Viewing entries in
'60s

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Herb Alpert & The Tijuana Brass – Going Places (Album Review)

Herb Alpert & The Tijuana Brass – Going Places (Album Review)

Herb Alpert & The Tijuana Brass mesmerised audiences in the 1960s with their unique fusion of jazz, pop, and Latin music but it is their 1965 release, their fifth studio album, !!Going Places!!, that is ultimately timeless. With a unique mix of jazz, pop, and Latin styles, along with infectious melodies, captivating arrangements, and undeniable charisma, !!Going Places!! continues to delight listeners even decades after its initial release. As much as I adore Alpert’s solo works, particularly Rise, the light-hearted and whimsical style of !!Going Places!! is hard to beat.

Throughout the album, Herb Alpert's talent as a bandleader and arranger shines brightly. His arrangements are meticulously crafted, blending the vibrant sounds of brass and percussion with infectious rhythms. The result is a spirited and cohesive musical experience that is instantly recognisable.

While some will point to the risqué artwork as being a selling point, the music contained within really surpasses the visual attraction. However, I’d be lying if I said that the cover art wasn’t part of the appeal. Subsequently, this may be one of those records that you need to own on vinyl, just for the cover art alone, as it depicts the era and the mischievous nature of the music. Plus, let’s be honest, it’s going to look amazing, on display, in anyone’s record collection.

Vinyl may offer the best way to appreciate the album visually but sonically the Apple Music stream, an Apple Digital Master, is exquisite. Other than the vinyl warmth and fullness, a byproduct of the format, the Apple Music stream is likely to appeal to most music lovers as it’s detailed but not fatiguing with a smoothness and a wonderful sense of depth and separation between musical elements. It’s the real deal but don’t take my word for it, take a listen as we delve into the songs that make !!Going Places!! such a landmark release.

Tijuana Taxi instantly captivates with its lively brass section, catchy melody, and irresistible Latin-infused rhythms. On this tune, and quite frankly via all his recordings, Alpert’s trumpeting takes centre stage, showcasing his virtuosity and ability to infuse warmth and energy into every note.

I’m Getting Sentimental Over You transitions beautifully from Tijuana Taxi. While it’s a little more mellow, by comparison, it is equally addictive and a lovely song to listen to with its intricate melodies and lush orchestration. I’d also go as far as saying that I much prefer this interpretation to the original, or most others, as Alpert et al infused the song with additional life that, upon reflection, was needed.

More And More Amor offers a romantically slowed styling and declaring it a musical masterpiece doesn’t come close to adequately describing More And More Amor. You’ll simply want more (yes, pun intended) as it’s the perfect song to play on repeat with your beloved in your arms as you dance across the room.

Spanish Flea is an iconic and playful tune featuring lively trumpet melodies, infectious rhythms, and an energetic interplay between the brass section. Music doesn’t get much better than this!

Mae is a delightful and breezy instrumental that exudes charm and sophistication.

3rd Man Theme is a captivating and vibrant interpretation of this classic tune. Originally composed by Anton Karas, 3rd Man Theme showcases Alpert's ability to bring new life to familiar melodies and just between us, it is significantly better than the original.

Walk, Don't Run is about as rock and roll as jazz gets. Of course, it wasn’t always that way as the original Johnny Smith recording is rather jazzy, but you can clearly hear how Alpert et al were able to go beyond that early style. The dynamic brass arrangements, spirited percussion, and Alpert's dazzling trumpet create an exhilarating listening experience.

Felicia is another soulful and romantic ballad that highlights Alpert's tender trumpet playing. Add to that the orchestration of The Tijuana Brass and what you’re left with is a truly mesmerising musical experience.

And The Angels Sing showcases Alpert's masterful trumpeting skills while the band's tight arrangements and the interplay between the trumpet and the rest of the ensemble result in a captivating and uplifting performance.

Cinco De Mayo is a vibrant and celebratory instrumental piece that pays homage to Mexican culture and traditions.

A Walk in The Black Forest is one of the best songs from !!Going Places!! as the band, Alpert included, brings their energetic and lively approach to the piece thereby creating an enchanting musical journey.

