward to classic albums being reissued. While one can never say never, the massive reissue and remastering campaign of much of Diamond’s back catalogue (circa 2014-2016) was primarily focused on delivery via the iTunes Store and other Hi-Res digital download stores such as HDTracks. While I don’t have a problem with that, for the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite, I do wish legacy formats weren’t omitted for music lovers should always be given a choice. That said, the Apple Music stream is so good that I dare say, from a sonic perspective, there is no need to look elsewhere. Although, I do really want this album on the larger vinyl canvas if for no other reason than the incredibly well-designed album artwork. 

God Only Knows is one of the greatest songs ever written and as an original Beach Boys tune, from their acclaimed 1966 album Pet Sounds, nothing really compares; that is, until you listen to Diamond’s rendition. Yes, dear reader, I’m going to frustrate many dedicated fans of the Beach Boys, but as lovely as their original is, I do feel that Diamond recorded the song with the highest level of respect and covered it in such a way that it not only pays homage to the original but it becomes his own. Diamond also sings the song in a slightly lower register and the more lush orchestration plays a key role in my preference here for Diamond’s interpretation simply sounds right. If nothing else, God Only Knows is the perfect opening track for the album. 

Let Me Take You In My Arms Again is a warm and soulful love song. Diamond is, of course, renowned for this style of music, but I never tire of it for songs like Let Me Take You In My Arms Again are instant classics.

Once In A While presents a shift in tempo, but captures the essence of nostalgia. They don’t make music like this anymore is an apt assessment, but music lovers also don’t need imitators when we have such emotive and poignant ballads to appreciate til the end of time.

Let The Little Boy Sing is a catchy, upbeat, jazzy song that brings a sense of hope and optimism. It may be an album-only tune, but don’t let that deter you for it’s the strength of the filler material that ensures this album is one of the very best released in 1977.

I'm Glad You're Here With Me Tonight is a lovely title track that is a declaration of love. While love songs are a dime a dozen, Diamond ensures his sincerity shines through and that aspect alone is a partial reason for his success over the years. Linda Press’ backing vocals are also beautifully mixed into this song, although I do wish she was featured more prominently. 

Lament In D Minor / Dance Of The Sabres is nothing short of a masterpiece. The lengthy instrumental introduction showcases Diamond's versatility, blending classical elements, with a contemporary rock sound, to add depth to the album's overall presentation. It’s also one of Diamond’s most overlooked tunes and that’s an incredible shame for I consider it to be not only one of his greatest, but one of the best songs in all of recorded music history. 

Desirée is iconic! Diamond is absolutely captivating as he delivers this passionate and dramatic love song. 

As If has an air of simplicity with a folksy charm, but it isn’t great. It’s not so bad, however, that it detracts from the overall album experience, but it just doesn’t sing to me as the other songs from the album do. 

You Don't Bring Me Flowers (Solo Version) is simply beautiful, and as incredible as Diamond’s duet with Barbra Streisand is, from his 1978 album You Don’t Bring Me Flowers, this original composition is still magnificent.

Free Man In Paris is a cover of Joni Mitchell’s original. My only quibble with the song is the unnecessary first minute. If it could have started at the one-minute mark, I feel it would have been a stronger closer.

Overall, I'm Glad You're Here With Me Tonight is an incredible album that effortlessly weaves through various emotions, from love and longing to optimism and celebration. Diamond's powerful vocals and compelling songwriting shine throughout, as do the cover songs, thereby making this album a must-listen for fans and a timeless addition to Diamond's remarkable discography.

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Elton John – A Single Man (Album Review)

Elton John's 1978 studio album, A Single Man, is a fascinating pivot in the legendary artist's career for it would be his first without lyricist, Bernie Taupin and longtime producer, Gus Dudgeon. Don’t let that deter you, however, as John is a consummate musician and A Single Man is a stunning release, from his back catalogue, that is severely underrated. While it may not boast the same chart-topping hits as some of his previous albums, A Single Man is a testament to Elton John's musical versatility and ability to adapt to the evolving musical landscape of the late ‘70s.

