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A-Ha – Hunting High And Low (Album Review)

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A-Ha – Hunting High And Low (Album Review)

Few debut albums reach the commercial success a-ha had with Hunting High And Low, yet I dismissed it as just another campy 80s synth-pop release that wasn’t worth exploring. Well, dear reader, I was wrong, but you have to promise not to tell my better half as she has always enjoyed a-ha and whenever she spoke about them my sarcastic response was a-ha, yeah, a-ha! Don’t worry, I did the same with Wham!, yet I absolutely adore their music today. Many who know me well know that I can be fickle, but I also feel that we should never be entirely closed off to experiencing new music, outside of our comfort zones, for one never knows just where that experience can lead. In this case, it has led to a true appreciation of a band that I had previously ignored. 

Thanks, in part, to streaming, one can now explore a world of music beyond their own tastes and Apple Music’s 2015 Remastered Version, also Mastered for iTunes, is sonically pleasing without a single digital artefact to worry about. Remastering often gets a bad wrap, even here on Subjective Sounds, and while I can’t comment on how the album originally sounded, this Apple Music stream sounds just right. While I’m keenly interested in picking up Hunting High And Low on vinyl, along with their career perspective, Headlines And Deadlines: The Hits Of A-Ha, I’d be perfectly satisfied with this digital stream. It’s really that good!

Take On Me may be a-ha’s most successful song, but it is also the campiest and the one which probably kept me at arm’s length for so many years. It isn’t bad, but I do feel that it has been excessively played and that can, unfortunately, create boredom and disdain for an otherwise solid song. All one needs to do is look at how loathed Celine Dion’s My Heart Will Go On and Aerosmith’s I Don’t Want To Miss A Thing are to know that overplaying of a song can ruin it. 

Train Of Thought has a great rhythm and reminds me in places of Elton John and Grace Jones. Subsequently, I love it!  

Hunting High And Low is absolutely stunning. While stylistically different from the first two tracks, Hunting High And Low sounds familiar while taking a-ha in a completely different direction musically, showing just how talented these musicians are. 

The Blue Sky returns the album to a more synth-pop styling and while solid, I’d class it as a B-side. It has a sound that is very alternative and one which I feel takes a few listens to fully appreciate. Still, it isn’t the strongest song on the album, but there is a solid tune hidden here, if only the tempo was shifted a little and the lyrical delivery was more in-line with the musicality.  

Living A Boy’s Adventure Tale is great! You’ll want to turn the volume up when listening to this. The soundstage is incredible and that initial gradual build is extremely compelling. 

The Sun Always Shines On T.V. is one of my favourite songs on the album. Yes, it is borderline campy, just as Take On Me is, but it has been played to a less excessive degree. Plus, it rocks! Turn that volume up and you’ll be amazed at just how enjoyable The Sun Always Shines On T.V. is. It’s a stadium filler if there ever was one. 

And You Tell Me isn’t a bad ballad-styled track, but I’m unsure how I really feel about it. In one way I thoroughly enjoy it, but in another I question myself as to why. I also feel it is a little too short. Nevertheless, Hunting High And Low wouldn’t be the same without it. 

Love Is Reason is a classic B-side. It isn’t bad, but that repetitive chorus does become tiresome. Great musicality, however. 

I Dream Myself Alive is a solid tune. Nothing to write home about, but worthy of inclusion.

Here I Stand And Face The Rain has a very unique opening with the vocal delivery. I do thoroughly enjoy the acoustic styling, however, when the synth elements enter the mix, they do so in a manner that is complementary, thereby ensuring fluidity. Without a doubt, Here I Stand And Face The Rain compels me to listen to Hunting High And Low again and stay within a-ha’s catalogue of music; exactly what a closing song should compel the listener to do.

Overall, Hunting High And Low is an incredible debut and an album that represents some of the very best music in both the synth-pop and new wave eras. Yes, it retains an 80s feel, but that isn’t necessarily a bad thing and to be completely honest, the album hasn’t aged nearly as badly as one would have thought. 

Hunting High And Low is available to own on Vinyl, CD, and iTunes (Mastered for iTunes).   

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Icehouse – In Concert (Live Album Review)

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Icehouse – In Concert (Live Album Review)

Have you ever purchased an album by an artist you love, yet disliked it upon the first play? Well, I have, and this release was one that I just couldn’t get into. It didn’t matter that I had both the vinyl and CD editions, as well as an autographed placard of the album cover. I just didn’t connect with the live performance as I had hoped I would. Subsequently, both releases remained unplayed in my collection since their release in 2015. That, of course, changed when my son asked if he could have the CD edition for his own collection.

As I thought more about my son’s request, I found myself at an interesting crossroads regarding my love of collecting the music that brings me joy. Not only have I acknowledged that I’ll never be able to own all the albums I desire in my own personal collection, but I also acknowledge that it is somewhat foolish to have multiple copies of the same album as I find little joy in trying to decide which edition of an album I should listen to. It is the old Vinyl vs CD argument and rather than enjoying the music I find myself focusing on the formats; a rather tedious and often soul-destroying process that yields no enjoyment. A great example of this predicament is Dire Straits’ Brothers In Arms of which I have two copies; one vinyl, the other the 20th Anniversary SACD release featuring not only the standard CD edition but the HDCD, SACD stereo mix, and SACD 5.1 surround sound mix on a single disc. The vinyl edition is the incredible Mobile Fidelity Sound Lab release. Yes, all this jargon will likely drive non-audiophiles to the hills, with those remaining wanting to declare me insane; quite frankly I couldn’t blame them. It is insane and given I can only listen to one album at a time, I think it is time to cull down my collection and select the edition that brings me the most pleasure. After all, there is no point in listening to one version of the album only to wonder how a song would sound on another format. 

Of course, the big winner in all of this is my son. He was always going to inherit an incredible music collection, but I can start giving him some of my duplicates, knowing that he will enjoy them. Also, selfishly on my part, I get to see the excitement in his eyes and truth-be-told that is the greatest gift of all. Although, I didn’t quite say that when he woke up the entire household singing along to Electric Blue from the In Concert album, I had given him the night before. Still, I had a grin from ear to ear because I’m sure I did exactly the same thing when I first heard Electric Blue so many years ago. 

As I no longer have the CD release, my son will have to write that review, this review will be based solely on the vinyl release that is nothing short of spectacular now that I am no longer comparing it to the digital counterpart. 

Spread across three records and six sides, the entire near two-hour performance is presented on the most beautiful black vinyl you’ve ever seen. The label itself is gorgeous and while some may think of it a simple, I appreciate how it connects back to the ultra-successful Man Of Colours era; a theme that remains consistent throughout the artwork.  

