Slash - Self-Titled (Album Review)

Released in 2010, Slash is the legendary Guns N' Roses guitarist's long-awaited debut solo album. Featuring a star-studded lineup of guest vocalists and musicians, this self-titled album showcases Slash's exceptional guitar skills and his ability to craft a diverse collection of rock songs.

Slash is so synonymous with rock and roll that it would have been easy for him to release a run-of-the-mill Slash & Friends release. However, he didn’t disappoint on this record as he was active in writing and co-writing the entire album. Perhaps this is where other artists have come unstuck as they tend to simply re-record their classics, or record tunes that were never worthy of release, with their friends, resulting in a less-than-stellar release. The result is that Slash is an album experience first and foremost and is arguably his greatest musical achievement outside of Guns N’ Roses. 

Part of the album experience is the artwork and Slash’s self-titled album is magnificent in that regard. Although, I do still feel that the artwork for Slash’s Snakepit It’s Five O’Clock Somewhere is superior. Regardless, Slash’s output has often been adorned with incredible cover art; well, that is until recently as the last great cover art he was associated with was Apocalyptic Love. 

Of course, there’s more to the album experience than the visual element for it must sound compelling in order to garner the attention of music lovers. While this album has been mastered loud, it works well for the hard rock genre. Yes, I’d like a little more breathing room as the drums can sound a little concealed and rather than a shimmer in the cymbals, we’re often met with hideous crunching as the album has been recorded well into the redline. Nevertheless, it rocks and while you won’t necessarily want to turn the volume up to ear-bleeding levels, it can rock loud enough to drive your neighbours insane. That all said, a remaster would likely yield better results, or better yet another vinyl pressing, for the limitations of the analogue format permit a greater dynamic range in order to play correctly. Plus, who doesn’t want that killer artwork on a larger canvas? 

The lossless Apple Music stream, a direct counterpart to the CD release, is subsequently adequate and will appease most fans. The only difference is the stream includes the bonus track Paradise City (feat. Cypress Hill & Fergie); a great interpretation, certainly, but one that I feel isn’t worthy of inclusion here. As a result, I’m sharing a playlist of the album with this track omitted. 

Ghost (feat. Ian Astbury) kicks the album off with a haunting and bluesy number. Ian Astbury's gritty, yet smooth, vocals are the perfect accompaniment to the backing musical performance; a performance that is off-the-charts good.   

Crucify The Dead (feat. Ozzy Osbourne) transitions seamlessly from Ghost and quickly becomes a hard-hitting rock anthem that is a match made in heaven with Slash's riffing and Ozzy's iconic vocal delivery. It’s one of the best songs from the album, but more importantly, it’s one of the best performances in their careers, for both musicians created a masterpiece. 

Beautiful Dangerous (feat. Fergie) is one of the greatest, and most unexpected, rock and roll recordings of all time. Most of us know Fergie from the Black Eyed Peas and while her contribution to that band was extraordinary, and her subsequent solo career has been admirable, she takes her skills as a vocalist to another level on this song. Truth be told, Fergie should be fronting a rock and roll band full-time for she’s got the sultry vocal chops to pull it off.  

Back From Cali (feat. Myles Kennedy) is the first of two masterful Myles Kennedy additions to Slash. As you listen to this song, you’ll be left with little doubt as to why Slash and Kennedy have formed a long-term collaborative partnership for they complement each other perfectly on this melodic rock track. 

Promise (feat. Chris Cornell) is sensational! I’ve adored Cornell’s vocals ever since I first heard Soundgarden’s Superunknown and Promise only intensifies my admiration of the late, great frontman. It may be a little more melancholic than you’d otherwise expect, but Promise allowed both Cornell and Slash to display their musical prowess. 

By The Sword (feat. Andrew Stockdale) is a bluesy masterpiece with Stockdale's unique vocal delivery complementing Slash's commanding guitar work.

Gotten (feat. Adam Levine) adds a pop-rock flavour to the album with this acoustic-driven ballad and Levine’s smooth vocals. It may be a departure from the album’s heavier tunes, but don’t let that deter you as it’s simply stunning.

Doctor Alibi (feat. Lemmy Kilmeister) is hard and fast with an addictive rhythm; a fitting song for Kilmeister’s distinctive growl. 

Watch This Dave (feat. Dave Grohl & Duff McKagan) is the only instrumental track on the album and while Grohl and McKagan are legends, it’s lacklustre and nothing more than filler. Given Grohl’s history as frontman for the Foo Fighters, one would have thought that a killer rock and roll tune, with him on lead vocals and Duff on backing vocals, would have been the perfect combination. As it never happened, it can only be considered a missed opportunity.

