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

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.

Air – Talkie Walkie (Album Review)

Air – Talkie Walkie (Album Review)

Released in 2004, Air's third studio album, Talkie Walkie, is a captivating sonic journey that beautifully combines dreamy melodies, lush instrumentation, and ethereal vocals. As you listen to this sonic masterpiece, you’ll be left in awe of the atmospheric soundscapes the French electronic duo were able to achieve. 

While it is questionable as to how memorable the cover art design is, for 10,000 Hz Legend does a better job in that regard, it's the music that will ultimately make you sit up and take notice. Talkie Walkie was released on vinyl nonetheless and the larger canvas size would certainly present the album artwork nicely, but you’ll find yourself looking at your speakers, wondering just how that incredible sonic presentation is emanating from them as the album plays.

Listening to the lossless Apple Music stream, a non-Apple Digital Master and direct counterpart of the CD release, I’m instantly struck by the recording, mix, and mastering for CD quality rarely sounds this impressive. It’s so good that I can say with a clear conscience that Hi-Res Lossless audio would yield no additional benefit. Some may disagree, of course, but the purity in the recording is delivered in bucketloads with this particular lossless stream.

Venus is an enchanting opening track that sets the tone for the album with core piano chords, an addictive rhythm, and ethereal vocals all dynamically layered to envelop the listener. 

Cherry Blossom Girl is a standout track that combines catchy pop sensibilities with Air's trademark ethereal sound. Think of the overlapping harmonies commonly associated with the Bee Gees.

Run shifts the musicality to the eerie side of the sonic spectrum. It isn't a bad song but the eeriness of the track results in mental confusion, thereby preventing ultimate relaxation at this point in the album.

Universal Traveler offers listeners a spacious enveloping soundstage. However, the harmonious lyrics are repeated ad nauseam and that aspect alone can diminish the sonic impact of Universal Traveller. In fact, this is one song that I feel would be stronger sans lyrics as it would offer a much more relaxed presentation. 

Mike Mills is a delightful instrumental piece that showcases Air's intricate melodies and lush arrangements. 

Surfing On A Rocket is a killer tune, and arguably the best song from Talkie Walkie, with an upbeat and vibrant style that will see you move involuntarily to the rhythm. While the lyrical content is repetitive and somewhat similar to Universal Traveler, Lisa Papineau’s vocal delivery is so compelling that you won’t mind for this is one song that could easily be listened to on repeat, indefinitely.

Another Day will capture your attention in a mesmerising dreamlike haze. It’s an incredible experience and one that needs to be heard in order to be fully appreciated for there are times when the English language is incapable of describing such beauty. 

Alpha Beta Gaga has an upbeat tempo that will hook you from the very first moments of the tune. The playfulness of the song is a result of the whistling melody that will stay with you as you enjoy the rest of your day. If only all earworms could be this enjoyable!

Biological shifts the fluidity of the album, again, and while it isn’t out-of-place with regard to the overall thematic style of the album, I’m not entirely sure it’s positioned in the correct sequencing for it is vastly different to Alpha Beta Gaga. Also, the distorted bounce beat can be rather distracting when listening on headphones; not so much, however, when listening via speakers.

Alone In Kyoto is a mesmerising tune that closes the album out beautifully. With its absence of lyrics, the song evokes emotions of solitude, contemplation, and longing, leaving a lasting impression that encourages repeat listens to not only the song but also the album. 

Overall, Talkie Walkie is an incredible sonic journey that just about any music lover will appreciate as the album is both introspective and accessible. The seamless fusion of electronic and organic elements, coupled with its dreamy melodies and ethereal vocals, make it a standout in Air's impressive discography and is one of the best albums released in 2004. 

Amy Winehouse – Back To Black (Album Review)

Amy Winehouse – Back To Black (Album Review)

Released in 2006, Amy Winehouse’s second and final studio album, Back To Black, achieved critical acclaim and catapulted Winehouse to superstardom overnight. Few would doubt her vocal prowess for her uniqueness is on par with Nina Simone, Billie Holiday, and Ella Fitzgerald; to name a few of the soul queens of yesteryear. Back To Black may well have been approached as a tribute to the 60s era, hence one could question my correlations, but I stand by these connections as the three aforementioned soul queens are as unique to each other as they are to any other artist, from any era. It is this uniqueness that allowed Winehouse to not only stand out from the crowd but to become immortalised through her music. 