Photographs and typography are simply gorgeous and the message from Icehouse front man and founder, Iva Davies, is a welcome addition. His acknowledgement of the work bassist Steve Bull put into making this release a reality is one of those rare moments in the music industry where credit is given where credit is due. Similarly, Davies also informs us through the liner notes that while this live album is not from a singular show, it matches the setlists that were performed throughout late 2014 and the subsequent best versions of each song were selected with no overdubbing or re-recording. The result is exceptional and it’s utterly flawless as the songs flow so smoothly you’d swear they were recorded on a single night in the same concert hall. 

Perhaps the only element that is a little disappointing for the vinyl release is the rice paper record sleeves as they have a tendency to scuff records and deposit additional pop and click inducing fibres into the grooves. Thankfully, my Pro-ject anti-static record cleaning brush solves that problem as does replacing the sleeves with anti-static inner sleeves; admittedly an additional cost, but one that I thoroughly recommend to all vinyl music lovers.  

The noise floor of the records, however, is incredibly low. You’ll be hard pressed to hear any surface noise, even when pumping the volume to ear-bleeding concert levels. The records have also been cut with audible quality in mind as there is no chance of inner grove distortion as each record ends before the dreaded inner grooves can become an issue. Yes, you’ve got to get up and turn the record over more frequently, but it is worth it for the additional sonic benefits. Plus, who doesn’t like a 3LP set? You really feel like you own something with a package that large and it reminds me fondly of my six-sided Wings Over America; another truly exceptional concert that I have on both CD and vinyl and will have to decide which edition truly brings me joy, gifting the other to my son. 

Anyway, without further ado, let’s take a look at the songs that make up Icehouse’s In Concert

SIDE ONE

Walls was an interesting choice to open the live performance. I’m unsure if I agree with the helicopter introduction. Yes, it works well, but how does it apply itself to the music? Given many of Icehouse’s recent live performances have been in theatres, I’m struggling to see the relevance. Nevertheless, Walls is an excellent song that has always been a favourite of mine since first being released on Icehouse and this live performance maintains the energy of the original, ensuring the listener knows exactly what to expect from the entire live album.

Mr Big has a sensational rhythm, but that chorus-driven drum element is a little too shallow for my liking. It isn’t bad, it’s just different to the way the original studio release sounds and my preferred live performance of this song can be found on Live From The Ritz, available on the 25th Anniversary CD+DVD release of Man Of Colours.

Love In Motion is sensational and while the Chrissy Amphlett duet was off-the-charts good; sadly Amphlett is no longer with us, but her legacy with the Divinyls lives on as does her spirit, captured on the 1992 re-recording of Love In Motion for the compilation album Masterfile. While Masterfile is long out-of-print, you can find this exceptional version of Love In Motion on White Heat: 30 Hits.Yes, Love In Motion was written and recorded well before the Amphlett/Icehouse collaboration, but she really added something special to the song and while I don’t think there was a ever a live performance of the song with Amphlett, she is remembered fondly when listening to this live rendition.

Crazy has one of my all-time favourite guitar hooks. So good! The live performance is perfect as it is reminiscent of the original studio recording, while being unique in its own right.    

SIDE TWO

Hey, Little Girl is a song that I have a love/hate relationship with. That’s a subjective viewpoint and not indicative of the song itself, but sometimes I feel this song is simply too campy and other times I thoroughly enjoy it. The live performance is excellent, minus the spoken word elements before the start of the song. However, if you really like this song, you’ll definitely want to track down a copy of the Hey Little Girl (’97 Remixes) as the remixes are seriously good on that long out-of-print maxi single. It also has one of the most unique CD designs I’ve ever seen as the CD is partially clear. 

Electric Blue is iconic; such an 80s song! It’s one of my favourites and you may remember earlier that my son woke up the household singing Electric Blue as it is also one of his favourites. Electric Blue makes you want to sing and while my son still gets some of the lyrics wrong, he’s giving it his all, not worried about how he sounds and how much taunting his sister dishes out to him. It would be a proud moment for this music-loving father if he did something music related when he grows up. If not as a career, certainly as a hobby. I’m thinking about an Icehouse cover band, what do you think, dear reader? 

Baby, You’re So Strange is a fun song and I love the live rendition on In Concert as it really takes the song to another level of moody and brooding musicality. 

SIDE THREE

Heartbreak Kid is lovely. Davies decision to talk about the history of the song, prior to commencing the performance, is invaluable as it’s fascinating to hear about the origins of the tune and see just how smoothly Davies transitions from a Bob Dylan impersonator to Iva Davies. Exceptional!

Dusty Pages has always been a favourite song of mine. It’s the best song off Sidewalk with the exception of Don’t Believe Anymore. This acoustic-based rendition is absolutely lovely and complements the original perfectly.  

Street Café had a great music video when first released in 1982. No, it wasn’t quite as epic as Great Southern Land, but this live interpretation is. It’s magnificent and a pleasure to listen to, as are all the acoustic-based songs on side three of the vinyl collection. 

Man Of Colours is Davies’ song, so I was quite surprised to find that Michael Paynter was the lead vocalist on Man Of Colours. His performance is absolutely stunning, but I still miss Davies performing this masterpiece. Sure, Davies is there in a backing vocal capacity, also allowing him to play the Oboe while Paynter vocalises the song, but it isn’t quite the same. That, of course, shouldn’t take anything away from Paynter as he is incredible, and I look forward to following his career in the years to come. He really did pay homage to the original while making it his own. 

SIDE FOUR

Miss Divine is one of the best songs off Code Blue and I have always thoroughly enjoyed it. However, I’m torn over this live performance as I feel it’s a little disjointed in the vocal department and that acoustic guitar strum is too forward in the mix. Of course, loving the original as much as I do, I could simply prefer the studio recording which I believe is impeccable. Subsequently, this live performance just doesn’t do it for me. 

Don’t Believe Anymore would have to be my all-time favourite Icehouse song. Okay, perhaps I have a few that that could be said about, but the saxophone element in both this live performance and the original studio release is nothing short of spectacular as it captivates me beyond belief. 

Great Southern Land is the quintessential Icehouse song and requires no hyperbole. 

SIDE FIVE

Can’t Help Myself has an addictive beat, but it’s one Icehouse song that I neither love nor hate. It merely exists. It isn’t a bad live recording, but it isn’t great either. 

Nothing Too Serious is one of Icehouse’s best and is certainly a highlight from Man Of Colours. It’s a great live performance but the tuning on those cymbals sound a little off as they’re very shrill. I’d love to say it is only on the vinyl edition, but I’ve heard it both on the TIDAL Hi-Fi and Apple Music streams.

We Can Get Together is another fantastic song from Icehouse and I’m consistently amazed as to just how good the debut, by Flowers at the time, really was. This live performance is incredible and has all the energy that one would expect from the song. Incredibly, while it may be over three decades old, We Can Get Together remains timeless.