Zorba The Greek is lively and spirited. The band's lively brass arrangements, rhythmic percussion, and Alpert's passionate trumpet playing transports listeners to the festive and lively atmosphere of Greece. As with many of the covers heard on this album, Zorba The Greek is a stronger song than the original, Zorba’s Dance, by composer Mikis Theodorakis. It’s an incredible closing track and will undoubtedly compel you to listen to the album again.

From start to finish, !!Going Places!! is a joyous celebration of music, filled with irresistible melodies, impeccable musicianship, and a sense of exuberance that is impossible to resist. Whether you're a jazz enthusiast, a lover of Latin music, or simply a fan of great music, this album is a must-listen.

The Rolling Stones – Aftermath (UK) [Album Review]

The Rolling Stones – Aftermath (UK) [Album Review]

Released in 1966, the UK edition of Aftermath, was the fourth studio album from The Rolling Stones and the first to contain all-original compositions as the covers of yesteryear were no longer applicable to a band as well-versed in their sound as The Rolling Stones were at that time. Aftermath (UK), subsequently, flows perfectly within the release structure of their back catalogue as it simultaneously showcases their evolving songwriting abilities and experimentation with emerging musical genres, such as folk and psychedelia.

Newcomers to The Stones may be a little confused as to the UK designation but it’s a little less complicated than you may otherwise expect. The US edition of the album includes several additional tracks not found on the UK release, notably the hit single Paint It Black, and is also the sixth studio release from the English rock band. Aftermath was, after all, released during an era whereby a consistent worldwide release was not routine within the music industry. Each regional arm of a record label would subsequently decide on which songs would be included via their local release, as well as the associated artwork and design. The theory was that they could target a release specifically for their market. In this case, a more succinct runtime was appreciated by US audiences and as a result would have, theoretically, generated additional sales over the UK release.

One must remember that the world was far less connected in the past than it is today and there is certainly logic in that line of thinking. For instance, the cultural differences between the US and the UK, in the 60s, were quite noticeable. The UK was focused more on the counterculture movement, with an emphasis on music and fashion, while the US was focused on civil rights and family-friendly entertainment.

Despite these differences, both editions of Aftermath are worth adding to any respectable record collection but my preferred edition is the UK release, despite the omission of Paint It Black, as I feel the selected songs and sequencing are stronger, even though it has a longer runtime. I also find myself preferring the UK album artwork as the blurred cover art on the US release just isn’t appealing.

Of course, it’s the music that is paramount here and the stereo mix, delivered as a Hi-Res Lossless Apple Music stream, an Apple Digital Master, is thoroughly enjoyable. Yes, it’s a 60s recording and The Rolling Stones have always had a raw sound signature, but the stream is sonically smooth with detail across the entire soundstage that will simply fill you with joy every time you listen to the album. That is, of course, until you listen to the Mono mix via the In Mono collection. Simply take everything I just mentioned and amplify it by a factor of 10 for the Mono mix of Aftermath (UK) is simply magnificent.

I have so much admiration for the mono mix that rather than share with you the stereo version, I’ve created a dedicated playlist of the mono mix recordings, from the aforementioned collection, as it helps to target the specific album as it is otherwise buried in the 10-hour, 186-song, collection as the mono mixes aren’t available as separate albums. It’s a little frustrating, yes, but it prevents several similar, yet different, copies from clogging up the Rolling Stones album listings on Apple Music et al.

Mother’s Little Helper is one of The Stones’ most controversial songs, despite it being a catchy folk-rock tune, the lyrics address the topic of prescription drug abuse. An issue specifically of the 60s, yes, but one that is still applicable, if not moreso, in modern society. Regardless, it’s a great little tune.

Stupid Girl is an excellent song that perfectly highlights the 60s era, from a musical perspective, for it too is controversial. Stupid Girl is largely compelling due to its simple composition but it’s also highly addictive with its driving beat and bluesy guitar riffs, along with Mick Jagger's snarling vocals.

Lady Jane is a gorgeous tune and a standout from Aftermath (UK). Jagger certainly knows how to perform a ballad for it’s one of The Rolling Stones’ greatest recordings with a musical backing that is as stunning as Jagger’s vocal delivery.