Naturally, Winehouse was not alone in her endeavours and while her vocal prowess and writing ability are truly a gift to all music lovers, it’s true to say that Back To Black would have lost the soul element had it not been for the incomparable Dap-Kings, amongst other players, that created a compelling musical sound signature across the entire album. 

Arguably more important still was the contribution of co-producers Salaam Remi and Mark Ronson; two musical geniuses in their own right but two who would put everything they had into the composition and collective nature of this release. The combination of all elements was akin to lightning in a bottle and the production is done so well that the untrained listener won’t hear a deviation in production styles, despite it being there. Interestingly, Remi and Ronson didn’t connect in person but in speaking with Apple Music’s Zane Lowe for the 15th Anniversary Essential Album recording, Remi stated that “I give all of the vision to where she (Amy) was at with it and her interpretation of what she wanted to do.” It’s this kind of cohesion, and these kinds of producers, that ensured Back To Black became an iconic recording. 

Thematically, Back To Black was driven by Winehouse’s turbulent relationship status at the time as well as her addictions. Yet, Back To Black doesn’t sound glum for it’s a thoroughly enjoyable musical experience to behold; especially if you don’t pay too much attention to lyrical interpretation and instead focus on the vocal as an instrument.  

While some may lament the short runtime of Back To Black, there’s no filler to be heard here. Sure, some songs are better than others, but just as I never pick a particular song to listen to, from Back To Black, I never start the album without finishing it, for this is one release that deserves to be heard in its original sequencing. 

Speaking of listening to the album, if you’ve only ever heard the stereo mix of Back To Black then the Dolby Atmos mix may take you by surprise for it’s different. It may take a few listens, but if you give it time you’ll notice and begin to appreciate the spaciousness of the soundstage. The Atmos mix, in particular, is no longer limited by overzealous dynamic range compression thereby making for a more relaxed listening experience. Winehouse’s vocal is also more prominent in the surround mix as the tapering on the end of her enunciations is simply magnificent. The other aspect that rings true is the level of detail throughout the various musical layers that breathe new life into the songs that we know and love.

As for the stereo lossless Apple Digital Master edition, on Apple Music, it is as you’d expect if you’ve heard the album before—muddy (partially due to the intentionally added reverb), shrill, and lacking soundstage depth. Even the High Fidelity Pure Audio Blu-ray release that I was fortunate to have owned suffered the same fate. It was often suggested that it was the CD version upscaled, rather than a true high-fidelity source file; an aspect that doesn’t seem to be addressed to this day in the lossless and high-resolution stereo editions on Apple Music. Subsequently, the Dolby Atmos stream is now my preferred version for it addresses some of these aforementioned issues and offers fans a much smoother and more detailed presentation that is far more enjoyable to listen to. 

Rehab opens Back To Black perfectly as it sets the tone of the album from the first note. While many will point to Winehouse’s struggle with addictions, and perhaps dislike Rehab for its off-the-cuff approach to a very serious issue, Mark Ronson told Apple Music’s Zane Lowe that during the composing of the song, “Winehouse wasn’t doing any drugs and that he felt that those days were in Winehouse’s past.” If nothing else, Ronson’s statement offers a unique insight into the writing and recording process of this autobiographical signature song. 

You Know I’m No Good has an incredible bass intro akin to numerous hip-hop classic loops, but it is the jazzy appeal of the song that will touch your soul. Winehouse’s vocal is front and centre and the mix is utterly perfect with the musicians filling the remainder of the soundstage as if they were performing live in an out-of-the-way jazz club. The horn section is magnificent, particularly in the solo, but I can’t help but wish it were a little more gritty. Without a doubt, You Know I’m No Good is one of the best songs on Back To Black.

Me & Mr Jones is, when contrasted with You Know I’m No Good, not as strong as it should be. It simply comes down to its style. It’s well-written, but the mix is a little challenging to listen to at times resulting in a shock to the senses whereby your mind and body are unsure of which rhythm element it should be attaching itself to. The jazz aspect is appealing but not all jazz is created equally and while some will thoroughly enjoy this approach, other jazz fans will find it to be too erratic. 

Just Friends is a great off-beat vocal track that is perfectly suited to the inspiration of the album and Winehouse’s overall style. The horn section, however, is really the driving force, but that could also be said for the bass and drum elements. Yet, it is the piano and guitar components that sing most to me as I listen to Just Friends. 