SIDE SIX / FIRST ENCORE

Icehouse, of course, became the band’s name following the shift from Flowers to Icehouse in 1981. I don’t know about you, dear reader, but I’ve never heard a better version of Icehouse than that which appears on In Concert. Exceptional!

Cross The Border is another of my all-time favourites. It has a sensational rhythm and is the best song from Measure For MeasureThis live performance isn’t bad either. It doesn’t stray far from the original composition, but that isn’t necessarily a bad thing, especially when the song was perfect to begin with. 

/ SECOND ENCORE

Sister closes the live album nicely with the energy that has always existed in this song. It, without a doubt, encourages me to listen to the album again and stay within Icehouse’s extensive catalogue of music. 

In Concert is an exceptional live album with a selection of songs that cover the greatest eras of the band. However, it’s a little disappointing that nothing from Big Wheel or The Berlin Tapes was included. Satellite would have worked well before or after Nothing Too Serious. Heroes, the David Bowie song that Davies performs immaculately well, would have been perfectly suited to appear after Man Of Colours. Nevertheless, for whatever reason, these songs were excluded and while they are missed, it doesn’t detract from the astonishing performance and album that is In Concert. 

In Concert is available on VinylCD, the TIDAL Store (16/44.1kHz FLAC), and iTunes (Mastered for iTunes).

If you prefer streaming, In Concert is also available on TIDAL Hi-Fi and Apple Music.

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New Kids On The Block – 10 (Album Review)

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New Kids On The Block – 10 (Album Review)

New Kids On The Block was never on my radar during their peak years, I was too cool for a boyband. Funny thing is Metallica, Guns N’ Roses, and Nirvana was just that; a sausage fest. They just we’re cutesy and just like many people ridicule Nickelback today, New Kids On The Block received as much ridicule as Nickelback and Justin Bieber. Okay, no, Bieber gets way more ridicule than the kids ever did. Truth-be-told, besides Baby, I’ve never taken the time to listen to a Justin Bieber album, so I’m not going to pile on because I may, end up, liking something that he’s released – Love Yourself, for instance, isn’t bad. A great collaboration with Ed Sheeran!

Long-time readers would no doubt be aware of my erratic music tastes. After all, I just finished writing my review for Metallica’s Kill ‘Em All and went straight for this album. No, I’m not insane, I just love music and good music is good music. Actually, my eclectic music tastes have been a source of ridicule by friends, family, and peers for years. So many people don’t understand how one can appreciate such a broad range of music. For me, there is no other way and it makes perfect sense. Most important of all, it brings me true happiness. So, laugh if you will, cause when I put 10 on, I turn the volume up and I’m transported to my happy place. The place where no one can touch me. Where I’m alone. Me and the boyband that I once rolled my eyes at but now acknowledge just how talented these musicians are.  

I enjoy the album so much that I purchased the CD (unfortunately 10 has never been released on vinyl), but the moment my daughter saw it, she asked if she could have it as she loves We Own Tonight and Remix (I Like The). Well, what could I say? I rolled my eyes but in hoping that my children will love music to the level that I do, I passed my brand-new unplayed CD onto her. I still haven’t bought a replacement. I’m waiting for her to tire of it and give it back to me, but I’m starting to think that will never happen. Nevertheless, while I enjoy listening to music alone (okay, so I like to sing and dance without anyone seeing me), sharing music with those you care about is one of the greatest gifts you can give anyone, and it is one of the reasons why I love sharing my passion with all of you.  

In the absence of the CD, I turn to TIDAL Hi-Fi’s CD-quality stream that is indistinguishable from the CD counterpart. I still move uncontrollably to the beat and sing-along where appropriate. Sure, my daughter would let me borrow her copy of the CD, but maybe instead of me reviewing that copy, perhaps she will one day add her own review to Subjective Sounds, of the CD, even if it is only via the comments section. Regardless, the TIDAL Hi-Fi stream is magical as 10 has been recorded and mastered beautifully. It is dynamic and not at all jarring on the senses thereby ensuring that I could listen to the album on repeat for hours. Similarly, the lossy Apple Music stream is beautiful as the mastering is the same, although, as is to be expected, it is a little more concealed by comparison to the CD-quality stream. That said, unless you compare them side-by-side, as I have, you’ll likely be more than satisfied with either stream. 

We Own Tonight is the perfect song to open the album with. The shared vocals and harmonies are lovely as is the soundstage that has been created. It is one of those songs that gives me goose bumps and it’s incredibly addictive, resulting in the song being played on repeat and sung along to more times than I can remember. Music should impact you on an emotional level and We Own Tonight certainly does that.   

Remix (I Like The) picks up the beat and all I want to do is dance. Yes, it would be embarrassing to witness so I’m glad I’m a writer and not a YouTuber. When I think about it, I don’t think I’ve ever stood or sat still when this song is playing. Even as I’m typing this review, my legs are moving to the beat. Thankfully, my hands know their way around the keyboard and can type while the rest of my body is moving to the rhythm. 

Take My Breath Away is initially less energetic, but the ballad-pop-styled tune is absolutely perfect for the New Kids On The Block style. Take My Breath Away is a killer song and if I have one criticism it would be that I would like to have the backbeat more pronounced in the soundstage as it sounds a little hidden when I feel it should be at the forefront of the song.

Wasted On You is sensational. I love the beat. The atmosphere. The vocal performance. That mid-song sonic shift is incredible. Wasted On You is a perfect pop song!

Fighting Gravity is a little predictable and campy, but if we class it as a B-side, then it is perfectly acceptable and suited to the album and the New Kids On The Block legacy. 

Miss You More has a sonic introduction and backing that I adore. I’d love to hear just the instrumental of it, but I absolutely love the vocal delivery on this song. It’s sensational and one of the best songs on the album.

The Whisper has an addictive beat that will get you toe-tapping, but it’s a largely forgettable B-Side. 

Jealous (Blue) has a fantastic vocal presentation and unlike The Whisper, my entire body moves with this song. I adore the depth and width of the soundstage on Jealous (Blue). Exceptional!

Crash reminds me of the entire A Night At The Roxbury soundtrack. Good soundtrack! Crash does feel a little out-of-place with the other songs on the album, but it’s done so well that the campiness of the song is absent and it will encourage you to get up and move to the dancefloor. Seriously, if you’re sitting still while Crash is playing, you’re listening wrong.

Back To Life is a fantastic vocal-led song that while fundamentally different from Crash, flows perfectly. While it isn’t one you can sing along to and you’ll likely not have the inclination to toe-tap, or head-bop, Back To Life is thoroughly rewarding and enjoyable. 