Under My Thumb is a song with a catchy and unforgettable melody. Perhaps controversial, due to misogynistic interpretations, Under My Thumb remains a fan favourite because the musicality is strong. Of course, long-time readers will note that I’m a music lover who appreciates the human vocal as an instrument in the mix, rather than a storytelling device, so it isn’t uncommon for the more controversial tunes to go unnoticed in my mind. Hence, I just groove along and thoroughly enjoy the music that I’m hearing. I consider that a gift as I dare say should I acknowledge all song meanings, I likely wouldn’t be as in awe as I am with the music I listen to.

Doncha Bother Me is rough around the edges and sounds more like a demo than a completed recording. Yes, I acknowledge the album was recorded in the 60s, but it is reminiscent of The Stones' earlier works along with the lower production standards. Of course, that sound has become somewhat of a trademark for them and a core sound signature that sets them apart from any other rock band.

Going Home is an epically long song for an era when songs were not expected to exceed the approximate 3-minute length; due to radio playback expectations. Yet, here we are with a song that is thoroughly enjoyable despite its repetitive nature. Of course, Going Home could have been a stellar 3-minute tune, but the 11-minute epic is reminiscent of an impromptu jam session; a good one at that!

Flight 505 is a fast-paced rocker with a catchy chorus, yet it has never truly appealed to me. Yes, Aftermath wouldn’t be the same without it, but it’s one of the poorer songs from this celebrated album.

High And Dry is similar to Flight 505 in that it isn’t overly appealing. Again, it sounds like a demo rather than a fully-fledged recording, but it has too much of a country twang for my liking and simply isn’t strong enough to be a standout tune.

Out Of Time (Version 1) is a melancholic ballad with a memorable melody and introspective lyrics. It’s an interesting contrast. While this is the original mix of the song, an alternative mix was also released on the Flowers album in 1967. I enjoy both renditions of Out Of Time and I subsequently find that I can listen to them interchangeably. There’s also the excellent strings version of the song that appears on their compilation Metamorphosis. However, as much as I enjoy that interpretation, I don’t feel it’s as solid as the earlier mixes.

It’s Not Easy is a thoroughly enjoyable blues-based rock and roll song. Its styling makes me consider it a precursor to just about any punk rock tune.

I Am Waiting is somewhat of an enigma as my mind struggles to determine which musical element it should be connecting with. Is it the guitar strum, the maracas, or the hypnotic vocal track? Things get even more complicated when the drum track kicks in and it’s as if all elements are fighting to be heard but none are specifically driving the direction of the song. Interestingly, that’s part of the strength of the song and while it bemuses me, I Am Waiting is not only one of my favourite tunes from Aftermath, but it’s one of the best The Stones ever recorded.

Take It Or Leave It has a slow melody that will see you toe tapping and head bopping to the rhythm. While it’s unlikely to be anyone’s favourite tune, Take It Or Leave It is musically compelling and I thoroughly enjoy its placement within the sequencing of Aftermath (UK).

Think has an incredibly engaging rhythm and compels me to turn the volume up; what a great tune!

What To Do isn’t a bad song and it encourages me to listen to the album again, but it isn’t a standout. Still, Jagger’s vocal presentation is the highlight here and the musical backing does exactly what it’s supposed to. Interestingly, I’m not sure how I feel about the backing vocals. They work, and sound fantastic, but the barbershop quartet feel is a little too US for a UK band; an interesting aspect considering What To Do was not included on the US release of Aftermath.

Overall, Aftermath (UK) represents a significant milestone in The Rolling Stones' career, showcasing the band's evolution as songwriters and their willingness to experiment with new sounds and genres. While some of the lyrics may be controversial by today's standards, the album remains a classic of the 1960s rock and roll zeitgeist and is a must-listen for any fans of the band or the genre.