Back To Black is magnificent! Mark Ronson created the quintessential piano backbeat that makes Back To Black not only memorable but iconic, allowing Winehouse to lay down some of the greatest vocals in recorded music history. Music doesn’t get much better than this; a truly wonderful experience for any music lover.   

Love Is A Losing Game showcases Winehouse at her smoothest and is a lovely tune. It has that old-time feel to it, with a dose of nostalgia, but as that is the purpose of the album, to be reflective and somewhat timeless, then Love Is A Losing Game ticks all the required boxes. 

Tears Dry On Their Own picks up the tempo with a very light musical tone that ensures it’s captivating despite its somewhat sombre lyrical style. It can also be seen as a homage to Marvin Gaye & Tammi Terrell’s Ain’t No Mountain High Enough.

Wake Up Alone has an incredible introduction. Close your eyes and take a listen for it instantly transports you to the moment of recording; as if you were there in person. Such a beautiful song but the drumming is a little too distant in the overall mix. Understandably, other musical elements are more important here, along with Winehouse’s vocals, but a decibel increase on the drum track would have been appreciated. 

Some Unholy War is bass heaven; thank you, Salaam Remi! Additionally, the intermingling of Winehouse and the backing vocalists are magnificent and another throwback to the 60s. A modern classic!

He Can Only Hold Her is one of the songs that’s a throwback tune. I’m sure that if someone unaware of Winehouse listened to this track, they’d assume it was from the 60s era for that Motown-styled backing vocal is simply exceptional. While I’m unsure if they had any influence on the song, I hear a little Crusaders throughout He Can Only Hold Her. 

Addicted is a solid closing track but I feel Back To Black would have been the better closing song. If you switch the two, the album wouldn’t sound right, but I much prefer the outro featured on Back To Black. That said, Addicted is perhaps a perfect bookend to Rehab as they share a similar approach with regard to tempo. However, in defence of Addicted, the closing few notes are a pure masterstroke. 

Back To Black is a landmark release and as solid as Winehouse’s other recordings are, there’s something very special to be heard here. Subsequently, as a piece of musical art and emotional expression, Back To Black is a timeless addition to any music lover’s library. 

Michael Jackson – Invincible (Album Review On Vinyl, CD, & Apple Music)

Michael Jackson – Invincible (Album Review On Vinyl, CD, & Apple Music)

Released in 2001, Invincible wouldn’t set the world on fire as his prior solo releases had. Certainly, the controversies surrounding Jackson didn’t help with sales but that’s an easy assumption for I feel the conciseness of his greatest albums is what was missing in all his post-90s releases. I’d even go as far as saying that his pre-Off The Wall solo albums are superior to Invincible. It isn’t that the songs are bad, per se, but the album is simply too long and the styles shift too much throughout. In reality, you’ve got an album that could have been split across two independent releases. One with the more upbeat tempo tracks, the other with the smoother soul-based ones. Jackson, however, was one artist that embraced the full CD length post-Dangerous and while that album was a double done well, Invincible is akin to listening to Jackson on shuffle; some may like that but I’d prefer a more focused and fluid presentation.

While I may not agree with the tracking, I do enjoy the album when listening to Jackson’s greater catalogue of music, but other than the questionable posthumous releases, Invincible is most certainly his weakest body of work. 

Sonically, I prefer the CD reproduction followed by the Apple Music stream. In perhaps a shock revelation, the vinyl record doesn’t sound superior to the digital counterpart and is proof that all vinyl is not created equal and that music-lovers must be format neutral if they are to get the very best musical experience. 

The CD, while most certainly brickwalled, sounds like a Michael Jackson album should. It remains dynamic even if it isn’t as dynamic as the vinyl release. However, that is where one of the problems with the vinyl release exists for the dynamics are impressive, but you lose some of the emotive energy in Jackson’s vocal and the musical accompaniment. For instance, songs like 2000 Watts and Threatened sound flat via vinyl whereas the CD punches you in the chest with a full-bodied audio experience. This flatter response may appeal to some music lovers, especially those with bass-heavy stereo systems, but I simply find that I become distracted when listening to the vinyl release, yet I find myself captivated when listening to the CD. Longtime readers will note that this isn’t generally the case and that more often than not I prefer the analogue release, but if it were flatness of sound alone perhaps I could learn to appreciate this pressing but on Break Of Dawn, the sibilance on the vinyl record is simply too much to tolerate. Admittedly, there is natural sibilance in the original recording, as can be heard on the digital counterparts, but it is amplified on the vinyl pressing.