Now Or Never is campy, but it’s a good song. Yes, I can roll my eyes and be embarrassed when this song comes on the speakers and everyone looks at me, but that subjective response doesn’t mean it’s bad. 

Survive You / Let’s Go Out With A Bang is a sensational way to close the album. Survive you is stunning and the CD-hidden track, Let’s Go Out With A Bang, is off-the-charts! Of course, the silence between the songs is infuriating and as I’ve mentioned before, I’d love the record label or artist to re-track the hidden songs so that when you stream the album, you can listen to just that one song if you wish. Regardless, Let’s Go Out With A Bang is the perfect song to conclude the CD with and it encourages me to listen to the album again and explore more of the New Kids On The Block back catalogue. Of course, if you’re streaming via Apple Music, you’ll find there’s an iTunes exclusive track to enjoy.

Block Party has attitude and follows Let’s Go Out With A Bang perfectly. Sure, I feel the aforementioned track would be better suited to close the album with, but I’m far from disappointed with the inclusion of Block Party on the iTunes/Apple Music edition of 10.

Overall, 10 is an exceptional album that has to be heard to be believed. Yes, it is modern day pop-styled and if you’re not into that kind of music, you’ll likely not enjoy this album. 10 simply isn’t overproduced, unlike many modern pop albums. It also isn’t compressed to hell and back as the soundstage is well developed and each sonic element is beautifully expressed without the crushing sound that is often associated with this style of music. Sure, there is a lot of electronic sampling, but it is handled respectfully, reminding me of the Bee Gees disco era. It has been five years since 10 was released and while an EP, Thankful, was released in 2017, I want a true follow up to 10 as I feel the New Kids On The Block are just getting started.

10 is available on CD and iTunes.

If you prefer streaming, 10 is available on TIDAL Hi-Fi and Apple Music.

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Agnetha Fältskog – A (Album Review)

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Agnetha Fältskog – A (Album Review)

Every now and then new music appears from the individual members of ABBA. Agnetha Fältskog is, of course, one-quarter of the enormously successful Swedish pop group. As a lifelong fan, of both ABBA and Fältskog’s solo efforts, I immediately ordered the vinyl release and while I love the album as a creative piece of work between Fältskog and her collaborators Jörgen Elofsson and Peter Nordahl, the vinyl release is a little disappointing.

From the get-go, I was surprised the cover art was so out of focus. Yes, it is captured softly to separate Fältskog from the album typography and while it may look glorious on streaming services and CD-sized canvases, the larger vinyl reproduction makes me wonder if I’m slowly going blind. One would have thought, or at least hoped, that this would have been taken into consideration, but sadly it wasn’t. 

While the mastering is solid, the pressing is questionable. Pressed by GZ vinyl, there are a number of scuffs from the manufacturing process that create a few additional pops and clicks. Yes, vinyl is fundamentally a fragile medium, but if records are cared for, as mine are, they can be appreciated without pops and clicks destroying or impacting the listening experience. Nevertheless, when the pops and clicks aren’t audible, the vinyl reproduction is sonically beautiful. 

SIDE A

The One Who Loves You Now is a lovely song to commence the album with, although I’d like to hear a version with a slightly slower tempo as I feel it would have further amplified an already exceptional song.

When You Really Loved Someone really comes into its own when the chorus begins. That said, this song borders on campy pop music and Fältskog’s vocal sounds a little overproduced and processed on this song. It isn't necessarily bad but it makes me think of numerous modern pop stars and therefore I question if the vocal presentation really suits Fältskog’s capabilities. Regardless, When You Really Loved Someone is an exceptionally enjoyable song.

Perfume In The Breeze has a great tempo. You'll be toe-tapping and head-bopping in no time. Although, again, I feel it is overproduced, especially in the vocal region of the chorus. It just sounds as though it’s following a modern pop music formula. As with the other songs, however, I do thoroughly enjoy Perfume In The Breeze. 

I Was A Flower is absolutely stunning. It’s one of the greatest songs Fältskog has ever recorded, if not the greatest. You'll want to turn the volume up and become absorbed by the soundstage as it wraps around you as the speakers disappear, leaving you, Fältskog, and the instrumental orchestral movements to exist in that special place where music and ecstasy intersect. Amazing!

I Should've Followed You Home is the perfect song to follow I Was A Flower. It’s a recording and mixing marvel as the vocals were recorded in two different studios. Yes, this has been done before, but each studio has a unique sound, yet the vocals are merged superbly. The decision to have Gary Barlow duet with Fältskog was superb as his vocal tonality compliments Fältskog’s perfectly. That all said, it would have been interesting to hear the difference had both artists been recording in the studio, at the same time, in a linear manner. I have a sneaking suspicion the song would have been even stronger, but I’m far from disappointed with the song we have as it’s superb.

SIDE B

Past Forever is beautiful. I really love Fältskog’s vocal on this track as it sounds largely untouched and natural. Her soaring vocal is a pleasure to listen to and I could put this song on repeat for hours. Actually, I’d like to see this song re-recorded as a duet with Celine Dion. All the sonic cues are there to suggest such a collaboration would be nothing short of pure perfection.

Dance Your Pain Away is a disco-based track that is significantly different to the past few songs and while auto-tune is clearly used here, it's a great dance track that has a modern sound and one which DJs would have a field day incorporating into their live sets. If you want to hear additional remixes, check out the remixes EP on TIDAL Hi-Fi or Apple Music

Bubble is a lovely vocal-based track. I absolutely adore it!

Back On Your Radio is campy. Okay, it isn't that bad. No, wait, there's the chorus again. It just isn't good and should never have been recorded, let alone released. Harsh, yes, but this is a song for an artist aiming for a younger audience, arguably an audience that Fältskog wasn’t focusing on as it sounds out-of-place with the rest of the album.

I Keep Them On The Floor Beside My Bed is the only song on A to be penned by Fältskog and is absolutely beautiful. As the final song on the album, it closes it perfectly and encourages me to listen again and stay within Fältskog’s back catalogue.  

Overall, A is a thoroughly enjoyable album that should be in every fan’s collection.

A is available on Vinyl, CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes (Mastered for iTunes).

If you prefer streaming, A is available on TIDAL Hi-Fi and Apple Music

Click here to read other Agnetha Fältskog reviews by Subjective Sounds.

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Air Supply – The Ultimate Collection (Compilation Review)

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Air Supply – The Ultimate Collection (Compilation Review)

Who doesn't like a good ballad? Yes, you in the corner, I see you rolling your eyes, not willing to admit you're a ballad junkie. That's okay, it can be difficult for some of us to acknowledge our emotions, but Air Supply's ballads are just so addictive and easy to sing-along to that even the most emotionally guarded individual will feel compelled to join in, especially when no-one else is watching. It's a great feeling, isn't it? Don't worry, dear reader, this will be just between us, for the magic would be lost if anyone knew our little secret.