Spiders – Why Don't You Love Me / Hitch Hike / Don't Blow Your Mind (EP Review)

Spiders – Why Don't You Love Me / Hitch Hike / Don't Blow Your Mind (EP Review)

Before Alice was Alice Cooper he was Vincent Furnier; a young man with a dream of making it big in the music industry. While we know how that story progressed, the earliest recordings of Alice Cooper, both the man and the band, are often overlooked for these recordings don’t fall under the Alice Cooper moniker. Then known as the Spiders, the band entered the studio in 1966 to record Don’t Blow Your Mind; an original (Dennis) Dunaway/Furnier tune that made its way, rightly so, to number one on a local Top Forty radio station¹ in Phoenix, Arizona. 

While the EP Why Don't You Love Me / Hitch Hike / Don't Blow Your Mind, from 1998, offers an admirable facsimile of this original recording, from a sonic perspective, disappointingly the B-side to Don’t Blow Your Mind, No Price Tag, is omitted from this release. Arguably, No Price Tag isn’t the greatest song in the world, and is the poorest from these early recordings, but it is a strange omission nonetheless. The likely reason for its absence is that only 500 copies of the original single were ever pressed and being released over five decades ago, it gets more challenging to track down high-quality original pressings, stampers, and tapes.

Nevertheless, what makes this release so unique is that the pre-Alice Cooper sound was akin to other bands of the era. A Beatles' influence can certainly be heard, as can The Rolling Stones, but when you listen to these early recordings the band sounds nothing like they do on Pretties For You or Easy Action. Some may even suggest that the Spiders sounded far better on these early recordings than on their first couple of albums and I’d have to agree with them. Yes, the Spiders were much more imitators than trendsetters, so the music they performed during this period should be viewed through a lens of influence and mimicry; an act that Cooper himself acknowledges, declaring that had he not had the Beatles or the Stones to mimic, his music career would never have happened².

Of course, the band would branch out into their experimental psychedelic hard rock style and never really return to the style heard in these early recordings. Disappointing from one perspective because these early tunes are compelling but it’s fair to suggest that the band would have gotten swallowed up amongst the other similar bands of the era should they have stayed on that trajectory. Plus, and most importantly, we would have never gotten the incredible music, from Alice Cooper, if their style hadn’t changed. 

Why Don’t You Love Me is a cover of the Blackwells 1965 tune and The Spiders nailed it with a more rock and roll feel than the original. Furnier’s vocal is also stronger with a gruff edginess that we’d become increasingly familiar with from Love It To Death onwards. A great energetic opener. 

Hitch Hike, similarly, is a cover of, believe it or not, Marvin Gaye’s 1962 single. Gaye’s has a solid rhythm and blues groove and as much as I like the original, I’ve gotta say that the Spiders took it, rocked it up, and made it their own with a guitar twang perfectly played and tuned thereby taking the song to another level. Yes, the Spiders’ rendition is in the same vein as The Rolling Stones’ recording from Out Of Our Heads but I still find the Spiders’ recording to be the best version of this classic tune.

Don’t Blow Your Mind is indicative of the era and is an incredible Dunaway/Furnier original composition. Yes, I may have suggested that had they continued on this sonic path they would have been overlooked due to a plethora of similar bands, but Don’t Blow Your Mind is catchy, with a solid hook, that proves that they were destined for stardom. 

Why Don’t You Love Me (Instrumental) is a great closer to have on this release and if you’re like me, and have the EP on repeat, you’ll find it incredibly rewarding to listen to time and time again as it’s short, to the point, but a wonderful exploration in what could have been. 

Why Don't You Love Me / Hitch Hike / Don't Blow Your Mind is a killer EP that I put on par with The Rolling Stones’ Self-Titled EP; a must-own for any music lover’s collection of early band recordings that predate their greatest creative achievements.

References
1. Alice Cooper: Golf Monster, Chapter 4, Earwigs and Spiders

2. Alice Cooper: Golf Monster, Chapter 2, Black Slacks and a Tight Windsor Knot

Tennessee Ernie Ford – Country Hits…Feelin’ Blue (Album Review)

Tennessee Ernie Ford – Country Hits…Feelin’ Blue (Album Review)

When it comes to the music of Tennessee Ernie Ford, if you can get past the sombre tone and lyrical meanings, you’d likely agree that they don’t make music like this anymore. Released in 1964, Country Hits…Feelin’ Blue sees Ford, Billy Strange, and John Mosher perform a masterful collection of songs in a stripped-down manner that highlights the vocal, guitar, and bass elements in a way that is often lost on more complex recordings. It is this back-to-basics approach that truly highlights Ford’s incredible resonant baritone vocal; a vocal that has to be heard to be believed.

