Michael Jackson – Got To Be There (Album Review)

While most Michael Jackson fans are busy listening to The King Of Pop’s most renowned albums, Off The Wall, Thriller, Bad, and Dangerous, I find great pleasure in listening to his debut solo release, from 1972, Got To Be There, for it’s an exceptional album and, in the context of his continued evolution towards superstardom, has become somewhat of an underrated and forgotten release.

Yes, everyone is aware of Jackson’s earlier recordings, particularly as the frontman of the Jackson 5, but this solo outing is a world-class record with a collection of 10 timeless tunes. In fact, from start to finish, Got To Be There is flawless. The production, songwriting, and artistry are exactly what one would expect from Motown during the era. Granted, there are cover songs, but they, too, are expertly interpreted. Still, it’s Jackson’s impressive vocal delivery that makes this timeless album a hidden gem, because he was no longer sharing the limelight with his brothers. While Jackson was only thirteen at the time of recording, there’s a level of maturity that simply couldn’t be expressed adequately in the Jackson 5 and would, arguably, not appear again until the transition from Motown to Epic Records and The Jacksons’ story began.

While most certainly ensconced in the sonic styling of the era, the Lossless Apple Music stream, an Apple Digital Master, is simply exquisite. As much as I value my 2009 vinyl reissue, and its near-perfect replica of the original release, the stream is the perfect digital counterpart and is so good that if I didn’t own the vinyl release, I’d be more than content with the streaming version. In fact, the stream is so lush that it sounds more analogue than the vinyl reissue. That, in part, is likely due to it being a different mastering, most likely from a digital intermediary, but where the record sounds a little sharp and clinical, the stream is laidback and crankable. One may assume it’s a small variance, but when listening back-to-back, it’s a considerable difference and one that leans my preference towards the 2013 digital remaster as heard via Apple Music.

Ain't No Sunshine is the perfect album opener and a stunning soul-based cover of Bill Wither’s original (from 1971). While Jackson’s rendition may have a slight increase in tempo, it suits his vocal capabilities while staying true to the original masterpiece. Yes, the original is better, but when you factor in that Jackson was only thirteen when his version was recorded, well, it’s a stunning musical achievement by any standard. Additionally, the instrumental performances and overall mix are absolutely incredible, and the individual players deserve far more praise than they’ve ever received, particularly on these legacy releases where a house band was a common thing.

I Wanna Be Where You Are is thoroughly enjoyable. The mid-tempo rhythm works well with Jackson’s youthful vocals, but it’s the Motown spit and polish that is so compelling. That doesn’t take anything away from Jackson’s natural charisma, but if we’re being completely honest, Berry Gordy and the team at Motown played a core role in Jackson becoming the King of Pop.

Girl Don't Take Your Love From Me is a beautiful ballad. The minimal arrangement results in Jackson’s vocals being prominent within the mix, and is the first song on the album to truly showcase Jackson’s impressive vocal range.

In Our Small Way flows seamlessly with a relaxed soul styling that, again, highlights Jackson’s vocal capabilities, amidst a lovely musical backing. As you listen, you’ll likely find yourself singing along, for the recording’s melody, sincerity, and warmth are addictively catchy.

Got To Be There, aside from being the title track, is Jackson’s debut solo single and rose to the top of the charts. While it had a radio-friendly sound, and is thoroughly enjoyable, I wouldn’t consider it the best song from the record. The one thing that puts me off is the distortion in Jackson’s vocals, particularly in the high notes. Granted, it’s a recording technique, and it clearly worked considering how successful the song was, but a chosen vocal style can, at times, be detrimental to an otherwise excellent song.

Rockin' Robin may be a novelty tune at its core, but there’s something special about Jackson’s rendition that defies explanation, for as much as it is cringeworthy, it’s simultaneously a guilty pleasure. Sometimes all you need is an infectious groove, one that will make you smile, for there are times when we all take life too seriously, and toe-tapping and head-bopping to a fun track can be exactly what the doctor ordered.

Wings Of My Love shifts the tempo back in line with much of the album’s, and the era’s, musical styling, and it offers not only a nice respite following the upbeat “Rockin' Robin” but is a hidden gem as many of Michael Jackson’s best songs, are not his high-tempo numbers as his impressive vocal, even at such a young age, was his greatest asset.

Maria (You Were The Only One) steps the tempo up a notch, and when combined with lush harmonies, a highly appealing melody, and some masterful musicianship, “Maria (You Were The Only One)” ends up being one of the best songs from the record and is deserving of much more attention than it receives.

Love Is Here And Now You're Gone is a cover of The Supremes’ classic (from 1967), but Jackson’s performance is so strong that it makes The Supremes’ recording sound like a demo. Jackson’s vocal presentation is stronger, but it’s the entire arrangement on this recording that makes it much more appealing and refined, thereby making it the standard that all other covers of this track should be measured by.

You've Got A Friend is a beautiful song and an ideal closing track, but as strong as Jackson’s rendition is, Carole King’s original (from 1971) is incomparable.