Few artists do ballads as well as British–Australian soft rock group Air Supply, but it would be naive to pigeonhole them into that category for their orchestral soft rock styling is so expansive that their peers are a who's who of soft rock culture from the last four decades. While their prime is arguably behind them, their songs, including those written by others, remain timeless and recognisable. Perhaps that is why I'm drawn to The Ultimate Collection because, as the title suggests, it really is the epitome of their creativity.

Love And Other Bruises is an interesting song to commence this career perspective release on as it isn't necessarily one of their best or most popular tunes. Nevertheless, the musicality is there, resulting in an enjoyable beginning to an exceptional collection of songs.

Bring Out The Magic is the reason I suggested it naive to class Air Supply as a ballads-only band. This is soft rock at its finest.

Lost In Love is beautiful!

All Out Of Love is a stunning composition and one of the greatest ballads ever written and recorded.

Every Woman In The World is another stunner. Absolutely sensational!

Just Another Woman offers an interesting shift into the disco-era and immediately reminds me of Elton John's Victim Of Love as the two were somewhat unexpected but thoroughly enjoyable. Just Another Woman is fantastic and despite the shifting style, the song is absolutely worthy of inclusion.

Chances returns the compilation to its ballad-based roots and is thoroughly enjoyable with a vocal presentation that is off-the-charts. The slow build works exceptionally well, and Chances is simply amazing to listen to.

The One That You Love is sonic gold! It may sound like a cliché, but they don't write songs like this anymore. Plus, that drum track is amongst my favourites of all time, only bested by Phil Collins' In The Air Tonight and Dire Straits’ Money For Nothing.

Here I Am is badly placed as the lyrics of The One That You Love also includes the phrase, here I am, throughout. Nevertheless, Here I Am is a lovely ballad that I never tire of. The soundstage and sonic depth of Here I Am is exceptional with a drum track that I adore. 

Sweet Dreams is epic! My recommendation is you turn the volume up when this song comes on, you'll thank me later. Sweet Dreams is one of the best songs ever recorded and that guitar solo and vocal interlude is absolutely incredible.

I’ll Never Get Enough Of You is exceptional! 

This Heart Belongs To Me has a great dual tempo that allows the listener to experience this song in a non-traditional manner, thereby making it truly subjective. This is yet another Air Supply song where the drum tracking is superb. I love it!

Keeping The Love Alive is, as this entire compilation is, exceptional!

Even The Nights Are Better is a song that reminds me of the Carpenters, especially with the vocal styling. That's, of course, a positive reflection as I adore Karen Carpenter's vocal.

Now And Forever is musical perfection. This truly is the ultimate Air Supply collection.

Two Less Lonely People In The World is remarkably good and sounds as fresh today as it did when first released on Air Supply's 1982 release, Now And Forever.

Making Love (Out Of Nothing At All) is a Jim Steinman classic power ballad and is an incredible Air Supply song. I find that I’m torn between this original recording and Bonnie Tyler’s rendition as both are exceptional. 

Young Love is a lovely song and that dual vocal presentation is simply amazing, as is the entire musicality of the song. 

Come What May is a great tune with an incredible soundstage and presence that fills the room. If all music was recorded and mixed this well, we'd never stop listening. As the closing track on The Ultimate Collection, it certainly compels me to listen to the compilation again and stay within Air Supply's back catalogue.

There is little doubt regarding my love of Air Supply and The Ultimate Collection release. It is so good that everyone should have a copy in their collection. Unfortunately, it has yet to receive a vinyl release and while I'm not opposed to picking it up on CD, the TIDAL Hi-Fi CD-quality stream is more than adequate.

The Ultimate Collection is available on CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes.

If you prefer streaming, The Ultimate Collection is available on TIDAL Hi-Fi and Apple Music

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Barbra Streisand – One Voice (Live Album Review)

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Barbra Streisand – One Voice (Live Album Review)

Barbra Streisand needs no introduction and by anyone's standards is one of the greatest musicians to have ever sung a single note. No more is that more apparent than on One Voice; a long-awaited live performance captured September 6, 1986. While Streisand has, in recent years, released a few additional live performances, One Voice remains at the pinnacle of Streisand’s career and is, in my subjective opinion, the greatest live performance of her career. There isn’t a single B-side to be heard on this flawless recording. The mix and master are equally compelling and while One Voice is a live album, it would also have to be placed amongst Streisand’s greatest releases. 

I was fortunate enough, many years ago, to own this release on both cassette and CD, but as one who initially thought the MP3 was the ultimate solution for the music lover, I digitized the CD and subsequently sold both copies. What a fool! Nevertheless, thanks to TIDAL's CD-quality Hi-Fi stream, I can access the album whenever in the mood. To be completely honest, I'd love to see One Voice reissued on vinyl as it was originally recorded using an analog system and would be nothing but pure joy to appreciate on that format, especially if the vinyl pressing process was an all analog affair. Still, the TIDAL Hi-Fi stream is perfectly transparent to my memories of the CD and is thoroughly enjoyable. The Apple Music stream is equally compelling, even if tad concealed by comparison.

Somewhere (Live) starts off slowly with a lovely atmospheric introduction. The first notes Streisand sings are magical, and you can immediately tell just how extraordinary this performance is going to be.

Evergreen (Love Theme From "A Star Is Born”) (Live) is, while very similar, a much better rendition than the studio counterpart. Streisand's vocal soars and compels me to turn the volume up, resulting in a musical experience unlike any other. Simply amazing!

Something's Coming (Live) is a great song, but the synthetic elements irritate me. I'd love to hear this song with an orchestra backing instead.

People (Live) is one of the greatest songs of all time. Streisand’s presentation here is absolutely flawless and her words at the beginning of the song are as relevant today as they have always been. I absolutely adore this song!

Send In The Clowns (Live) is beautiful!

Over The Rainbow (Live) is absolutely magical. Seriously, listening to Streisand perform this song makes one question how the human voice is capable of such beauty and that final note is held with so much control, it leaves me speechless every time I hear it.

Guilty (Live Duet With Barry Gibb) has always been one of my most favourite songs from Streisand's catalogue and, as with Evergreen, I much prefer this live performance to the studio edition.

What Kind of Fool (Live Duet With Barry Gibb) is another astonishingly good song. The duelling vocals are so perfectly suited that they not only complement each other, but they amplify the song to greater heights. No-one else could have performed this song with Streisand as well as Gibb has. Of course, as a Bee Gees fan, I’m likely a little biased. 

Papa, Can You Hear Me (Live) is such a delicate song but Streisand performs it masterfully. While I haven't listened to every cover of this song, thus far, Streisand’s is superior to all I have heard, even the rendition recorded by the incomparable Nina Simone.