The Apple Music edition, an Apple Digital Master, is very close to the mastering heard on the CD, but it isn’t as detailed as it pertains to the soundstage and elemental and instrumental separation. Basically, the CD just sounds right and the Apple Music stream is an adequate facsimile.

Sound quality aside, for a moment, the 2009 Music On Vinyl reissue is beautifully presented with a somewhat embossed silver texture that will most certainly appeal to collectors. No, it isn’t a gatefold design, but rather an expanded sleeve containing both records in full liner note sleeves. In-fact, the amount of detail in the liner notes is impressive to say the least as both the vinyl and CD releases don’t miss a thing. The record labels are simple, yet elegant, and it is truly a shame that I don’t enjoy the sonic aspects for both records are magnificent pieces of vinyl, from not only a visual standpoint but also a noise floor perspective whereby the vinyl between tracks, and in less involved musical aspects, is incredibly quiet. 

Unbreakable is an interesting opener for this album and one that simply doesn’t have the same oomph as the lead songs on Jackson’s prior albums. The vocal processing, and tinniness of sound, is a real deterrent. It isn’t necessarily bad, but it isn’t worthy of opening the album.

Heartbreaker continues the upbeat styling and again, I feel, as good as the song is, that it isn’t exceptional. It is as if too much experimentation with sound, layering, and the overall mix, created a shallow sound that sounds more like a demo than a fully realised recording. 

Invincible is a little more rhythmically charged than the previous songs. It gets the body moving to a somewhat predictable beat and there is far less vocal processing here to contend with, thereby making for a far more enjoyable listening experience. 

Break Of Dawn is a beautiful song and in a way is very similar to Earth Song. It’s atmospheric, immersive, and one of the best songs on Invincible. That is until the sibilant vocal aspect comes in  via the chorus. It isn’t nearly as present on the Apple Music stream, as it is on the CD and vinyl counterparts, but it is still naggingly present. 

Heaven Can Wait is a solid song. It isn’t one that I’d seek out, but it is thoroughly enjoyable when listening in the album format. 

You Rock My World is a great tune and as much as I enjoy Chris Rock’s involvement here, there are times when I wish the song would just start without the spoken word aspects. It helps when one chooses, as I often do, to play the song on repeat. 

Butterflies has a great tempo but I wonder if you also feel that this song is akin to a click track? It works, but it also sounds a little grating after a while. 

Speechless is lovely. 

2000 Watts is a fantastic tune. The tempo is spot on and this is one song that deserves to be turned up to 11. 

You Are My Life is simply beautiful; even if it is a sonic jolt following 2000 Watts. 

Privacy is brilliant! The anger in Jackson’s vocal is perfect for the song and his feelings towards the media. The only criticism I have is that the ending is a little more abrupt than I would like. 

Don’t Walk Away is another beautiful vocal-based tune but I really do wish a different tracking was presented as the shift between the more upbeat songs and the mellower ones can be a jolt to the system which results in a less-than-ideal listening experience. 

Cry is a lovely song and proves just how well these more ballad-focused songs can work well together, rather than being interspersed throughout the album. 

The Lost Children has a perfect tonality and pace, but the decision to include the backing Choir, while logical, is somewhat distracting. 

Whatever Happens is magical! Carlos Santana is a legend and his influence is most certainly heard here and in many ways, he is the reason why I love this song so much.  

Threatened is a great closer and while I feel encouraged to listen to the album again, the album’s length is most certainly a deterrent. 

Overall, Invincible fails in my mind only due to its length and stylistic shifts throughout. There are a number of solid songs here, a couple of hidden gems, and a little too much filler. What is good, however, is worth your time but I’d recommend you seriously consider the vinyl release before picking it up as it may not be to your tastes. If you like to feel your music, the vinyl release won’t do it for you. In that instance, don’t look past the CD or streaming counterparts. 