As much as I appreciate the album artwork, I’ve yet to pick up a copy on vinyl. That said, from a mere sonic perspective, the Lossless Apple Music stream, derived from the 1998 remastered reissue, is flawless from start to finish. To say that it’s superb would be an apt assessment. Could it be better? Well, if John’s recent vinyl reissues are anything to go by then most certainly. Nevertheless, you’re unlikely to be disappointed with this digital counterpart. There’s plenty of headroom that allows for turning up the volume and the immersive and enveloping soundstage gives each instrumental element room to breathe while ensuring that you and I, dear reader, don’t miss a moment of John’s spectacular vocal delivery.

Shine On Through immediately sets the tone for the entire album with a simple, yet glorious composition. Whether it’s the piano, John’s vocals, or the musical and orchestral arrangements, Shine On Through is one of John’s greatest recordings.

Return To Paradise offers an interesting composition and while I thoroughly enjoy the opening, I don’t feel that the inclusion of Caribbean elements has ever really worked well for John’s style of music. Granted, Return To Paradise was never going to be anything more than an album-only tune, and I thoroughly enjoy it for that purpose, but I believe there’s a greater song to be heard if the musical arrangement was somewhat different. 

I Don't Care, with its bouncy rhythm and infectious chorus, will have you toe-tapping and head-bopping from the very first note. Containing a little rock and pop with a touch of disco, along with John’s signature piano and the gospel-style backing vocals, there’s something here for everyone to enjoy. 

Big Dipper is dripping with attitude and while it may start slowly, the New Orleans jazzy-blues sound, along with that addictive chorus, makes Big Dipper a standout on the album; even if it is one of John’s more experimental tunes. 

It Ain't Gonna Be Easy is a standout and is one of the best songs John has ever recorded. Additionally, the guitar work from Tim Renwick is simply incredible and blends seamlessly into the entire composition of the song. While the length of It Ain't Gonna Be Easy ensured it wouldn’t be heard over the airwaves, unless truncated to a radio edit, music lovers ultimately missed out on one of the very best songs of the 70s.

Part Time Love was one of the songs from A Single Man that received notoriety when released as a single. With its funky pop-infused rhythm and catchy melody, there’s little doubt as to why Part Time Love has endured as a fan favourite throughout the decades; an incredible tune!

Georgia is a beautiful stripped-down ballad with a captivating backing vocal harmony. It’s songs such as this that ensure A Single Man is an album experience first and foremost; a thoroughly enjoyable one at that. 

Shooting Star features a captivating melody and lyrical depth as John’s vocal is both soulful and moving. Yes, Shooting Star is another album-only tune, but when listened to in the linear album structure, the smoothness of Shooting Star makes perfect sense. 

Madness is a bluesy, rock-infused track that brings a gritty edge to the album. John’s vocal performance here is particularly strong, and the guitar work adds a nice texture. That said, I can’t help but feel that John’s vocal, in some places, is a little over-processed.

Reverie is a short musical interlude that serves as a palette cleanser before the album’s final track and pinnacle moments. 

Song for Guy is one of John’s greatest recordings and closes the album perfectly as it is both reflective and encourages the playing of the album again. As a mostly instrumental track, with only the very basic of lyrical elements, it’s fair to say that it’s amazing that it has become a fan favourite, but when a song is filled with so much emotion, it really shouldn’t be a surprise. 

While A Single Man may not have been as commercially successful as John’s other albums, particularly Goodbye Yellow Brick Road, that need not matter for sales success is generally a poor indication of quality and while the aforementioned classic release from John is an example of his most creative works, A Single Man is equal in that regard; it’s just that the music may or may not be to your subjective tastes. As for myself, I consider A Single Man to be not only exceptional but a must-own for all Elton John fans for it is criminally underrated and if given another chance, I’ve no doubt it will reach a broader audience. 

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