Yes, Michael Jackson’s future solo albums, particularly from Off The Wall onwards, are some of the very best releases in all of recorded music history, but Got To Be There has the same passionate performances as his more popular works and is worthy of inclusion in every music lover’s collection, for the mix of well-known covers and compelling originals makes this a thoroughly engaging and memorable listen.

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Elton John – Honky Château (Album Review)

Honky Château, despite being a chart-topping success, remains one of Elton John’s most underrated records of the 70s, even with the immense popularity of “Rocket Man (I Think It's Going to Be a Long Long Time)”. Positioned between Madman Across The Water (1971) and Don’t Shoot Me I’m Only The Piano Player (1973), this 1972 release, Elton John’s fifth studio album, sees Elton John experiment with rock, pop, jazz, country-rock, and touches of funk. The result is a diversely pleasing album that becomes more appealing with repeat listens.

What isn’t as pleasing is the album’s artwork, for Honky Château is amongst Elton John’s least intriguing, as it fails to offer a mystique or represent the somewhat playful nature of the music contained within. The chosen artwork, for the 50th Anniversary Pink & Yellow Splattered edition, is much more desirable as it offers a better visualisation of the tone of the album.

While Honky Château has incredible songwriting, performances, and overall production values, there are, arguably, too many different masterings available, all offering slight variances in the album’s tonality and sonic clarity. While going through every master goes beyond the scope of this review, I will say that I feel the 1995 remaster remains superior to the 2017 remaster that is available via the 50th Anniversary Edition. My reasoning is twofold. Firstly, from a purely subjective standpoint, it is the version of the album I am most familiar with. Secondly, as it pertains to the Lossless Apple Digital Master, from Apple Music, it’s lost the sonic sparkle in the top end of the audible spectrum, instead focusing on a mid-to-low end range. That chosen styling adds a little oomph, yes, but it also muddies the clarity of the recording. Of particular note is the near-loss of "Legs" Larry Smith's tap dance on I Think I'm Going To Kill Myself via the 2017 remaster. While one can still thoroughly enjoy the music, and some may even prefer the new remaster, it’s best to give them both a listen and decide for yourself.

Honky Cat has a lively funk-jazz feel and is an ideal album opener. Its strength lies in the song’s compelling composition, and despite being initially straightforward, if you take the time to listen to the mix and the varying sonic elements contained throughout, you’ll undoubtedly come away amazed, as Honky Cat is a real humdinger.

Mellow, as the name implies, slows the tempo slightly, but its mellow styling is pure genius as the song is not only exceptional, but if Honky Cat was New Orleans jazz-club inspired, Mellow would be ideal in any piano bar with it’s laid back and relaxed approach.

I Think I'm Going To Kill Myself returns the album to the upbeat tempo and is one of the most appealing and memorable songs from the record. Its tongue-in-cheek lyrical approach may cause division amongst listeners, but it offers a different perspective when discussing a serious and sometimes controversial topic. That can be especially true when you consider the era in which Honky Château was released, for issues relating to suicide, or suicidal thoughts and mental illness, were somewhat taboo and not spoken about as freely as they are in the modern era.

Susie (Dramas) is a thoroughly enjoyable album-only tune. You likely won’t find yourself returning to the album specifically to listen to this song, but it’s got a compelling rhythm that will get you toe-tapping and head-bopping throughout. There is a standout, however, and that is Nigel Olsson’s drumming for it’s some of the very best on any Elton John release.

Rocket Man (I Think It's Going To Be A Long Long Time) is one of the greatest songs ever recorded and a trademark for Elton John. If you’re not singing along to the chorus, even in your mind, you’re listening wrong, for “Rocket Man” is an absolute masterpiece.

Salvation is a beautiful song and a hidden gem.

Slave is a killer tune, but John’s vocal delivery (and the overall musical styling) is simply too reminiscent of The Rolling Stones to make it purely original.

Amy picks up the toe-tapping, head-bopping, groove and is perfectly positioned within the album’s linear structure, but it’s most certainly an album-only number that is unlikely to be anyone’s favourite.

Mona Lisas And Mad Hatters is simply magnificent and should have been released as a single, for I dare say it would have been a chart-topper. While it has made its way beyond the constraints of Honky Château, onto career perspective releases, “Mona Lisas And Mad Hatters” remains somewhat of a deep cut in Elton John’s extensive catalogue, but a highly memorable one that will see you coming back to the album time and time again just to hear this classic tune.

Hercules closes out the album in the same way it started, with an upbeat number. While it’s a great song, and most certainly encourages me to play the record again, I can’t help but wish that “Mona Lisas And Mad Hatters” had been the album closer, for the compelling nature of that song, along with the relaxed styling, would have ensured it was a quintessential closer; one that also allows for contemplation of the music that’s just been heard.

From start to finish, Elton John’s Honky Château delights. The songs, for the most part, have an upbeat vibe, but it’s the incredible songwriting and layered compositions that really make Honky Château memorable within Elton John’s vast body of work. While many will be drawn to the album for the hits, “Rocket Man” and “Honky Cat”, Honky Château is far more than a collection of songs; for the more you listen to it, the more you come to appreciate this humble release, one that could very well be considered Elton John’s greatest musical achievement.