Muse – Absolution (Album Review)

Muse – Absolution (Album Review)

I often find myself amused as to just how much I adore the music of Muse, yet how infrequently I reach for their music. Absolution, Muse’s third studio album is, without doubt, one of my favourite alternative albums yet in a dichotomy that I can’t explain, I have yet to pick up this release on Vinyl or CD, instead choosing to appreciate it via Apple Music; an Apple Digital Master. While the collector in me questions my sanity, for this is one album most certainly worthy of adding to my physical collection, from a sonic perspective I’m never left with the feeling of wanting more after listening to the album on Apple Music. 

What is missing, however, is the extensive liner notes. Still, as fond as I am of the physical counterpart, that tactile element pales should the mastering, on a particular medium, cause the music to sound lacklustre to my ears. Hence, I find that where streaming is concerned, as long as I thoroughly enjoy the sonic presentation, then I can generally be content by not owning everything.

Of course, some may question if Muse’s Absolution does really sound that good; after all, their music could be classed as being overly compressed or brickwalled, yet what I would normally associate with these aspects I don’t find with the stream of Absolution. Yes, I note a level of distortion and it is a loud recording, but I feel that enhances the music somewhat. I find it neither distracting nor harsh and as it pertains to the edition found on Apple Music, the soundstage is well-developed, with adequate instrumental and atmospheric separation.

Intro is simply that, an introduction that leads perfectly into Apocalypse Please. In all honesty, at only 24 seconds in duration, one has to question if it wouldn’t have been better to simply tack it on to the beginning of Apocalypse Please. 

Apocalypse Please makes for a solid opening song with a musicality that demands one’s attention. 

Time Is Running Out has a killer intro with a rhythm that is addictive and will get you moving; I love it!

Sing For Absolution is a beautiful vocal-focused song. The soundstage is well-developed and while it is a little shallower than I’d like from a track like this, every element in the mix is clear thereby allowing you to be captivated by the music itself. 

Stockholm Syndrome is a hard-hitting riff-focused song that will give your stereo a workout. Yes, this is one track that is right on the border of acceptable as it pertains to loudness, but it works surprisingly well for the song and the usual brickwalled elements are not present meaning that Stockholm Syndrome can still be thoroughly enjoyed. 

Falling Away With You slows things down a little and arguably returns to a little more dynamic range; a range that is perfectly suited to this style of song. That said, depending on your setup, you may wish to reduce the bass levels as I found they were too prominent on my setup when playing Falling Away With You. Overall, a great song!

Interlude is seamless in its connective purpose.

Hysteria is a killer alternative rock tune. 

Blackout is magical; Matt Bellamy’s vocal tracking here is exquisite. 

Butterflies And Hurricanes is a great song but I do wish the soundstage had a little more depth as Butterflies And Hurricanes sounds quite congested and it would be lovely to hear every element even clearer than it currently is. 

The Small Print starts out well, but the sibilance in Bellamy’s vocal is a distracting element here. Nevertheless, the song works well within the context of the album. 

Endlessly is a great tune that I keep coming back to time and time again. Endlessly, literally, can be played endlessly on repeat as far as I’m concerned; I like it that much!

Thoughts Of A Dying Atheist is a fantastically witty song.

Ruled By Secrecy is an incredibly delicate tune that slowly builds as the song progresses. It’s magnificent! 

Fury (Bonus Track) is utterly brilliant and is worthy of inclusion on Absolution, but I’d argue that Ruled By Secrecy was the perfect closing track that allowed one to sit and reflect on the song and the album itself before spinning it again.

From start to finish, Absolution is a sonic experience that has to be heard. There isn’t a B-side to be found and while not all songs stand out, collectively as a piece of musical art, it is a remarkable achievement that borders on being nothing short of a masterpiece. 

Velvet Revolver – Contraband (Album Review)

Velvet Revolver – Contraband (Album Review)

As a lifelong Guns N’ Roses fan, Velvet Revolver appeared to be the natural transition following the dissolution of the original Guns N’ Roses lineup in the late 90s and while one shouldn’t compare the all-star lineup of Velvet Revolver, their songs are, for the most part, hard-hitting garage rock tunes that don’t break new ground but are a worthy addition to the rock and roll genre. That is if you can get over the crushed soundstage that is just grinding and at times intolerable. 