The Way We Were (Live) is one of my favourite Streisand films, second only to The Mirror Has Two Faces. Subsequently, I absolutely adore this song. It is one of Streisand's greatest. 

It's A New World (Live) is a lovely ballad with a beautiful meaning.

Happy Days Are Here Again (Live) is a beautiful song. It’s timeless, although that could easily be said about the entire performance.

America The Beautiful (Live) is sung so stunningly that one can only sit and admire it. America The Beautiful closes the recording nicely, ensuring I'll listen to the live performance again and stay within Streisand’s extensive catalogue of music.

Overall, One Voice is one of the greatest live performances of all time. That it was captured for us to appreciate is a wonderful blessing and gift to the human race.

One Voice is currently available on CD, the TIDAL Hi-Fi (16/44.1kHz FLAC), and iTunes.

If you prefer streaming, One Voice is available on TIDAL Hi-Fi and Apple Music.

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Sophia Pfister – Birdcage (Album Review)

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Sophia Pfister – Birdcage (Album Review)

In 2016 I declared that the world needed a complete Sophia Pfister album as her Self-Titled EP was so captivating, due in part to Pfister's sultry vocals and the production quality, that I simply wanted more. During the last couple of years, I've seen sporadic updates of the recording process and in August, Pfister dropped her first full-length album, on vinyl first and then a later on digital stores and streaming services.

At the time of the album's release, I was busy moving home and subsequently delayed ordering the vinyl edition. It’s a little embarrassing to admit that I’ve still yet to place my order, however, just as I did with Pfister's debut EP, I can review the streaming edition and compare the vinyl release at a later date. Pfister is actually the perfect artist to do this with as she is a proponent of the vinyl format and I was beginning to wonder if we'd ever see Birdcage on the various digital platforms. While I applaud her commitment to the vinyl format, especially considering she remains independent and these releases are completely self-funded, I feel it is far more important for independent artists to focus on attention, rather than the delivery method. With that in mind, I don’t feel streaming and other digital delivery methods challenge artistic intent, for the physical counterpart should always offer a value-added proposition to the music lover. It is also important to remember that no matter how much we champion the vinyl format, there will always be those amongst us who dislike or are not interested in the format and that is okay. Yes, one could argue that exclusivity towards formats should be viewed in the same manner as attending an art gallery, or concert venue, where the consumer needs to go where the artist feels their work is best represented. If I were reviewing Beyoncé’s exceptional Lemonade, and the associated initial exclusivity with TIDAL, I’d agree with my aforementioned statement, but with one caveat – Beyoncé is a household name and therefore can afford to lose the attention of the casual fans as her rabid fan base will follow her to whatever platform or venue she decides to release her music via. While I’ve no doubt Pfister can reach similar heights throughout her career, it takes time to develop an audience and that audience needs access to Pfister without restrictions at this stage in her career. 

Birdcage (Feat. White Buffalo Stands) offers a seamless transition from Pfister's Self-Titled EP. If you loved that release, as I did, you'll feel right at home as it’s a beautiful way to start the album. The backing indigenous-styled vocals towards the end of the song are beautiful and show a skilled layering of musicality that has evolved since Pfister's Self-Titled EP.

The Wheel is a rather complex composition, with a variety of musical elements and styles throughout. While on paper it shouldn't work, it absolutely does and it's one of those songs that offer the listener something unique upon each listen.

Drifting is a beautiful vocal-focused tune. It’s thoroughly relaxing and that Banjo element, that I claimed was too prominent on Pfister's song, Sugardaddy, I find is perfectly mixed here and is simply stunning. In fact, the entire soundstage and musical depth of Drifting is nothing short of spectacular. Yes, dear reader, this is sonically how good music should sound. Exceptional!

Loved By Strangers has a very familiar rhythm that picks up the pace of the album. The composition, again, is rather complex, but you feel as though you are encapsulated by musical elements as the soundstage is perfectly presented with incredible instrument separation. Another great tune!

Bad Decisions is the greatest song Pfister has written and recorded thus far. As I listen to this masterpiece, I’m reminded of Adele, on stage, singing Hello. Yes, it is that good and this song is stadium ready and a massive hit just waiting to be discovered.

Ride The Wave isn't a bad song, but I feel there are elements within that have been borrowed too heavily from Pfister's Self-Titled EP. Of course, following Bad Decisions was always going to be a challenging task. That said, if there is a B-side to be heard, it is Ride The Wave.

Separate Ways (Feat. Dave Alvin) is second only to Bad Decision. It’s bloody brilliant and an exceptional duet. I love it! If I had one criticism, it would be that the electric guitar tracking should have been a couple of decibels louder, especially towards the end of the song.

Living In The Grey is a thoroughly enjoyable closing track that ensures I'll listen to the album again and stay within Pfister's small, but growing, catalogue of music.

Birdcage is an absolutely stunning debut album and, by any standards, is world-class. When you compare it to some of the big name mainstream releases, you can only wonder how they have received recording contracts while Pfister remains independent. Of course, Pfister may decide to remain independent, but she has the musical talent to be one of the leading ladies in the music industry and while the industry is changing, record labels and solid management and promotional teams remain vital to achieving such heights, especially at the beginning of one’s career as a musician.

I can, without doubt, confirm that Birdcage is both sonically beautiful on Apple Music and TIDAL Hi-Fi. Yes, TIDAL's CD-quality stream offers a little more depth but the core performance is transparent, regardless of the delivery platform, meaning that the recording, mixing, and mastering is absolutely perfect. With that in mind, and knowing just how good Pfister’s debut vinyl EP sounded, I can't wait to get the vinyl release of Birdcage. Speaking of which, I better go and order myself a copy before they sellout.

Birdcage is available on Vinyl, the TIDAL Store (16/44.1kHz FLAC), iTunes, and Bandcamp.

If you prefer streaming, Birdcage is available on TIDAL Hi-Fi, Apple Music, and Spotify.

Click here to read other Sophia Pfister reviews by Subjective Sounds.

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Elton John – Reg Strikes Back (Remastered) [Album Review]

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Elton John – Reg Strikes Back (Remastered) [Album Review]

Reg Strikes Back would arguably be the last mediocre Elton John album of the 80s, as the exceptional Sleeping With The Past was just around the corner. That said, there are a number of hits and essential back catalogue songs buried amongst John's cover-filled outfits to appeal to most fans. Yes, the colourful album cover is akin to a trip down memory lane and really deserves to be held on vinyl. Of course, if you’re after a vinyl release, you'll have to be satisfied with a secondhand copy as Reg Strikes Back has yet to be reissued on the format. It was, however, reissued on CD in 1998 and remastered at the same time. While most of John's remasters have been exceptional, it is the additional non-album songs that often deter me. With that said, let's take a listen and see not only how well the album fits into John's legacy, but if those additional tracks are a value-added proposition or mere filler.