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Deep Purple – Machine Head (Album Review)

There are hard rock albums, and then there is Deep Purple’s Machine Head; perhaps the greatest heavy metal album of the ‘70s, or of all time.

Yes, dear reader, that is a bold statement, but Machine Head is no ordinary record, for it not only sees the English rockers at the peak of their creativity, but its blistering musicality knows few peers, for it laid the groundwork for heavy metal, and is akin to what one would expect from a greatest hits release. In essence, few albums have defined a genre as much as this one; it has inspired generations of musicians and remains a reference point for what a hard rock album should sound like.

Released in 1972, Machine Head is the sixth studio album from Deep Purple and featured the second lineup of the band: Ritchie Blackmore (guitars), Ian Gillan (vocals), Roger Glover (bass), Jon Lord (keyboards), and Ian Paice (drums). While fans will likely argue over their preferred lineup, it’s impossible to deny just how strong this Mark II lineup was, for their output is otherworldly.

Of course, it isn’t just the music that demands one’s attention, as the album artwork and blurred band image is utterly perfect, aligning ideally with the metal-based music that’s contained within the record. There is, however, an alternative cover art design, but we shouldn’t speak of it as it’s the most pedestrian of covers with the band sitting in the studio, looking downright bored with themselves. To think that the record label would reissue such a landmark release with this artwork, for the album’s 25th Anniversary, leaves me speechless; it really does.

As it pertains to the sonic quality of the lossless Apple Music stream, an Apple Digital Master, it’s sensational. You’ll be rocking out with your air guitar and forgetting about the worries of the world as the music melds with your soul; an aspect that, should you allow it to, will intertwine with your subconscious and never let go. Sounds scary? It isn’t. It’s a gift from the rock gods themselves.

Every aspect of the recording is stunningly presented and preserved with no glaring issues to report. It is so sonically pleasing that I can’t see the benefit of picking up a physical release; aside from the ownership and tactile aspects, that is. Yes, there are lauded after surround sound mixes, all of which are interestingly absent from Apple Music, but that’s okay because this fan prefers stereo editions, especially when they’re done this well.

Highway Star is an anthem-styled rocker that’s a perfect opener for this incredible release. From the uptempo riff to the soaring guitar solos to Gillan’s masterful vocal presentation, “Highway Star” never ceases to amaze, yet the album has only just begun, and it continues to get better. It’s as if Deep Purple set out to prove they were the fastest, tightest, and loudest band on the planet, and they delivered.

Maybe I'm A Leo is a masterpiece and, in my subjective opinion, is the greatest song not only from this album, but that Deep Purple has ever recorded. It’s attitude-driven blues-based rhythm is off-the-charts and perhaps it’s a blessing in disguise that outside of the album, “Maybe I’m A Leo” is less well-known, for as much as I adore “Smoke On The Water”, it has been played to death over the years, yet “Maybe I’m A Leo” has a fresh feel to it.

Pictures Of Home is a thoroughly enjoyable album-only number, complete with the sonic cues that Deep Purple are renowned for. While it most likely isn’t at the top of anyone’s list, as it pertains to the songs that bring them back to Machine Head time and time again, it’s more than a solid tune that flows well within the album’s linear structure.

Never Before brings the funk, with a killer introduction that leads seamlessly into one of Deep Purple’s most compelling songs. There’s little wonder as to why it was released as a single, for its straightforward hard rock approach meant that it was easily accessible (think radio-friendly), particularly beyond the band’s core audience.

Smoke On The Water may well be one of the greatest songs ever written, with a riff that is nothing short of legendary, but it still doesn’t trump “Maybe I’m A Leo” despite it being amongst my favourite songs from the band. No, I’m not trying to be controversial with that statement; it’s just my subjective truth as “Smoke On The Water” has been overplayed, and if it were not for the trademark riff and associated heavy groove, it would be a solid, but not exceptional, rocker.

Lazy is a wonderfully distorted composition akin to a jazz band’s jam session, but with Deep Purple’s blues-based hard-rocking flair. While some may lament the song’s length or the indulgent nature of the tune, when Deep Purple has such incredible music, as heard on Machine Head, let alone their other albums, one can accept a somewhat experimental tune that sees the band not only explore their artistry but also their cohesion with each other. Had it not been for songs like this, the wonderfully expansive and expressive Made In Japan may not be the celebrated recording it is.

Space Truckin’ flows seamlessly from “Lazy” but adds a little more energy and a darker vibe. It’s so compelling that if you don’t find yourself putting “Space Truckin’” on repeat, you’ll most certainly feel compelled to play the album again, for Machine Head will keep you immersed for hours.

From start to finish, Machine Head is a literal masterpiece that is not only Deep Purple’s most successful release, but is also amongst the most influential albums of all time. Artists such as Metallica, Iron Maiden, and Van Halen have cited Deep Purple as an influence on their music, and one can understand why, as the songwriting, performances, and overall production are textbook examples of how to produce a legendary release, one that has not only stood the test of time but will exist for millennia.