Yes, dear reader, Velvet Revolver’s Contraband sounds like crap. It isn’t the performance, but the chosen recording style, mix and mastering. Loudness was thoroughly applied resulting in a massively compressed soundstage that comes across as noise, rather than a musical masterpiece. Even the ballad, Fall To Pieces is a noisy mess that lacks the definition and subtleties that are heard on basically every Guns N’ Roses album. Seriously, November Rain, Estranged, and Don’t Cry would have been absolute failures if they were mastered this badly. I simply can’t understand why musicians with such credibility would have allowed their music to be released in this manner. 

To say Contraband needs a remaster is an understatement. Those of you who have been longtime readers of Subjective Sounds would likely be surprised at that statement but this is one album whereby the original release is arguably worse than the worst remaster I’ve ever come across. Yes, it is that bad. The current CD/Apple Music master is headache-inducing and while I love the performance and songs, I seldom listen to it because it is a sonic mess. I acknowledge that the vinyl release for Contraband is more dynamic but one can likely understand my scepticism given the dismal mastering quality of the digital release doesn’t exactly exude confidence in this music lover; especially when reviews have been mixed. 

Unfortunately, when listening to the album I find that Matt Sorum’s drum performance is completely lost in the mix while Duff McKagan’s bass is only occasionally heard as a separate instrument. Thankfully, Slash is always loud and clear, but that is no surprise. Dave Kushner maintains the rhythm and Scott Weiland sang his ass off, yet there isn’t a standout element to be heard on Contraband. It is as if egos got the better of the musicians and each musician turned their performance up to eleven, thereby masking everyone else’s contribution. A shame, yes, but it’s just something us fans have to live with. 

Sucker Train Blues is a promising start to the album, but the song is a sucker once it gets past its introduction. It is pure rock and roll but is the first of many examples of over-compression that takes away from the performance. Seriously, how distant is Sorum’s drumming on this track? It sounds like he isn’t even in the same studio and those cymbal crunches are just too crunchy with no decay present.  

Do It For The Kids is “R&FNR” and is thoroughly enjoyable. 

Big Machine is where, for me, Contraband begins. I would have loved to have this as the lead song with Sucker Train Blues and Do It For The Kids slotted into other positions in the tracking of the record. Nevertheless, Big Machine is a song that I love and one that everyone can relate to. 

Illegal I Song suffers badly from the applied loudness, a shame considering it could have been significantly different. The mastering limitations here is what I call headache-inducing. It is, unfortunately, a song that I tend to skip. 

Spectacle is a solid rock and roll tune. Nothing to write home about, but enjoyable nonetheless. 

Fall To Pieces is a favourite of mine. I’d even go as far as calling it a masterpiece. While the story-arc is derived from Weiland’s battle with heroin and the impact it had on his wife, I believe that it’s a song that any of us can apply to various aspects of our lives as we’ve all had moments when we’ve fallen down and feel as though we’re falling to pieces. Fall To Pieces is also one of the tracks that don’t sound too bad given the heavy-handed loud mastering. I’d still like it to be more open and enveloping, but I love it anyway. A great song!

Headspace has a killer rhythm and is a great rock and roll tune. I love it!

Superhuman has the best guitar riff on the album. Brilliant! Similar to Headspace, the rhythm on Superhuman is off-the-charts. 

Set Me Free is a bit of a mixed bag. It isn’t a bad song, but I don’t feel the chorus works, thereby making it somewhat lacklustre. 

You Got No Right is a great song with a vocal styling that reminds me of Julian Lennon. In fact, I’d love to hear Lennon cover You Got No Right. Slash’s solo on this recording, while not revolutionary, is signature Slash and this fan thoroughly enjoys it. 

Slither is, of course, Velvet Revolver’s trademark song and is bloody awesome with a mix and rhythm that is just right. The crunching cymbals persist, however, but little elements like that can be addressed should a remastering ever be undertaken. Additionally, Slither also won the Grammy award for Best Hard Rock Performance in 2005. 

Dirty Little Thing is a bit of a letdown after Slither. It isn’t great. A B-side at best. 

Loving The Alien is an incredible song to close the album on that encourages me to play it again and stay within Velvet Revolver’s small, but compelling, catalogue of music. Loving The Alien is one song where a remastering would send it skyrocketing to new heights as it is one of the best songs Velvet Revolver recorded. 

Overall, Contraband is a sonic disaster but the songs are its redeeming quality. I look forward to the day when the album is reissued and remastered with kid gloves for I believe it deserves to be revisited and hopefully that will occur sooner, rather than later.