As I listen to the CD-quality lossless Apple Music stream, I’m left in awe. While Country Hits…Feelin’ Blue never made it to CD, the stream provided by Capitol Records is beyond reproach and is so good that I’m questioning if I need to consider the 2020 vinyl reissue from Analogue Productions. Vinyl aficionados will undoubtedly point to the additional warmth of the vinyl record that would work exceedingly well with this type of music, but the Apple Music lossless stream is anything but cold and shrill, and really has a sense of presence. As much as I appreciate the Analogue Productions re-issues, such as Aaron Neville’s Warm Your Heart, I can’t find fault in the streamed offering. It’s that good! 

Try Me One More Time is searching for redemption in a classic love gone awry manner that is iconic to country music. Ford sells it incredibly well making the listener believe that it is indeed him who is asking for another chance. 

No Letter Today is such a sad song of longing for a beloved. Yes, some may consider Country Hits…Feelin’ Blue to be akin to a suicide-inducing album, due to the sombreness of the songs, but the wittiness in its storytelling is appealing and so it depends on how you choose to listen to this record as the glass-half filled individual will undoubtedly experience it differently to those who declare it as being half empty. 

Born To Lose showcases just how smooth Ford’s vocal is. This is one song that can be fully appreciated sans lyrical intent for the uninspiring meaning of Born To Lose is most certainly overshadowed by the exceptional vocal elements that become an instrument rather than a storytelling device. Of course, you may prefer to listen to the lyrics, that’s up to you, but I prefer, in this case, to be swept away with vocal awe. 

Don’t Rob Another Man’s Castle is utterly brilliant and is one of the best songs on Country Hits…Feelin’ Blue. It’s droll, yet still relevant. A timeless classic!

There’ll Be No Teardrops Tonight picks up the tempo a little; a great toe-tapping song! Strange’s guitar tracking here is out-of-this-world as it’s unpretentious yet authoritative in driving the song forward. Hank Williams would have been proud!

I Don’t Hurt Anymore is a solid tune. Although, I’d say that Ford pushed his vocal a little too far on this song for the resonance is just a little jarring on the senses. It’s a fine line, of course, but it is just a step too far for my liking. 

Worried Mind is an upright bass player’s dream come true. The holding back of the guitar is also a masterful approach as the song continues to build throughout. It’s upbeat, and you’ll find yourself toe-tapping and head-bopping to this classic, ironically without a worry in the world for the musicality will captivate your soul. 

No One Will Ever Know is an intriguing song filled with conflicts of emotion and love. It presents an interesting dichotomy but is indicative of how many of us would love to move on from a relationship; silently and without explanation or justification. 

Funny How Time Slips Away is a country music standard that has been recorded by numerous musicians over the years. As a Willie Nelson authored tune, it would be logical to suggest that his recording is the one to go for. Yes, his rendition is admirable but there are so many thoroughly good renditions, including this one by Ford, that it is really difficult to pin down the best interpretation. If you have time, I recommend you check out the Glen Campbell & Willy Nelson duet or Elvis Presley’s recording, but I would stay clear of Bryan Ferry’s bastardisation of this classic tune.

Sweet Dreams is a little dry. It’s still a great tune but fails to leave a lasting impression. 

Tears On My Pillow maintains the overall blue feeling of the album but is a great tune with a brilliant verse and chorus structure.

May You Never Be Alone closes out the album admirably. It’s another that Hank Williams would likely have been proud of for his rendition is excellent in its own right but doesn’t compare to Ford’s soulful masterpiece. May You Never Be Alone encourages me to play the record again, but be warned, repeat listens of this album can result in you feelin’ blue. 