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Cymande – Cymande (Self-Titled) [Album Review]

Released in 1972, the self-titled debut, Cymande, offers a brilliant blend of funk, jazz fusion, soul, and reggae that will appeal to just about any music lover; if they’ve heard of the band, that is.

Yes, dear reader, had it not been for my ongoing project: Exploring the history of recorded music; one album at a time, it’s highly likely that I would never have heard of Cymande either. It isn’t that their music is obscure, far from it, but they’ve flown under the radar of what is considered popular music. Yes, funk and jazz-styled music have often existed on the outskirts of the music industry, but given just how exceptional this debut is, it blows my mind to consider that Cymande, the band and the album, were never more popular; they truly are a hidden gem.

It is important to note, however, that Cymande did see moderate success in the United States; it just wasn’t long-lasting, and their single chart performance, while ranking in the Top 50, didn’t venture towards the top of the charts.

Given just how important album artwork was during the early ‘70s, it adds further fuel to the inquisitive fire as to why this release was seemingly ignored by the music-buying public, for the cover artwork is simply stunning and would have looked impressive on the shelves of any record store. This is certainly true when you consider the expanded artwork design continues on the rear cover, an aspect of music’s visual arts accompaniment that continues to be ignored in the streaming era. Thankfully, this aspect hasn’t been lost to the sands of time, for Partisan Records has not only kept the album alive via various vinyl reissues but they’ve remastered it in 2021 and have additionally reissued a CD release with the original gatefold design intact.

Part of the appeal, other than reasons of ownership and expanded artwork, is the magnificent sonic quality of the remastered release. Naturally, I haven’t heard an original release, but as I listen to the CD-quality lossless Apple Music stream, I’m left stunned, for this reproduction is so impressive you’d think it came directly from heaven. While I haven’t been able to find out which specific mastering engineer/s worked on this release, it was done by the team at Abbey Road Studios and is amongst the greatest sonic experiences I’ve ever had.

The sound signature is warm and creamy, but not overly so, as the incredible dynamic range remains intact, thereby allowing the album to sparkle in a way that is non-fatiguing. This is as much a sit up and take notice release as it is a lounge back and chill performance. How much the remaster plays into the remarkable recording and mix is a question that requires further investigation, but all one needs to do is hit play, and I’ve no doubt you’ll be blown away with one of the most memorable recorded musical experiences life has to offer.

While purists may note that the songs “Friends” and “Mighty Heavy Load” are not part of the original album’s linear structure, but added to the most recent remastered CD reissues, I feel these bonus tracks add to the core album experience, rather than detract from it. Plus, and this may just be me, but I’m not smitten with “Rastafarian Folk Song”, and I therefore feel “Mighty Heavy Load” is a much stronger closer.

Zion I is a rhythmic masterpiece and a perfect song to open the album with, as it sets the tone for the entire record. Immediately, you’ll feel your body moving involuntarily to the music, and after listening numerous times, you’ll find your mind melds perfectly with the harmonious vocals in a manner that will fill your soul with joy.

One More slows the tempo somewhat, but it isn’t a jolt to the senses. Instead, you’ll find “One More” akin to a sonic cleanser following the more upbeat “Zion I”. Its gentler mood is so pleasing that you’ll feel as if the weight of the world has been lifted off your shoulders when you listen to this incredible composition.

Getting It Back, much like “Zion I”, has some killer basslines by Steve Scipio that open the track and remain as the song’s backbone, but it’s the tight production, Ray King’s incredible vocals, and Peter Serreo’s tenor saxophone, amongst all other percussive elements, that make “Getting It Back” a standout.

Listen is a masterful tune, one that I’m surprised Quentin Tarantino (Pulp Fiction and Jackie Brown) hasn’t utilised in one of his films. That said, “Listen” is one of the finest songs from the album and is amongst my favourite songs of all time, by any artist, of any era.

Rickshaw is a little edgier than the smoothness heard on “Listen”, but diversity plays well into this record, for there’s never a dull moment, and it’s these contrasting elements that are essential to the album experience. Where “Rickshaw” differs, however, is in it’s free flowing jazz fusion styling, and while it may only be an instrumental tune, the layers of musical elements are something that has to be heard to be fully appreciated as you’ll find yourself immersed in a sonic presentation that is complex, yet appealing, and is never heard the same way twice as your mind will attach itself to different elements of the mix upon each repeat listen.

Dove is pure bliss. Sometimes less is more, but not in this case, for “Dove” is one of the most beautiful tunes you’re ever likely to hear, and it needs the entire 10+ minutes to convey its nuanced emotion.

Bra flows relatively smoothly from “Dove”, and while I maintain that I had not heard of Cymande until very recently, “Bra” sounds awfully familiar. Most likely, that’s due to it being sampled over the years by hip-hop artists, but despite that, where “Dove” needed the extra time to convey the song adequately, I feel “Bra” is a little too repetitive, despite its compelling groove.