Town Of Plenty is average at best. What was it with John's 80s albums that the lead song, more often than not, sounded like a demo and should have been omitted? I guess Town Of Plenty isn't that bad, but it isn't great either. Although, my daughter disagrees with my assessment as she loves the track.

A Word In Spanish is a beautiful song and Reg Strikes Back would have been significantly stronger if it was the album's opening track.

Mona Lisas And Mad Hatters (Part 2) is a story arc continuation from the song Mona Lisas And Mad Hatters that appeared on John's 1972 album, Honky Château. It's one of my favourite Elton John songs, but I do feel mellon collie towards this Part 2 offering as it is quite different in tonality to the first song. That said, if I listen to Part 2, as a song on its own, I find it compelling with a high level of energy that has one toe-tapping and head-bopping when seated and dancing around while standing. The composition is quite detailed with incredible instrument separation and a broad soundstage. Plus, the trumpet tracking really takes the song to another level. Perhaps John and Bernie Taupin could have renamed the song, as to not throw such a severe contrast in musicality between the original and this second coming. Nevertheless, Mona Lisas And Mad Hatters (Part 2) is an exceptional song.

I Don't Wanna Go On With You Like That is the best song on Reg Strikes Back and is one of John’s greatest recordings. The mix with the steady beat and shifting piano tracking is addictive and John’s vocals complete the package beautifully.

Japanese Hands is very similar in tonality and style to another Elton John song. I’m thinking Razor Face, from Madman Across The Water, but I couldn’t be certain without going through his extensive back catalogue. Regardless, I thoroughly enjoy Japanese Hands, especially once it hits the half-way point and the soundstage broadens. The result is a song that is beautifully atmospheric and thoroughly relaxing.

Goodbye Marlon Brando shifts the tone of the album with an edgier rock element. It isn’t a bad song, but I'd call it a B-side as I honestly wouldn't miss the song if it was removed from Reg Strikes Back.

The Camera Never Lies has a campy 80s sound signature and sadly never recovers. It’s another forgettable tune that is pure filler in my opinion.

Heavy Traffic is a song you wouldn't want to listen to if you were stuck in heavy traffic, it would cause you to have homicidal thoughts. Seriously, what were John and Taupin thinking when they penned and recorded this disaster?

Poor Cow gets the album back on track. While it isn't the strongest song on Reg Strikes Back, it does have a compelling rhythm that I find is satisfyingly addictive.

Since God Invented Girls is the closing song for the original non-remastered album. It’s clearly a B-side, as much of the second half of Reg Strikes Back is, but its enjoyable enough for me to listen to the album again and stay within John's catalogue. However, in this case, we will continue listening to the remastered album’s bonus tracks.

Rope Around A Fool should have never been added to the remaster. It's just bad!

I Don’t Wanna Go On With You Like That (Shep Pettibone Mix) is fantastic. Yes, the original is unbeatable, but when remixes are this good, I find it difficult to choose which version I should be listening to as I thoroughly enjoy both.

I Don't Wanna Go On With You Like That (Just Elton And His Piano Mix) shows just how exceptionally talented John is. I could listen to this version on repeat all day. I love it!

Mona Lisas And Mad Hatters (Pt. 2) [The Renaissance Mix] falls a little flat for me and as the last song on the remastered album, I'm not sure it compels me to listen to the album again or stay in John's catalogue. Sometimes additional tracks are great, other times they can deter one's interest. In fact, this remix encourages me to listen to Michael Jackson's Thriller as the mimicked tones of Billie Jean can be heard throughout, especially towards the end of the song.

Overall, Reg Strikes Back (Remastered) is a bit of a mixed bag. Yes, there is some exceptionally good music to be heard here, but it is the three or four lacklustre songs that really shifts one's interest.

Reg Strikes Back (Remastered) is available on CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes.

If you prefer streaming, Reg Strikes Back (Remastered) is also available on TIDAL Hi-Fi, Apple Music, and Spotify.

Click here to read other Elton John reviews by Subjective Sounds. 

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

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

Nina Simone had one of the most distinctive voices in recorded music history. Her skill and control over her vocal delivery showed no bounds and no truer is that statement than when listening to her opus I Put A Spell On You. There is not a bad song to be heard and it really is a case of discussing which of the 12 songs is better than all the others.

Adding to this musical brilliance is the fact that I've been enjoying I Put A Spell On You at 24/96kHz on the High Fidelity Pure Audio (HFPA) Blu-ray format. To call this pressing immaculate would be a gross understatement. I have listened to the counterpart on Apple Music and TIDAL Hi-Fi and while the recording is largely transparent on those services, they lack a level of smoothness and relaxation when compared directly against the HFPA release. Yes, I've also listened to the MQA edition and while nice, it’s still too harsh for my liking. The HFPA release has incredible detail, minus the harshness found via other formats, and sounds extraordinary via both my main stereo set-up and headphones. For those of you who are interested, for this HFPA release, I prefer to listen to the album in the PCM format, rather than my preferred DTS-HD Master Audio format. I simply find that the original recording doesn’t need the additional low end that the DTS-HD Master Audio mix provides.

The HFPA format releases are sourced from the master tapes and this is one release where the tape qualities have been maintained throughout the digitisation process. While a little tape noise and analogue playback artefacts may deter digital purists, I love it as it takes me into the studio. If I close my eyes and focus only on the music, I'm experiencing my own personal concert with Simone and it is an experience that is astonishingly satisfying. That all said, the core performance does translate to the other formats, but the HFPA edition takes the recording to another level, especially if you have stereo equipment capable of taking advantage of high-resolution audio. For those that don't, or aren't interested in going to these lengths, may I suggest the Apple Music edition that is Mastered for iTunes. As I have listened to the album on many of the available formats, that is the one closest to the HFPA sound signature in my opinion.

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, as featured on Smells Like Children. Regardless of how you wish to appreciate this song, a plethora of musicians have covered the song well, but 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 lovely song. You really get a sense of the vocal control Simone has, especially on the fast, yet clear and soft, lyrical aspects of the song. By the way, is it just me or does this song sound as though it was taken straight out of a 007 James Bond flick?

Ne Me Quitte Pas is spectacular!

Marriage Is For Old Folks is witty and incredibly entertaining to listen to. 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, especially the doo, doo, dooo, de-doo lyrics.

July Tree is a lovely song that while not a classic, is a beautiful addition to the album.

Gimme Some picks up the pace 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, that Simone includes, is incredible.