From start to finish, Country Hits…Feelin’ Blue is an exceptional album that will appeal to anyone who appreciates an acoustic vocal-focused musical experience. Is it one of the greatest country albums of the 60s? Absolutely! Although, I’d go as far as saying that it’s one of the greatest country music albums ever recorded and that it should be in everyone’s collection. If nothing else, it is arguably the very best work of Ford’s illustrious career.

Alice Cooper – Pretties For You (Album Review On Vinyl & Apple Music)

Alice Cooper – Pretties For You (Album Review On Vinyl & Apple Music)

I doubt anyone would proclaim the Alice Cooper band’s debut release, Pretties For You, as their favourite album, yet it is strangely compelling. The psychedelic styling mixed with a high level of experimentation means Pretties For You is located somewhere sonically between a garage band jam session and a demo recording. Compared to later Alice Cooper band records, Pretties For You is just bad, but as an album on its own, it showcases the era and origins of a band that would go on to have a successful career until, of course, Alice Cooper went solo. 

While some may argue that most of the early Alice Cooper band albums are a little on the rawer side, raw would be the perfect way to describe Pretties For You and, unfortunately, the vinyl re-issue I own is so badly mastered and pressed that it sounds like a beaten-up second-hand edition from 1969, despite being the 2009 Warner reissue. 

The Apple Music stream, by comparison, sounds much better. Yes, the rawness of the recording is still present, and it certainly won’t be setting anyone’s Hi-Fi on fire, but I find myself compelled to listen to the album more frequently via the lossless Apple Music stream than the vinyl counterpart. This is one time where a vinyl release most certainly does not trump the quality found on streaming services. Given the raw nature of the recording, the last thing I feel is needed is a noisy vinyl pressing, but that is what you’re likely to get should you consider picking up that 2009 vinyl reissue. It’s also pressed off centre and has audible drift in the first song where one channel of audio is heard in a ghostly manner for the first few rotations of the record. There is even a broken groove on Swing Low, Sweet Cheerio, causing the album to play like a broken record, akin to a repetitive run-out groove. A gentle tap on the plinth usually sees it on its way, but it’s annoying nonetheless. 

Warner Bros. did reissue Pretties For You in 2017 as part of the Rocktober collection and while I should probably replace the edition I own, hoping for a better pressing, it is a case of once bitten, twice shy. Plus, when the streaming version sounds adequate, for an album that is essential for any Alice Cooper fan but not necessarily a landmark release, I have to question what the ultimate value of this release is to me. Of course, and I know how strange this will sound but I kind of like the problems this pressing has. I’ve grown attached to the issues and it has a character of its own. In a strange way, it is part of the vinyl ritual and I can’t help but wonder if these issues are unique to me which strangely makes the vinyl release even more personalised. 

Perhaps now is the right moment to acknowledge just how imperfect a format vinyl can be. Every play of a vinyl record will yield a different result, not dissimilar to attending a concert where the performance, for any multitude of reasons, cannot be the same as the night before. 

No doubt some of you, by now, are questioning my sanity. What can I say, Pretties For You grows on you and I have been known to play the album on repeat for hours on end for no other reason than I paradoxically enjoy it. 

SIDE ONE

Titanic Overture is a garbled mess but is an interesting start to the album. I don’t know about you, but I’ve always wondered what could have been if the piano track didn’t fade out. We may never know unless there are unheard recordings floating around that I'm unaware of.

10 Minutes Before The Worm is just weird; you’d never play it outside of the album format.

Swing Low, Sweet Cheerio is a great tune with a divine introduction. However, the high pitch vocal, in places, really takes a solid song and turns it into an experience that isn't quite as memorable as I would have hoped for. Nevertheless, it is one of the best songs on the album and one that I would love to see Cooper rerecord. Interestingly, when listening via Apple Music, the high pitch of Cooper's vocal, that I mentioned earlier, is much more reserved and subsequently less ear piercing. It’s interesting because digital music is normally associated with high-pitched and fatiguing sounds. 

Today Mueller is similar to Ten Minutes Before The Worm. Weird, yet strangely compelling. I like it!

Living is a solid rock tune from the era and is a valued addition to the album.