The Message is an incredible composition with a funky, uplifting rhythm that will see you moving subconsciously throughout. “The Message” and “Bra” before it were the two songs that made the charts in the United States, yet I don’t consider them the strongest songs from the album, regardless of how much I enjoy “The Message”.

Rastafarian Folk Song is the album’s original closer, but the spoken word opening, regardless of paying homage to Rastafarian culture and heritage, takes listeners out of the musical flow. Once the song gets going, however, it’s catchy, appealing, and enjoyable.

Friends is a fluid, jazzy number that has some killer sonic hooks and is an admirable bonus track that is most certainly worthy of inclusion and has been strategically positioned, for “Mighty Heavy Load” is, in my opinion, an ideal closer for the record.

Mighty Heavy Load is a little more mellow than “Friends”, but the more laidback and mid-tempo styling allows for time to contemplate and appreciate the music that’s just been heard. Of course, if you’re like me, you’ll find yourself playing Cymande on repeat, for this is one album that can seldom be listened to once.

Few albums are as impressive as Cymande. Its sonic prowess is only amplified by the incredible songwriting, recording, and overall production values, but it’s the unassuming nature of the record, having flown under the radar for so long, that makes this album even more special, for it should have been a landmark release of the ‘70s, one that deserves far more attention than it receives. So, if, like me, you’ve only just come across this incredible release, share this album with a friend or a loved one, for it's too special to keep to ourselves.

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Alice Cooper – School's Out (Album Review)

School’s Out isn’t quite Killer, nor is it Billion Dollar Babies. Still, this 1972 release, the Alice Cooper band’s fifth studio record, is a culmination of everything that came before and a precursor to the incredible music that was on the horizon. Most importantly, however, School’s Out has its own unique qualities that separate it from the other albums in Alice Cooper’s discography, as the combination of glam and hard rock culminated in one of the most rewarding Alice Cooper experiences one can enjoy.

Regular readers may note that I’ve only ranked School’s Out as Alice Cooper’s 15th best studio album, on the Alice Cooper: Albums Ranked (From Worst To Best) list, yet that shouldn’t be seen as a negative aspect, for the only reason it’s ranked in that position is because 14 other Alice Cooper releases are, subjectively, better. It’s a good problem to have, however, as there can never be too much Alice Cooper and with 30 albums to choose from, we’re incredibly fortunate to have such a wealth of incredible music.

It isn’t only the music, though, as the album’s artwork is legendary. That is, if you’re not listening via streaming services. No matter how technologically advanced streaming services are, the original school desk packaging cannot be replicated. While a CD release has the potential to offer a smaller facsimile of the original artwork, School’s Out is most certainly of its era, and the larger vinyl canvas is the perfect size, thereby allowing the faux desk design to open, revealing the inside of the school desk in the way one might expect. It’s an experience that really needs to be presented in its original intent, panties and all. Yes, dear reader, a pair of panties was included for music lovers to wrap around their record, like a sleeve.

Of course, some don’t care for physical presentations, and I can certainly attest to some of these intriguingly intricate designs being more trouble than their worth, especially as it pertains to easy and fast access to the record. So, for those who wish to simply get the party started, you can’t go wrong with the lossless Apple Music stream, but which edition should you choose?

Thankfully, common sense has prevailed, and rather than completely replacing the prior CD mastering, from 2004, it was kept alongside the 2023 remaster; a version of the album that simply doesn’t sound right. Granted, I’ve been listening to the older mastering for decades, but in providing a bolder presentation in both the low and midrange, the sparkle of the recording has been lost in this most recent remastering.

While it could be suggested that the 2023 remaster brings the album up to modern-day standards, the bigger problem (unrelated to this release) is the absence of tone controls on modern stereo systems. No, I’m not talking about EQ settings, for that is a different beast entirely, but bass and treble dials that once adorned every piece of stereo equipment and would allow the listener to dial the sound to their preferred tonal preferences. These days, more than ever, mastering engineers need to appeal to the masses. While EQ settings, especially ones that offer full control, rather than a set of presets, are incredibly useful, sometimes adjusting the bass up a notch and the treble down by one can achieve the desired result. In many respects, while I can appreciate the 2023 remaster, I dare say that an adjustment to one’s tone controls (or EQ) would yield a similar result and would be fully customisable to an individual’s taste (artistic intent, be damned).

All that said, I do prefer the rawness of the earlier digital reissue as I find it aligns well with the band’s raw production qualities. So, with that in mind, take a listen as we explore the songs that make up this timeless masterpiece.

School's Out is synonymous with Alice Cooper, and while it’s not the greatest song from the band (or Alice himself), it has a rebellious quality about it that all of us, regardless of age, can appreciate. In essence, “School’s Out” is a timeless tale that talks to the human need for freedom from that which is required of us. Add to that the legendary glam rock styling, and there’s little wonder as to why this has remained a fan favourite and a mainstay of Cooper’s live performances.