I Hold On (feat. Kid Rock) brings a little southern rock to Slash but as much as I enjoy, almost everything, that Kid Rock releases, I Hold On could have been a heavier tune, one that I feel would have been more fitting to this collaboration. Nevertheless, I appreciate it for what it is and it’s a solid rock tune that’s perfect to toe-tap along to.

Nothing To Say (feat. M. Shadows) is characterised by aggressive riffs and powerful vocals. It’s a match made in heaven for it’s reminiscent of the style on Avenged Sevenfold’s Self-Titled 2007 release and is, therefore, perfectly suited to Shadows. 

Starlight (feat. Myles Kennedy) is incredible! Not only is it one of the best songs from the album, but you’d be hard-pressed to find a recording, from Kennedy’s entire career, that is better than Starlight, for this melodic and soulful ballad will leave a lasting impression. 

Saint Is A Sinner Too (feat. Rocco DeLuca) has a slower, more reflective quality that adds depth to the album. It’s a lovely song and a hidden gem that will only be known to those of us who listen to the entire album.

We're All Gonna Die (feat. Iggy Pop) is a song that only Iggy Pop could have sung; one filled with raw, high-energy rock. It’s the perfect way to close out the standard edition of Slash.

Slash is an incredible album that has and will continue to stand the test of time. While I’d love to see another multi-artist collaborative release from Slash, sometimes less is more and this is one instance whereby a singular release is all that is needed. From blues-based hard rock to ballads, Slash's iconic guitar playing remains front and centre with each of his guest vocalists bringing a unique element to each track, making it a must-listen for fans of classic and modern rock alike.

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Roxy Music – Avalon (Album Review)

Released in 1982, Avalon is a timeless classic that represents the culmination of Roxy Music's musical journey and is, arguably, their magnum opus. Unbeknown to fans at the time, it would also be their final record; an incredible album to close their illustrious career with. As you listen to Avalon you’ll notice how it effortlessly weaves together elements of art rock, pop, and a synth-driven new wave sound to create a sonic presentation that is nostalgic, when considered via a modern lens, but was ultimately forward-thinking when released in the early 80s. 

Naturally, by this stage, Roxy Music had already cemented their legacy, in the annals of music history, with albums such as Country Life, For Your Pleasure, and their self-titled Roxy Music. Shifting to a more mature and smoother presentation than their earlier releases, Roxy Music not only reinvented themselves but released an album that is nothing short of spectacular and easily accessible to all music lovers; an aspect which has been proven with the continued popularity of this classic album.   

Before even hearing the record, one would have been drawn to the album artwork which is simply stunning. Roxy Music is renowned for eye-catching cover art designs, but I consider Avalon to be their greatest. Not only would it have looked stunning on the larger vinyl canvas, the primary music format in 1982, but one can’t help but get lost in the atmosphere for it is very much a piece of album artwork that is both from this world and simultaneously otherworldly. In that way, it matches the music contained within.

Due to Avalon’s success, it has been reissued ad nauseam, which ultimately causes anxiety for fans of the album who wish to seek out the very best reproduction possible. While I’m not suggesting that you throw your arms in the air, in frustration, there are over 200 editions to take into account; a mammoth undertaking for any fan. No, dear reader, you don’t need to track down and listen to every copy, but the amount of research required to find out which edition best suits you is exhausting. It is with that in mind that I must admit the Lossless Apple Music stream sounds incredible. It’s derived from the readily available 1999 CD remastering and while some ardent fans will point to either the SACD edition from 2003 or the vinyl reissue from 2022, when a stream sounds this good it’s a tough sell. Let’s put it this way, when music is recorded, mixed, and mastered as well as Avalon has been, it's bound to sound fantastic, regardless of the delivery method or format. 

More Than This opens the album with a dreamy atmosphere that sets the tone for what is to come. Bryan Ferry’s emotive vocals, combined with the rhythm and shimmering synthesiser-driven soundstage arguably date the song, yet it still sounds fresh and is, subsequently, a timeless classic. It’s classic rock at its very best!

The Space Between flows perfectly from More Than This as the gap between the songs is enough that the style differences don't present as a jolt to the senses. The Space Between adds further musical intrigue to Avalon and while it is an album-only track, it’s one of the best songs Roxy Music ever recorded. Every musical aspect was carefully considered and Andy Mackay’s saxophone playing takes the song to another level entirely and is the real highlight here, that is until you factor in Ferry’s spectacular vocal.