Fields Of Regret is a song I thoroughly enjoy. However, I’d love to see Cooper rerecord Fields Of Regret with Bob Ezrin in the production chair. There’s a solid song hidden here, just waiting to be fully realised.   

SIDE TWO

No Longer Umpire is short but enjoyable.

Levity Ball (Live At The Cheetah) is a great song but is even more sonically compromised, than the rest of the album, as it's a live recording. Yes, dear reader, this is another song I would love to see Cooper rerecord.

B.B. On Mars is pure filler but works well within the album format.

Reflected is brilliant! Yes, the Alice Cooper band would rewrite and rerecord Reflected and release it as Elected on Billion Dollar Babies. However, I must say as much as I enjoy Elected, I prefer Reflected as, in my opinion, this song makes Pretties For You worth owning.

Apple Bush is a quirky, but enjoyable, song.

Earwigs To Eternity is compelling and certainly fits the experimental style of the album perfectly.

Changing Arranging as the final song on the album is good enough to encourage me to listen to the album again and stay within Alice Cooper’s extensive catalogue of both band and solo works.

Overall, Pretties For You is a solid debut by a band that had yet to find their sound and synergy. But, is it worth owning? For Alice Cooper fans I would say definitely, but it isn't a landmark album and therefore will likely only appeal to the most dedicated fans and collectors. For those of us that fall into that latter category, Pretties For You is a unique album that offers a window into the mastery that would ultimately help to define the Alice Cooper band and the hard rock genre. 

The Beatles – Abbey Road (2009 Remaster) [Album Review On Vinyl, CD, & Apple Music]

The Beatles – Abbey Road (2009 Remaster) [Album Review On Vinyl, CD, & Apple Music]

There are masterpieces and then there is Abbey Road. Very few albums in the history of recorded music maintain the mystique that Abbey Road does. From its iconic cover art, to the Paul is dead conspiracy theories, to the sonic wonderland that still eludes musicians to this day, Abbey Road is beyond perfect and this is, therefore, less of a review and more of a love letter to the fans and those remarkable individuals who made the album.

When comparing Abbey Road, it is important to note that all three versions detailed in this overview are from the same mastering sessions and therefore, logically, should be on par with each other. I can attest that that is the case as they all sound incredible, but there are some minor differences that I would like to highlight. 

The CD has plenty of punch, perhaps a little too much at times. Yes, vinyl by its very nature needs amplification but I prefer digital music that allows me to pump it to the level that I choose, yet the 2009 CD release requires me to turn the volume down to a level that is a few decibels lower than I would ultimately prefer. This increased volume is also fatigue-inducing and while I find that I can play the vinyl edition on repeat for hours on end, the treble-focused presentation of the CD can be a little jarring at times; despite it’s overall warm, for CD, tone. This is where the Apple Music edition, an Apple Digital Master, shines as the laid back analogue sound, as heard on the vinyl reissue, has made it’s way to the Apple Music edition thereby ensuring that this version is less shrill in the treble range, subsequently resulting in a much more pleasurable listening experience at all volume levels. 

It’s important to note that the vinyl reissue was pressed from a high-resolution master file and Apple Music similarly requires the high-resolution master to be presented before compressing to the AAC format; a result that is increasingly providing a much better audio quality when compared to the CD counterpart. Now, the delta between versions remains quite low and in all honesty, unless you’re comparing them, as I have, it is unlikely that you’ll be disappointed by the CD release for, as a standalone item, it is superb and an example of how good CD can sound. It is just that I prefer the tonally warmer sound that is more noticeable on the vinyl and Apple Music editions but I’ve no doubt that many CD lovers wouldn’t consider the CD release to be too clinical and clean sounding, but perfect to their ears. I’ve never been completely enamoured with accuracy and enjoy a bit of colouration, especially when it comes to the mid and low range elements, but that isn’t necessarily everyone’s taste. Truthfully, there isn’t a bad way to experience the 2009 remasters but if you’re like me, trying to find the version that best suits your tastes, then the above details will hopefully assist you with making a judgement call. 