Feeling Good is astonishingly good! Again, Simone's rendition is arguably the greatest to have ever been recorded, but as I've mentioned before, George Michael did perform it beautifully.

One September Day is a thoroughly relaxing track that again shows the control Simone had over her vocal delivery. Remember, this was recorded in 1965, long before Auto-Tuning vocals was a thing. Yes, dear reader, this is what a truly talented vocalist sounds like.

Blues On Purpose is a fun little song with a solid mix of blues and jazz that will appeal to just about any music lover. While Blues On Purpose is an instrumental track, Simone plays the piano sufficiently, as she did throughout the entire album.

Beautiful Land is an interesting song that I find to be rather compelling, yet I'm unsure if I actually like the song or not. It isn't bad, it's just a little left of the centre.

You've Got To Learn is a beautiful tune.

Take Care Of Business is a superb song to close the album on and ensures I’ll stay within Simone's back catalogue while longing to play I Put A Spell On You again.

I Put A Spell On You is pure perfection from start to finish. If there were a criticism to be made, it would be that the album is too short, with a runtime of approximately 34 minutes. However, that weakness is also its greatest strength for the filler tracks that are known and loathed are nowhere to be seen. It plays like a well-curated greatest hits compilation would.

Nina Simone was one of the greats, and will always be one of them, for the musical skill she possessed is a rare occurrence that even the greatest modern day vocalists can only aspire to. There is little doubt she has put a spell on me, I hope you are equally spellbound by I Put A Spell On You.

I Put A Spell On You is available on Vinyl, High Fidelity Pure Audio (HFPA) Blu-ray, CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes (Mastered for iTunes).

If you prefer streaming, I Put A Spell On You is available on TIDAL Hi-Fi (MQA or CD-quality), Apple Music, and Spotify.

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Aaron Neville – Warm Your Heart (Album Review)

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Aaron Neville – Warm Your Heart (Album Review)

At this time of year, my significant other starts to ask me what I'd like for the silly season. While my imagination runs wild, we’ve had a few unexpected expenses in the second half of 2018 and rather than aiming high, I thought it would be great to pick up a couple of SACDs that I’ve been longing for. As I was browsing the available titles at Birdland Records, I came upon an artist I love, but one that I haven't got extensive experience with. The first time Aaron Neville appeared on my radar was following the release of the exceptional Bodyguard soundtrack. Neville’s collaboration with Kenny G, on Even If My Heart Would Break, is nothing short of spectacular. Since then, I've always listened out for Neville's uniquely soulful vocals, but other than enjoying his career perspective releases, I haven't taken the time to listen to his albums in full. That all changed when I saw a hybrid SACD edition of his 1991 release, Warm Your Heart. I just knew I had to check it out, but as the SACD edition is rather expensive, I turned to TIDAL Hi-Fi and was blown away.

Sonically, Warm Your Heart is one of the greatest recorded, mixed, and mastered albums I have ever heard. The original CD pressing is said to have an astonishing dynamic range peaking at 17 out of 20, with an average of 15. While numbers don't always provide an accurate representation of quality, I can say that the soundstage is massive with all elements clearly positioned throughout. Plus, I actually want to turn the volume up, rather than down, as there is no brickwalling of the sound to be heard. The simple fact is, this is digital done right. Even the Apple Music counterpart, played via Apple's AirPods, maintains the sonic brilliance. I also find that I want to just sit and listen, for hours on end. It’s spectacular!

By comparison, yesterday I listened to the Tony Bennett and Diana Krall album, Love Is Here To Stay. I had high hopes, especially as Krall's productions are always beyond reproach, but the album fell flat from both a dynamic and excitement standpoint. It sounded concealed and I found myself distracted throughout. Yes, there were a couple of nice tracks, but it was the lacklustre production values that deterred my interest. Love Is Here To Stay is said to have an average dynamic range of 9 out of a possible 20, with a peak of 11. Again, numbers don't tell the entire story, but they are good for comparison and when you have Bennett and Krall together, you expect something spectacular. I still have to listen to the MQA edition of Love Is Here To Stay to see if the master is any better than the CD, but I’m not going to hold my breath as I feel the overall sound signature and style was decided during the recording and mixing process.

Regardless, you'd be hard pressed to find a better album, from any artist, as Warm Your Heart is nothing short of pure perfection. Of course, your feelings may differ to mine, so let’s examine the songs individually shall we?

Louisiana 1927 is a lovely song and a perfect introduction to the body of work that is Warm Your Heart.

Everybody Plays The Fool has a fantastic mix of soul and funk. When I listen to this song, I'm reminded of Barry Gibb as Neville can get awfully close to Gibb’s falsetto vocal style. I also think of Bob Marley when this song comes on. I adore this song and the correlations with other artists that arise in my mind as I’m listening.

It Feels Like Rain is simply gorgeous. Just listen and you’ll hear incredible musical detail. Every element is transparent and nothing is concealed. This is how music should sound!

Somewhere Somebody has a killer groove that is so perfectly recorded, you can turn off any equaliser settings you may be using and enjoy the song as it was intended to be heard.

Don't Go Please Stay is a beautiful song with a gorgeous classical overlay in both the vocal and instrumental backing.

With You In Mind is astonishingly good.

That's The Way She Loves is one of the greatest songs ever written and recorded, by any artist. It is THAT good!

Angola Bound, despite a 30-second relaxed intro, is a little jolting after That's The Way She Loves. It doesn't take away from the groove and enjoyment of listening to Angola Bound, but if I were doing the album tracking, I’d likely have placed Angola Bound in a different position, perhaps following Everybody Plays The Fool.

Close Your Eyes is a beautiful duet with Linda Ronstadt. Ronstadt was also the producer of the entire album; she did a fantastic job!

La Vie Dansante is a lovely tune, with an exceptional backing vocal track. This combination is beyond reproach as the vocal styles are perfectly complementary, thereby creating a sonic masterpiece.

Warm Your Heart is a solid track, but perhaps not one to write home about. It suits the album well, however.

I Bid You Goodnight is a beautiful vocal-focused ballad.

Ave Maria needs no introduction. It's an absolute classic and Neville pays respect to the song while making it his own. It's one of my all-time favourite songs and I absolutely adore this interpretation.

House On A Hill is a toe-tapping, head-bopping, song that is slightly jolting following the relaxed nature of Ave Maria, but it is so good that I don't mind the shifting style. That said, this is another song that may have benefited from a re-tracking of the album. As the final song on the album, however, it compels me to listen to the album again and stay within Neville's catalogue.

Warm Your Heart is superb from start to finish and should be in every music lovers collection, mine included.

Warm Your Heart is available on Vinyl, SACD, CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes.

If you prefer streaming, Warm Your Heart is available on TIDAL Hi-Fi, Apple Music, and Spotify.

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