Luney Tune shifts to a more sombre tone, but that isn’t a detraction, as Luney Tune is a darker, yet fun, song that is Alice Cooper 101. No, it was never going to be a standout, but as an album-only song, Luney Tune is a wondrous addition as it adds a sense of theatricality to the record.

Gutter Cat vs. The Jets is, without a doubt, the coolest song from School’s Out. Not only is it showcasing Alice Cooper’s extended and more elaborate styling, in a similar manner to “Black Juju”, but it’s perfectly suited to the era, so much so that it wouldn’t be completely out of left field to suggest that this is a song one may have expected from Elton John. However, it is the overall quirkiness that adds another level of intrigue for it’s akin to a memorable vaudeville carnival-style performance; one that will keep you coming back for more.

Street Fight flows seamlessly from “Gutter Cat vs. The Jets”, but it isn’t really a song. A palette cleanser, perhaps, but as a musical interlude, it’s ideally sequenced.

Blue Turk is a killer tune with a bluesy feel that will appeal to just about anyone interested in a multi-layered musical performance, one which features the legendary Wayne Andre on trombone. Overall, “Blue Turk” is a compositional wonder in and of itself, for the complexity and entire musical performance is extraordinarily compelling.

My Stars is a gorgeous tune and is one that would influence many musicians in the subsequent decades. You can most certainly hear a possible influence of Glen Buxton’s guitar work on Slash’s career, particularly as it applies to his Guns N’ Roses recordings. Beyond that, the song’s melodic hooks captivate, making it an incredible piece of audible art and one of the best rock tunes from the 70s.

Public Animal #9 is an upbeat animal (pun intended). As a playful tune, you’ll find yourself toe-tapping and head-bopping along, and while it isn’t necessarily a standout, the gravelly vocal presence of Alice is utterly perfect on this tune.

Alma Mater has a beautiful introduction, and while the delicate musicality continues throughout, even when the song really gets going, “Alma Mater” is one of the most uniquely different tunes Alice Cooper has ever recorded. It’s reminiscent of The Beatles, and works well in that tip-of-the-hat context, but it’s equally not quite Alice Cooper. Nevertheless, it’s an exceptional song and is one of the best from the record.

Grande Finale is a musical masterpiece and the perfect closer for the record. Yes, it is earworm-inducing, but in the best way possible, as it’s a stunning instrumental composition and ends the album on a high note, bringing together many of the record’s themes in a layered and enveloping sonic presentation.

Few albums are as lauded as Alice Cooper’s School’s Out. In part, that is due to the spectacular original album artwork, for while it can be seen as somewhat of a novelty, it expands the album and offers a perfect counterpart to the music itself. Artwork aside, School’s Out is a raw recording that is perfectly aligned with Alice Cooper’s origins, yet in an interesting dichotomy, it’s well-produced with incredible songwriting and performances throughout. Ultimately, School’s Out is a quintessential album experience and is one of the greatest releases from the band.

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Tracy Chapman – Tracy Chapman (Self-Titled) [Album Review]

While Crossroads (1989) is a compelling follow-up to this 1988 self-titled release, there is little doubt that Tracey Chapman’s debut is her magnum opus and one of the greatest records released in all of recorded music history.

Much of the fanfare surrounding this release is as a result of her social commentary and incredibly unique, and simply gorgeous, vocal performance throughout. Here, at Subjective Sounds, less importance is placed on the lyrical context, instead preferring to simply enjoy music in all its sonic wonder. As such, if you’re after a more theoretical breakdown of the album’s themes, this review may not be for you. It is, however, wonderful when an album comes along that can speak to all music lovers; those who appreciate lyrical meaning and those, such as myself, who prefer to enjoy the human vocal element as another instrument within the mix.

No matter which way you choose to enjoy this remarkable release, your enjoyment will have been shared by more than 20 million people, as the success of this debut set the bar so high that Chapman has never been able to top it. Perhaps it was simply a case of being released at the right time, but I don’t believe that’s the only reason, as this is a timeless release, one that will remain relevant well beyond our own lifetimes.

It was so celebrated that Chapman went on to win three Grammy Awards (1989) while being nominated for four others, only further cementing the brilliance of her music. In a modern music environment where artists often collaborate with multiple people, Chapman is one of the truly talented creative artists because her music is composed by herself, with “Talkin' Bout A Revolution” being written while she was still in high school.

As it pertains to the sonic presentation of the album, the recording, mix, and mastering, as heard via the lossless Apple Music stream, will leave you gobsmacked, for this is one of the most musically impressive releases you’re ever likely to hear. With the entire production being undertaken in the digital domain, it is further proof that, as often as analogue recordings are considered to be the pinnacle of sonic wonder, digital can compete with competent musicians and engineers, ensuring they get the very best from the format.

The stream is so good, in fact, that I question the need for modern audiences to pick up a physical release of the album. Yes, there are valid reasons to do so, but the stream is sonically perfect and so thoroughly pleasing to the senses that to do so on the promise of better sound is a fool’s journey. With that in mind, join me as I take a look at the music that makes up this wonderful release.