Avalon is the album’s crown jewel and rightful title track for its sensuous and lush, perfectly blending beauty and sophistication. The backing vocals, performed by Fonzi Thornton and Yanick Etienne (in particular) are simply stunning and a key reason why Avalon continues to be enjoyed to this day. 

India is another song that flows seamlessly and to be honest, the entire album is so well-sequenced that as much as you may gravitate to the individual songs we all know and love, Avalon is an album experience first and foremost. No truer is that than when listening to India and appreciating how this beautiful musical interlude segues Avalon to While My Heart Is Still Beating.

While My Heart Is Still Beating is bold and dynamic. It’s a musical journey that is somewhat ethereal as Ferry’s vocals are sung in a manner whereby every lyric is not necessarily well defined, but is present in the mix if you take the time to not only check out the lyrics but listen intently. Songs such as this are a core reason why I consider the human vocal as another instrument in the mix, rather than a storytelling device, for Ferry creates an audible atmosphere that is utterly captivating. 

The Main Thing has an undeniable 80s pop style with its danceable groove and shimmering synths. In many respects, it’s a shame that The Main Thing was never released as a single for the hook draws you in and is, subsequently, not only a highlight of the album but would have been perfect for radio broadcasting during the era in which the album was released. 

Take A Chance With Me is a slow burn. The musical introduction is incredible and you’ll likely hear different elements upon each subsequent listen. Hence, Take A Chance With Me only improves the more you listen to the album. That said, it could also be proposed that the introduction to this song is too long, and unnecessary, as it pertains to the song itself, but given the album feels as if it’s a singular musical experience, I wouldn’t want to change a thing. 

To Turn You On has a pulsating bassline that accompanies this rhythmically engaging song. If there is a low point to be heard on Avalon, however, this is it. Yet, in saying that, To Turn You On does suit the overall style of the album even if it sounds somewhat foreign.  

True To Life is a hidden gem in every sense of the word. The upbeat tempo is addictively good and every musical aspect was carefully considered and perfectly positioned in the mix. Nothing short of a masterpiece would be the perfect way to describe this tune and while I could highlight every band member’s contribution, for they’re all excellent, it would be best if you just listened for yourself for Roxy Music doesn’t get much better than this.

Tara closes the album with a beautifully reflective instrumental piece that maintains the album’s overall aura. The result is that Tara compels me to listen to the album again, for Avalon is one album that I can never listen to just once.  

Subsequently, it doesn’t matter how many times I’ve listened to Avalon, throughout the years, for it continues to impress as a masterful piece of art-rock that isn’t limited by the era it was conceived in. Yet, at the same time, nostalgia plays a role in the modern appreciation of this creative endeavour. Each track on Avalon contributes to its overall excellence, and it remains a must-listen for anyone appreciative of the artistry and allure of Roxy Music and the early 80s rock vibe. 

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Tavares – New Directions (Album Review)

Released in 1982, New Directions is the eleventh studio album by the American R&B and funk band Tavares. While their legacy, by this stage, was well-cemented into the annals of music history, New Directions sees the band shift musical direction slightly as they transitioned from the core disco and soul sounds that characterised their earlier works, to a more contemporary and versatile style that lent more on the musical elements of funk, pop, and vocal ballads. 

While the cover art of New Directions was, and still is, unappealing, the sonic quality of the lossless Apple Music stream is thoroughly enjoyable. In fact, New Directions wouldn’t even be available on CD until 2010 when Big Break Records, under license from Sony Music Entertainment UK, released a remaster of this album. Since that time, the only other edition to be reissued was a CD release, for the Japanese market in 2016. Naturally, those of you who only care about the music will ponder my direction here, but when you consider that the Compact Disc was first released in 1982, it’s incredible to think that a new release album was not considered for release on the new emerging format. Granted, widespread acceptance of the CD format took a few years, but one can only speculate as to the sales success of New Directions had it been released on the now humble Compact Disc. 

While the aforementioned editions are now unfortunately out of print, we live in a wonderful era whereby for a small monthly fee we can have access to the same remaster and thereby be able to appreciate an album that otherwise would have been lost to history for many of us. Plus, if you’re still into buying digital downloads of the music you love, New Directions is available on both the iTunes Store and Qobuz. That said, all available editions include bonus tracks and longtime readers will note my distain regarding bonus material being tacked onto the end of an album. Subsequently, I have chosen to share with you a playlist that resembles the album’s original sequencing. However, if you want to listen to the bonus material, you can stream the complete bonus track version by clicking here. 