Where the CD shines, however, is in its presentation. The Digipak folding design works well, and the included liner notes are a nice addition to peruse as you’re enjoying the music. If you’re after lyrics, however, the CD is not for you but thankfully Apple Music provides that functionality. The vinyl edition, however, is barebones with no booklet or liner notes other than the main cover sleeve. It’s a little disappointing if I’m to be completely honest. The CD is also an enhanced CD but that technology is unfortunately rather dated and if you no longer have a CD drive in your computer, then the Abbey Road Documentary is forever locked within the plastic disc. Again, the Apple Music edition provides additional functionality and thankfully the documentary is included in the digital version. I acknowledge, however, that this can be rather distracting as you’re unlikely to want to watch it every time you play the album. Thankfully, you can simply deselect it from your library and only stream it when you wish, ensuring that the music remains front and centre. 

Side One

Come Together is an incredible song and a perfect opener. Interestingly, when I first heard Come Together, it was Michael Jackson’s version and at the time I had no idea that it was a Beatles original. Well, Jackson performed it admirably with a little more pop than the original, but the ultimate masters are The Beatles and we can completely ignore Aerosmith’s bastardisation of this classic. However, if you like the classical guitar, you’re going to love Miloš Karadaglić’s version from Blackbird.   

Something is absolutely stunning, leaving me somewhat speechless upon each listen. 

Maxwell’s Silver Hammer is a fun tune, despite its darker lyrical undertones, that will get your body moving to the rhythm. I just can’t seem to sit still when listening to Maxwell’s Silver Hammer and I love McCartney’s somewhat awkward giggle during the recording. Thankfully that was kept in! 

Oh! Darling is pure McCartney. His vocal recording on this track is spectacular; the best in his career in my opinion. 

Octopus’s Garden is perfect, I love it! 

I Want You (She’s So Heavy) is one of my favourite Beatles’ songs and is a great way to close out Side One of the vinyl release. Is it just me or do you find it challenging to accurately predict the end of the song? It is almost like a game for me and I rarely get it because the song keeps going on and on and on and on but I must admit that the sharp cutoff always irritates me for a moment as I would prefer the song to simply fade away. Yes, I Want You (She’s So Heavy) very possibly could have been a disaster, but it is arguably The Beatles at their very best. 

Side Two

Here Comes The Sun is superb. Nothing more really needs to be said when a song is this good. 

Because is moody, brooding, and the ultimate sonic contrast to Here Comes The Sun. The triple-tracked harmonies are spectacular, making Because the epic we know it to be. 

You Never Give Me Your Money flows perfectly from Because and is musically gorgeous. Although, and perhaps it’s just me, at times I feel there is a little too much distortion in the guitar tracking and it can subsequently become a little distracting. 

Sun King is a little off-beat and it takes a while to get used to. While it isn’t a song that I would actively seek out on its own, it works well with the melody aspect on the second half of Abbey Road.

Mean Mr Mustard flows beautifully and is a great song. I particularly like the fuzz bass as it works extremely well for this song.

Polythene Pam shifts the musical style masterfully. A great tune! 

She Came In Through The Bathroom Window is brilliant!

Golden Slumbers is stunningly beautiful and while I admire its polished recording, getting to the point of the song, I would love it to be a full-length song, for I feel it is that good. That said, it flows perfectly into Carry That Weight and both together could ultimately be seen as a singular song. 

Carry That Weight has an incredible presence and is one song where I would have loved to have been a fly on the wall in the studio when it was recorded. Surely they knew they had a masterpiece on their hands during the recording sessions. 

The End is brilliant and is Ringo’s chance to shine with a melodic drum beat that sets the tone for the song and closes out the album perfectly; at least it would have if they hadn’t left in Her Majesty. 

Her Majesty (Hidden) is the only song on Abbey Road that I abhor. It doesn’t ruin the album for me, but it is cringeworthy and frankly unnecessary. 

I could listen to Abbey Road on repeat indefinitely and it isn’t uncommon to put the record on in the morning and still be flipping it that evening. It’s a prized possession and if I had to choose a version that I prefer, it would be the vinyl reissue for its laid back presentation as I feel it is the very best way to experience this masterpiece.