Talkin' Bout A Revolution is, without a doubt, one of the very best album-opening songs to have ever graced our ears. It’s a musical wonderland with Chapman’s vocal sitting front and centre. As you listen, you’ll likely notice that you’re toe-tapping along to the catchy rhythm, for “Talkin' Bout A Revolution” may be a socio-political statement, but it’s the musicality of the song that sets the tone for the record henceforth.

Fast Car has a gorgeous guitar tuning and performance, opening the song, along with Chapman’s delicate vocal that slowly builds as the song progresses. It’s simply amazing!

Across The Lines continues the impressive flow with a song that really highlights Chapman’s delicate vocals. The musical backing, in particular, is incredible, for the guitar strumming is interestingly pithy, and the drumming is equally compelling, as are all other instrumental parts. “Across The Lines” is, subsequently, one of those songs that, no matter how many times you listen to it, you’ll connect with a different aspect of the recording upon each subsequent listen.

Behind The Wall delivers a sharp change in direction from the instrumentally rich songs that preceded it, but the pause between songs is ideal as it allows Behind The Wall to stand on its own, as it's one of the most beautiful a cappella tunes I’ve ever heard. Yes, the lyrical context is front and centre, and is a direct (and confronting) contrast to the gentle nature of Chapman’s vocals, but her voice is so beautiful that I could listen to her indefinitely, regardless of context.

Baby Can I Hold You flows perfectly from “Behind The Wall,” further showcasing just how impressive the album’s linear structure is. While released as the album’s third, and final, single, I do wonder how successful this song would have been if it had been chosen as the lead single, for I consider it Chapman’s greatest song. I’d even go as far as suggesting that “Baby Can I Hold You” is Chapman’s career-defining tune, as it encompasses every aspect of her music into a single song.   

Mountains O' Things shifts the tone a little with a slight Caribbean feel. It works well but isn’t necessarily a standout. However, as it applies to the overall structure of the record, this album-only tune is not only perfectly positioned, but is a solid midway point. It also talks to those who focus on material wealth and how such endeavours can often lead to a sense of disillusionment that tears at the very fabric of the free-spirited human soul; an aspect we all need to be reminded of from time to time.

She's Got Her Ticket is, again, sequenced beautifully for the reggae influence complements the Caribbean feel of “Mountain O’ Things” perfectly. There’s also a touch of Dire Straits’ influence to be heard here, and it melds so well that I’d love to see Mark Knopfler release an album with Chapman, as their stylings would complement each other.

Why? returns the album to its head-bopping, toe-tapping vibe with a social commentary pertaining to injustices that will make you sit up and take notice, even if you listen more for the music than the literal or interpretive meanings.

For My Lover is a beautiful song. The touch of country influence isn’t lost here, and it’s surprising that a country music artist hasn’t covered this song, for the various interpretations would be nothing short of impressive, and this is one song that deserves more attention than it often receives as an album-only tune.

If Not Now… is a beautiful song that can be applied to just about any situation we find ourselves in. As a call to action, it’s extremely compelling and should be on every playlist for those of us who want to make sure we don’t leave it too late to say and do the most important things in life.

For You is a delicate closer that allows for contemplation of the music just heard. While it will encourage you to play the record again, there’s a sonic jolt as the album returns to the opening track. As such, I recommend you take a moment to appreciate this debut for it’s an incredibly rich and rewarding listening experience.

From start to finish, Tracy Chapman’s debut is nothing short of a masterpiece; one that showcases not only a social consciousness, but also Chapman’s extraordinary songwriting and multi-instrumental skill, alongside a simply stunning and unique vocal styling. While it’s on the shorter side of a traditional LP length, particularly from the 80s, there’s zero filler to be heard. The result is that you’ll likely play this album again and again, for it’s not only one of the very best albums from the 80s, but it’s amongst the greatest records in all of recorded music history.

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Sparks – Interior Design (Album Review)

Despite what we like to tell ourselves, sometimes an album requires multiple listens to truly resonate with our soul. Spark’s 1988 release, Interior Design, is one such record, one which took several listens for me to fully appreciate and welcome into my music library. Upon the first listen, one or two songs stood out, but the album’s structure initially seemed lacking. Yet, in an interesting dichotomy, I found myself returning to the album time and time again, allowing it to permeate into my conscious and subconscious mind. The result of such an endeavour is that Interior Design is now amongst my most treasured albums, one that I feel every music lover should hear, or revisit, for it’s an extremely underrated late-80s synth-pop release.

As the fifteenth studio album from the band, one would have assumed that success would have been a given, but perhaps the most lasting aspect of Sparks is that they’ve not only shifted their style throughout the years, but simultaneously stayed true to themselves. Whilst never a household name, per se, exceptional music has never been dependent on sales success at the record store. It isn’t that Sparks haven’t been successful, for their single releases have often performed well, but much of their longevity can be attributed to never giving up, as they’ve, to date, released an impressive 27 studio albums. Not all great, mind you, but consistently solid with many of their releases, such as Introducing Sparks (1977) and Pulling Rabbits Out Of A Hat (1984), ending up as honourable mentions for each subsequent year.