A Penny For Your Thoughts opens the album with a smooth soul-based tune that is simply stunning. The song’s lyrics are delivered as impeccably as ever for the smoothness melds perfectly with the harmony to produce an engaging laid-back tune that is the ideal opener.

I Hope You'll Be Very Unhappy Without Me maintains the sonic smoothness while adding a touch of funk and pop styling. Its groovy beat and playful lyrics are compelling, ensuring that while this song was only ever going to be an album-only tune, it fits the overall flow and sequencing of the album perfectly. 

Mystery Lady has a seductive quality that is musically engaging. It’s a simply beautiful song and while it isn’t the type of song that is most commonly associated with the Tavares, I do wish they had recorded more ballad-driven tunes for their smooth and sensual vocals are perfectly suited to that type of music. 

Abra-Ca-Dabra Love You Too exudes a playful and lighthearted vibe that is cringeworthy but pure fun. Yes, as you listen to Abra-Ca-Dabra Love You Too, especially with regard to the chorus, you’ll wonder why anyone would want to record this song for it’s corny and cliché, yet, it puts a smile on my face every time it comes on. 

Got To Find My Way Back To You picks up the tempo, adds an ample amount of funk with a touch of disco, and encourages you to get on your feet and dance around the room. Even if you’re sitting down, you’ll note that your body immediately connects with the rhythm as you’ll find yourself toe-tapping and head-bopping along, without intending to do so; a sign of music that’s good for the soul! 

Maybe We'll Fall In Love Again pops from the very first moments of the song. While it suits the overall style of the album, Maybe We'll Fall In Love Again is one of those songs that I doubt anyone will seek out on its own, for it’s the very definition of a filler tune. Still, New Directions wouldn’t be the same without this song. 

The Skin You're In is a masterpiece. That groove is sensational and the funky bass-driven rhythm is nothing short of addictive. Additionally, the vocal delivery is spot on and it makes me wonder why it was never released as a single for it’s one of the best songs the Tavares recorded throughout their entire career; yes, it’s that good!

Wanna Be Close To You closes the album perfectly with an 80s energy that’s nostalgic for many of us who either lived through the era or appreciate the 80s zeitgeist. Wanna Be Close To You is, ultimately, strong enough that it encourages me to spin the album again.

New Directions is a diverse and engaging album that showcases the Tavares' ability to adapt to different musical styles while maintaining their signature harmonies and soulful vocal performances. The album offers a mix of upbeat and mellow tracks, making it a well-rounded listening experience for fans of R&B and soul music and is one of the best albums released in 1982; despite its lacklustre chart success. New Directions is a perfect example of incredible music that was overlooked during its time. 

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Billy Joel – The Stranger (Album Review)

Billy Joel's 1977 studio album, The Stranger, is a true masterpiece of the singer-songwriter genre, showcasing Joel’s exceptional talent as both a lyricist and a musician. This iconic album is not only a significant milestone in Joel's career but is a timeless classic in the history of popular music and one of the best albums released in the 70s.

The Stranger is so impressive that it could be seen as Joel’s magnum opus; although, there are so many of his albums that could fall into that category that to categorically make that statement, without further reflection, would be obtuse. Nevertheless, as you listen to The Stranger, Joel’s fifth studio album with nine distinctive tracks, you’ll experience a multifaceted journey through a wide range of emotions and storytelling. It’s, subsequently, a difficult album to fault for every track is worthy of inclusion and the combination contributes to the album's overall brilliance. 

Also impressive is the sonic reproduction of the Hi-Res Lossless Apple Music stream; an Apple Digital Master. While there are countless releases of The Stranger, the Apple Music stream does offer a reproduction that I consider to be perfect. Having listened to these songs for decades, I can attest that while there may be a better mastering to be heard, the Apple Music stream is so good that I see no reason to explore over 200 editions to find the one that best suits my subjective tastes. It is one of those moments when I’m reminded that the greatest enjoyment in the appreciation of listening to music is the music itself. Hence, if this version excites you as much as it does me, then that is all we will ever really need. 

Movin' Out (Anthony's Song) launches the album with a bang, but it’s also a jolt if you’re not expecting the sudden introduction. Nevertheless, Movin' Out (Anthony's Song) is a catchy tune that is perfectly suited to Joel’s overall style and is a fantastic way to open The Stranger. 

The Stranger has an opening that would suggest it's a softer tune, but as enchanting as that introduction is, The Stranger melds into an incredible pop-rock number that is not only a standout but is also the perfect title track. Additionally, while some may dislike the shifting styles, I adore the reprise towards the end of the song for it is the perfect bookmark to an incredible tune. 

Just The Way You Are is a smooth ballad that has become a timeless classic. Yes, it is a little dated but the patina of another time is part of its appeal for as it continues to age, it becomes even more impressive.

Scenes From An Italian Restaurant is an epic tune and is one of Joel’s greatest hits. It really is a masterpiece and while I acknowledge that term is overused, I can’t think of a better way to describe this wondrous piece of music.

Vienna is a beautiful song that highlights Joel’s vocal and piano performance. If only all B-sides could be this impressive as it's one of Joel’s many hidden gems.

Only The Good Die Young picks up the tempo with an energetic rock ’n’ roll vibe. While one of the more popular tunes from The Stranger, it is far from Joel’s strongest song. Yes, I do enjoy it when playing this album, but I also don’t seek it out on its own. It isn’t the controversial aspect concerning the lyrical interpretation, for I rarely pay attention to lyrical meaning and depth, instead choosing to enjoy the human vocal as another instrument in the mix. It’s just that I consider it to be an album-only tune; a thoroughly enjoyable one, but not one worthy of its reputation. 

She's Always A Woman is the greatest song Joel has ever written and recorded. I could listen to this tune on repeat indefinitely for it is, arguably, the most tender and delicate love song in all of recorded music history. Music, truly, doesn’t get any better than this. 

Get It Right The First Time was always going to be overshadowed by She's Always A Woman and while I would have preferred a different sequencing, whereby this tune appeared before She’s Always A Woman, Get It Right The First Time is a solid album-only song that further enhances The Stranger and ensures that it’s my favourite album from 1977. 

Everybody Has A Dream is a beautiful gospel-inspired closer that leaves a lasting impression and further showcases Joel’s songwriting and musical abilities. While Everybody Has A Dream is largely lost to those who haven’t listened to the album in its entirety, it’s their loss because it not only encourages me to spin the album again but it allows me to sit and contemplate the music I’ve just heard; an aspect that all music lovers should be able to experience every time they play music. It’s even more paramount as Joel’s masterful whistling, from The Stranger, is once again reprised and closes the album out perfectly. 

The Stranger is an album that presents a wide range of musical styles and lyrical themes, showcasing Joel's versatility. Its diversity is a probable factor in The Stranger being an enduring classic that has not only stood the test of time but will remain relevant to music lovers for as long as humanity continues to exist. The Stranger is, subsequently, a must-listen for anyone interested in the singer-songwriter genre or the history of rock and pop music, for they really don’t make music like this anymore.

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Janine Jansen – Vivaldi: The Four Seasons (Album Review)

Janine Jansen's 2005 release, Vivaldi: The Four Seasons, is a testament to her virtuosity and artistry. Yes, Antonio Vivaldi's music is stunning, but Jansen's interpretation is exquisite, showcasing Jansen's remarkable talent and depth of musical expression. While a complete orchestra may not have been employed to record this masterpiece, the ensemble beautifully enhances the piece and Jansen's incomparable performance. If nothing else, Jansen makes that near 300-year-old violin, a 1727 Stradivari Barrere, sing.

Of course, such musical wonder is only possible, outside of live performances, when the recording, mix, and mastering of a recording are done with the utmost respect for the music. In this instance, it is a Decca classic; pun intended! While I’ve been fortunate to have owned the Blu-ray High Fidelity Pure Audio (HFPA) release and the standard CD edition, I can say without question that regardless of the version you choose to obtain, you’ll have an out-of-this-world experience; it is that good!

Additionally, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is the pinnacle of perfection as it pertains to digital streamed delivery methods. Flawless would be an understatement, but that perspective could be applied to the entire recording and every available edition. Similar to the original 2004 SACD release which offered a 5.1 surround mix, a Dolby Atmos version has been released on Apple Music and while it’s lovely, the stereo mix of this release is second-to-none and, arguably, doesn’t require a surround sound experience to sound its best. My advice, therefore, would be that if you enjoy surround mixes, and have the equipment to get the most out of them, then give it a shot; otherwise, you’d be best advised to stick to the stereo mix for it is an experience that has to be heard to be believed. 