Where Interior Design differs, making its way to a top-tier release from 1988, is in its fluid musicality that’s akin to not only a greatest hits release, but a series of earworms that stay with you well after the album has ended. Yes, the very mention of an earworm may send some of you running for the hills, but I can assure you that when “Let’s Make Love” plays in your mind, you’ll be in a relaxed state of bliss.

What is quizzical, however, is the album’s artwork. It looks like the couple is about to go on vacation, rather than redecorating their interior design. It’s far from the worst album artwork of the era, and is certainly not worthy of being included in the list of The Worst (And Most Disturbing) Album Covers Of All Time. However, even more interesting is the fact that there are various album artwork designs available, as shown on Discogs, and none are particularly appealing. But let’s not judge an album by its cover, for this is one that transcends, musically, its mediocre visual presentation.

As for the sonic performance of the album, via Apple Music’s CD-quality lossless stream, it’s thoroughly engaging. So, hit play, and join me as I explore the songs that make up Interior Design (or the equivalent reissue, Just Got Back From Heaven, amongst others).

So Important is a fantastic opener, one that sets the tone for the record but is also true to the album’s overarching 80s synth-pop styling. However, if the rhythm doesn’t get you, you’re listening wrong, as this is one of the songs from the album that you’ll immediately connect with, finding your body moving involuntarily to what can be best described as a sonic masterpiece. The soundstage and multi-layered mix envelops the listener and showcases just how exceptional a stereo mix can be in a world where multi-channel Atmos mixes are becoming increasingly available. Despite that, So Important is Sparks at their very best, with a radio-friendly style, that ultimately, in my mind anyway, defines the band.

Just Got Back From Heaven is a little more subdued, but don’t let that deter you, for this is one of the most melodically smooth numbers you’ll ever experience. No, this particular song wasn’t going to set the dance floor on fire, but all songs need not be aimed at a club-based audience to be highly compelling. I tell you what “Just Got Back From Heaven” is ideal for: driving! Seriously, give it a try; the entire album, and particularly this song, as Interior Design is a quintessential driving album.

Lots Of Reasons picks up the tempo and will see you head-bopping and toe-tapping along. It isn’t necessarily the strongest song from the record, but there’s a little punk rock influence to be heard, with the associated attitude to boot, that really makes Lots Of Reasons a memorable album-only tune.

You Got A Hold Of My Heart is another somewhat mellow tune, but the romantic, ballad-style, with its polished production and floating vocal performance, makes this one of the best songs from the album.

Love-O-Rama has an offbeat opening, but once the song gets started, you wonder how you’ve ever lived without it. The rhythm is playful and, with a remix or re-interpretation, would be perfect for any club as the mid-tempo production delivers an idealistic musical bed. It’s a surprise that this tune hasn’t been sampled by one of the many hip-hop artists, for while I’m far from being musically talented enough to do anything with the song, I can hear the potential for a chart-topping hit a mile away.

The Toughest Girl In Town is a magical 80s tune. The mix is astonishingly good with a level of production and songwriting that’s nothing short of world-class. It offers a mature sound, but one that reminds me fondly of the high-production value of ABBA’s “Eagle,” from ABBA: The Album. It isn’t that the songs are similar; it’s the fact that both deviate enough from the other songs, on their respective records, that they stand out, becoming songs that will be remembered on their own as much as part of an album’s linear structure.

Let’s Make Love is a lovely 80s synth-pop tune that flows exceedingly well within the album’s structure, and while it isn’t necessarily the most intriguing song from the record, its earworm qualities ensure you’ll appreciate this song long after the album has concluded, as the rhythm and vocal styling quickly meld with the subconscious mind.

Stop Me If You've Heard This Before is less smooth and a little more jarring on the senses, particularly following Let’s Make Love, but the diversity is one of the reasons I not only feel Interior Design is a hidden gem, but is akin to a greatest hits release, as there’s a little bit of everything to appreciate from this record, thereby showcasing the musical prowess of the sibling duo.

A Walk Down Memory Lane is a killer tune with a musical bed that is perfectly designed for Russell Mael’s incredible vocal. Yes, it’s a little instrumentally darker than some of their other songs, but it’s got that 80s vibe that ensures those of us seeking a little nostalgia are musically fulfilled with a song that is equally timeless and of its time.

Madonna is one of the greatest closing tracks ever recorded. Not only is it highly compelling, but it incorporates elements of the songs that have come before it and is, therefore, my favourite tune from the record, as it always leaves me wanting more whilst allowing me to appreciate the music that I’ve just heard.

If “So Important” got the party started, by the time you finish listening to “Madonna” (not the artist, of course), you’ll feel compelled to keep the celebration going by playing the album again. It blends with your soul, becomes the soundtrack to your life, but most importantly, Sparks’ Interior Design is one of the most wonderful hidden gems of the 80s, and is deserving of being included in every music lover’s collection.

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