From the very first notes of "Spring," the opening concerto of the collection, it's evident that this recording is something special. Jansen's violin playing is exquisite, with a tone that's both rich and lyrical, making every note shimmer with life. Her technique is impeccable, and her interpretation is both evocative and true to the spirit of Vivaldi.

What truly sets Jansen's performance apart, however, is her ability to breathe new life into this beloved piece. In "Summer," for example, her fiery rendition captures the season perfectly with a sense of urgency and intensity that is truly captivating.

"Autumn" and "Winter" follow, each maintaining the high standard set by the previous concertos with the contrasting vigour of the final movement further displaying her remarkable versatility and skill.

Of course, the accompanying ensemble, consisting of seven incredibly talented musicians, deserves high praise as well. Their synergy with Jansen is evident, creating a seamless and harmonious performance throughout the recording. Together, they've managed to capture the essence of Vivaldi's compositions with a minimalist approach; it’s truly remarkable.

As the album comes to a close, you’ll be left speechless when reflecting on this release for Jansen's interpretation breathes new life into these well-known Vivaldi compositions, making them feel fresh and relevant once more. It is, subsequently, a must-listen for anyone, whether a classical music enthusiast or newcomer and is a true testament to the enduring power of timeless music. Janine Jansen's interpretation is nothing short of exceptional, and this album will undoubtedly continue to be cherished by classical music lovers for years to come.

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Fleetwood Mac – Rumours (Album Review)

Some albums stand as towering achievements, timeless in their appeal and enduring in their impact. Fleetwood Mac's 1977 release, Rumours, is undoubtedly one of those albums. It's an iconic record that transcends the boundaries of time, genre, and taste, weaving a tale of love, heartbreak, and resilience that resonates with listeners across generations. This incredible release showcases the collective genius of Fleetwood Mac, a band that has left an indelible mark on the music industry while continuing to captivate audiences with their irresistible blend of rock, pop, and folk influences.

Of course, Fleetwood Mac has undergone several facets throughout their illustrious career. Some may be surprised to know that Rumours is, in fact, their twelfth studio release. Yet, talk to anyone about Fleetwood Mac and all you’ll likely hear is a discussion relating to how incredible Rumours is. While it is, and I acknowledge that it’s my favourite Fleetwood Mac album, I also appreciate that it wasn’t Peter Green’s Fleetwood Mac by this stage. Fleetwood Mac’s lineup would also change, throughout the following decades, so as much as the band is synonymous with Rumours, it is but one studio album from a diverse selection of 18 album releases. None of this should be seen as casting judgement on any of Fleetwood Mac's lineups, but you may find something subjectively wondrous should you take the time to listen to their entire discography. 

As has already been established, Rumours is one of the greatest albums ever recorded, but it has been remastered too many times. When albums achieve the level of success that Rumours has, it’s not uncommon for the music industry to reissue and remaster the release ad nauseam, for it isn’t good enough to let the original masterpiece sit untouched. It can be a blessing or a curse, depending on your perspective, but one thing is certain, there are too many editions of Rumours. Seriously, Discogs, at the time of this publication, has some 694 different versions. Which one does one get? It’s a simple question, with a complicated answer that is so highly subjective that you’ll come across varying perspectives should you delve into further research online. 

The truth is, I’ve heard multiple versions of this landmark release, over the years, that range from terrible to mind-blowing. Due to a series of circumstances, that I won’t bore you with, I’m currently without a physical release of this masterpiece and it pains me to say that the lossless Apple Music streamed edition just isn’t up to the highest standards. Frustratingly, Rumours was available as an Apple Digital Master, derived from the 2001 remastering, and while memory is fallible, as it pertains to sonic recollection, I do seem to recall it sounded fantastic. Perhaps not as good as other audiophile-based releases, but lovely nonetheless. 

Disappointingly, it has been removed from Apple Music and while the version that remains is adequate, it isn’t quite as spectacular as one would hope. There is, of course, no point in complaining about this, but it is a real-world example of the risks associated with relying on a streaming service for one’s music collection. That said, if you’re still interested, as I am, in the Apple Digital Master, you can still purchase the 2001 remaster on iTunes. If you still prefer streaming and no longer wish to own the music you love, the 2001 remaster is still streaming on Qobuz; but for how much longer, nobody knows. Although, it appears that the removal of the 2001 remaster, from Apple Music, was more about adding the Dolby Atmos mix, which is based on the 2004 remaster (a non-Apple Digital Master). 

At this stage, I’d just love for a singular version to exist that is the definitive release; one that matches the original artistic intent. We won’t get it, of course, as that is not how the music industry is run, but fans shouldn’t have to tolerate average-quality releases, nor should they have to spend their time, energy, and money, trying to figure out which of the over 600 editions would yield the greatest level of enjoyment. 

Second Hand News isn’t the greatest song on the album, nor is it amongst Fleetwood Mac’s greatest recordings, yet something is compelling about Second Hand News, that I can’t quite put my finger on. Despite that, Rumours wouldn’t be the same album without it.

Dreams has an incredible introduction and likely would have been a stronger opener for the album. That aside, Stevie Nick’s haunting vocal is beyond reproach and perfectly suited to the style of the song, thereby ensuring her harmonious vocal intertwines well with the backing vocals. Dreams, also, is amongst my favourite songs from a drum perspective. Mick Fleetwood is a master musician and while his precision timing here may be akin to a click track for many, his delivery is the definition of perfection from my perspective. John McVie’s bass tracking is similarly masterful and, in many ways, Dreams is the enduring classic we all know and love because of the collaborative efforts of all band members. 

Never Going Back Again is an acoustic gem with Lindsey Buckingham not only providing an incredible vocal performance, but his fingerpicking is taut and amongst some of the greatest guitar work I’ve ever had the pleasure of hearing.

Don’t Stop is a piece of sensational writing from Christine McVie. I’ve never been convinced, however, with Buckingham’s vocal on this tune. It’s not that it’s bad, and his guitar work is sensational, it’s just that the mix isn’t particularly solid. Buckingham’s vocal, subsequently, sounds as if he’s recording his vocals from another building, aside from the studio the song was recorded in. That said, Don’t Stop is a solid pop-rock tune.

Go Your Own Way needs no introduction, for you’ve been living under a rock if you’ve never heard this song. It’s sensational, one of Lindsay Buckingham’s best, and is a perfect tune to accompany life’s ups and downs. 

Songbird is a tender ballad that showcases Christine McVie's extraordinary vocal talents. It's a moment of vulnerability on an otherwise emotionally charged album; a true masterpiece in every sense of the word.

The Chain is a killer tune that mixes rock and pop elements with a touch of country and is somewhat reminiscent of the sound the Eagles’ achieved on Desperado. However, The Chain is more than that correlation for its unmistakable bassline, harmonies, and anthemic chorus have made it a rock staple; one of the greatest ever recorded. 

You Make Loving Fun is a great toe-tapping head-bopper and one that you should most certainly play as loud as you can. Rhythmically magical with a gorgeous vocal, and a killer guitar solo, You Make Loving Fun is one of the best songs off Rumours and another by McVie; arguably Fleetwood Mac’s greatest songwriter and songstress.

I Don’t Want To Know is a short but sweet burst of energy. Its brisk tempo and catchy hooks ensure it’s perfectly suited to Rumours despite being an album-only tune.  

Oh Daddy is Fleetwood Mac 101. There is no other song that I identify more with the band than this one. It's career-defining and as much as I praise Christine McVie’s vocal contributions, Stevie Nicks’ vocal style was the correct choice for this classic track.

Gold Dust Woman is a haunting closing tune with Nicks’ ethereal vocal that leaves a lasting impression while simultaneously encouraging you to spin the album again.

Even Fleetwood Mac, themselves, could never replicate the success of Rumours and it’s highly unlikely that humanity, certainly in our lifetimes, will ever see such an era-defining album again. That isn’t to suggest it can’t be done, but Rumours was akin to lightning in a bottle and is not only one of the greatest albums ever recorded, but one that is a highlight of the 70s and will continue to stand the test of time as it is more than just an album; it’s a cultural remnant.  

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ABBA – ABBA: The Album (Album Review)

Released in 1977, ABBA’s fifth studio album, The Album, stands as one of the Swedish pop group’s most iconic and enduring records. Filled with infectious melodies, harmonious vocals, and a blend of disco and pop influences, The Album was destined for classic status due, primarily to its masterful collection of songs, but also its production qualities.  

The Album was, ultimately, perfectly positioned between Arrival and Voulez-Vous as ABBA was riding a wave of international success, thanks to a string of chart-topping hits including Dancing Queen, Fernando, and Mamma Mia. The Album while still whimsical in places, showcased a further musical evolution with a more mature and diverse sound that incorporated elements beyond the confines of the traditional pop style ABBA was known for. Songs like Eagle introduced a cinematic and symphonic quality to their repertoire, while tracks like Take A Chance On Me and The Name Of The Game continued to embrace the disco trend that was sweeping the globe. This versatility not only allowed ABBA to appeal to a broad audience, transcending genre boundaries and resonating with fans of all ages, but is also the very reason why their music is enduring.

Speaking of being timeless, the production qualities for The Album ensured that the record not only sounded modern for the time, but in a miracle that I can’t fully explain, certainly not well, The Album doesn’t appear to have aged at all. Similarly, the cover art, designed by Rune Söderqvist, is exquisite, timeless, and is amongst the very best of ABBA’s career. The entire production is so high that this album really could have been released in the modern era and no one would be the wiser. That said, the various masterings of The Album have left some, myself included, perturbed. Thankfully, I feel that I’ve now got two versions of the album that I can appreciate. The 2020 vinyl reissue, from The Studio Albums boxset, is enjoyable, but I much prefer the sonic qualities of the Apple Digital Master, streamed from Apple Music. 

Blasphemy, I hear vinyl fans saying, but there’s a key difference between the two editions; beyond the fact that one is digital while the other is analogue (albeit digitally remastered and then pressed to vinyl). The vinyl counterpart, by comparison, simply has too much bass that results in a muddier low end. Seriously, I never thought I’d be complaining about too much bass when it came to ABBA’s music as that is normally a shortfall of prior masters, but it is off-putting enough to note. The Apple Music stream, however, is cleaner with just the right amount of bass. It simply sounds right, clear and crisp (without being fatiguing). As much as it pains me to admit it, given the price I paid for the box set, the stream is my go-to edition for this classic album.

Eagle is majestic! Featuring soaring vocal harmonies and a lush orchestral arrangement, Eagle is a song that will capture your soul from the very first note to the last. While it may not have set the charts on fire when released as a single, it’s one of their greatest recordings and in many ways could be considered their magnum opus.

Take A Chance On Me is an irresistible pop gem. The catchy chorus and dynamic vocal interchange between Agnetha and Frida ensure that it has remained a standout in ABBA’s exceptional catalogue of music.

One Man, One Woman is a beautiful melancholic ballad that is sure to pull at the heartstrings. Frida’s lead vocals are superb, as is the unique musical accompaniment. However, One Man, One Woman is a song that, depending on the mastering of the album you’re currently listening to, can be a little too shrill to the senses. Nevertheless, the aforementioned vinyl release and the Apple Digital Master don’t suffer from this aspect in the same way that the 2001 remasters do. 

The Name Of The Game blends pop and disco elements seamlessly creating a unique structure. Moving from a slow introspective beginning to a catchy, more upbeat chorus, The Name Of The Game will keep you engaged throughout as it ebbs and flows.

Move On is underrated, but most likely because it plays akin to a tune that would have ideally been suited to ABBA’s earlier career releases. Even with that in mind, Move On showcases ABBA’s continuous evolution to compose incredible music and is a lovely addition to ABBA: The Album. 

Hole In Your Soul is a spirited energy-packed tune with a rock-inspired sonic presentation. With an infectious rhythm, and incredible lyrical harmonies, Hole In Your Soul will grab your attention and not let go until the very end. That said, the vocal pitch can be a little high and nagging on the senses. It’s particularly noticeable on certain remasters, as previously mentioned, but is restrained via the Apple Music stream. 

Thank You For The Music has become an anthem for music lovers worldwide; despite being one of the corniest songs ever recorded in all of music history. The truth is, we all love it and we know we do. So let’s not hide our appreciation for this song; let’s sing out loud Thank You For The Music!

I Wonder (Departure) is a beautiful tune and is one of ABBA’s most coveted hidden gems. Simply stunning!

I'm A Marionette shifts the album’s musical style, but it seamlessly flows from I Wonder (Departure). With a more upbeat presentation, I'm A Marionette is a thrilling theatrical tune that further showcases ABBA’s willingness to experiment with different styles, thereby ensuring that their catalogue of music not only evolved throughout the years but remained fresh and relevant to music lovers across various eras. 

From start to finish, ABBA’s The Album is a masterful collection of tunes that demonstrate the group's ability to craft diverse yet cohesive music. From the soaring heights of Eagle to the introspective moments of One Man, One Woman and the infectious pop sensibilities of Take a Chance on Me, every song on this album showcases ABBA's talent and enduring appeal. It's no wonder that The Album remains a cherished classic in the world of pop music, captivating generations of fans with its timeless melodies and heartfelt lyrics.

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