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

Released in 1975, Journey’s eponymous debut marked the beginning of a musical journey that would contribute to the sound of arena rock in the late 70s and 80s, yet this album is somewhat different in that it is jazz meets progressive rock; a combination that gives the record a compelling uniqueness.

While the sonic presentation of the album has a greater focus on the instrumental aspects, than their later albums would, this release laid the groundwork for the band’s subsequent rise to fame and set the stage for their signature blend of melodic rock, soaring vocals, and intricate instrumentation. It wasn’t, however, a commercial success but is amongst their greatest recordings and is a top-tier release from the mid-70s.

From the first track to the last, the complex musical arrangements and extended instrumental sections have created an album experience that should be heard within that context. While we’ll delve into the individual songs shortly, this is one album that is best heard in its intended linear structure. Perhaps this was apparent at the time of release for the only song to be released as a single was To Play Some Music; a tune that is good, but not great and is, arguably a poor showcase of Journey’s ability to convey human emotion through audible art.

While there are few criticisms to note, it wouldn’t surprise me if some listeners don’t enjoy this release due to the extended song lengths that, admittedly, could have been shortened. Nevertheless, Journey is an experience in and of itself and the lossless Apple Music stream goes a long way to ensuring that you’ll thoroughly enjoy the music. Every aspect of the mix is clear and the soundstage is well-defined. Perhaps the strongest praise that can be made is that it just sounds right; a very technical declaration, naturally, but one that signifies just how well this album was recorded, mixed, and mastered. Apple Music doesn’t indicate the provenance of the album but it’s fair to say that this CD counterpart is about as good as the album is going to sound sans a remastered/reissue campaign. Additionally, the sonic presence of the album is so well delivered that I simultaneously don’t want a remaster as, again, it sounds just as it should; perfect!

With all that in mind, dear reader, join me as I explore the songs that make up this exceptional, yet underrated, release.

Of A Lifetime opens the album with an incredibly dynamic fusion of rock, jazz, and progressive elements that set the tone for the entire record. Gregg Rolie’s vocal is the perfect accompaniment to the musical bed, as is Neal Schon’s sensational lead guitar riff, but it’s the combination of all musicians that makes this song one of the very best that Journey has ever recorded.

In The Morning Day is a bluesy rock number that includes an infectious groove and catchy melody. Rolie’s vocal is perfectly suited to the song, and the era, but don’t get too comfortable because around the midway point, In The Morning Day turns into a high-spirited psychedelic number that, despite shifting the tone of the song, is thoroughly enjoyable.   

Kohoutek slows the tempo somewhat with an audible journey that is best heard firsthand for the atmospheric aspect, along with the multiple layers of the song, require significant unpacking that words alone cannot adequately convey. Kohoutek is also the most progressive jazz tune, bordering on jazz fusion, from the album and the shifts may, or may not, appeal to everyone. My only criticism is it makes the song a little long, but if we focus on the jazz aspect, and the associated jamming elements of the genre, then the length and complexity make perfect sense.

To Play Some Music is, as I eluded to earlier, a solid tune but one that I wouldn’t consider being single material. It isn’t bad, it’s just an album-only tune.

Topaz opens with a marvellous sonic presentation, the musical shifts, throughout, are a little rougher than I’d ideally like for if you allow yourself to listen in a relaxed manner, you’ll likely be shocked when the tempo shift occurs. Yes, you get used to it the more you listen to the album, but it’s still there and mildly bothers me each time I listen to this song.

In My Lonely Feeling / Conversations is a musical marvel and Aynsley Dunbar’s drumming on this tune is sensational. Of course, the whole band is on fire with Schon’s lightning guitar riffs and Rolie’s smooth vocals being amongst the highlights of what can only be referred to as another of Journey’s most underrated tracks.

Mystery Mountain is the perfect album closer, one that blends the elements of rock, jazz, and blues, thereby creating a song that is not only memorable but one that will encourage you to listen to this self-titled debut again, for Journey can never be listened to only once.

Overall, Journey's self-titled debut is a strong introduction to a band that would go on to become one of the most successful rock acts of the late 20th century. While it may not have achieved commercial success, it did lay the groundwork for the band's future success and remains a testament to their musical talent and creativity. With its blend of melodic rock, virtuosic instrumentation, and emotive vocals, Journey is a classic album that deserves a place in every music lover's collection.

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Fleetwood Mac – Fleetwood Mac (Self-Titled, 1975) [Album Review]

Released in 1975, Fleetwood Mac, the band’s second self-titled album, marked a pivotal moment in Fleetwood Mac's history as it presented a transition from their blues roots to a more commercially successful sound that included a new lineup that featured Lindsey Buckingham and Stevie Nicks alongside remaining band members, Christine McVie, John McVie, and Mick Fleetwood. While everyone points to Rumours as their magnum opus, and from a sales perspective it is, Fleetwood Mac is a far stronger album with a slower overall styling that really embraced the mid-70s soft rock scene.

It’s important to note that this is the second eponymous album by Fleetwood Mac, the first being their self-titled debut release from 1968. While it is far from common to have two self-titled releases, given the lineup and structural changes of the music Fleetwood Mac had made with this 1975 release, it makes perfect sense as they were essentially relaunching the band.

While early 70s era Fleetwood Mac fans would undoubtedly have been perturbed with regard to Bob Welch’s departure, and another lineup change, the dynamic interplay between the remaining and new band members is remarkable. Buckingham's guitar work is masterful, blending intricate fingerpicking with powerful riffs, while Christine McVie's keyboards add depth and texture to the arrangements. Stevie Nicks' distinctive vocals soar on tracks like Rhiannon and Landslide, infusing them with emotive intensity. John McVie and Mick Fleetwood, however, should not be overlooked for a song is only as good as its rhythmic backbone; one in which these two master musicians constructed perfectly.

Naturally, the songwriters and musicians are the focal point of the record, but credit has to be given to legendary producer Keith Olsen who co-produced and engineered this release. His production style can be heard throughout, yet it doesn’t detract from Fleetwood Mac themselves. The result of this collaboration is an album that, so many decades later, remains a wonder, in and of itself, for it strikes a perfect balance between the raw energy of the band's live performances and the studio sheen that was characteristic of the era.

With well over 7 million copies sold, Fleetwood Mac was a monster of an album that would only be outsold by Tango In The Night (over 15 million), and Rumours (over 40 million), and has subsequently been reissued countless times. With almost 300 different known editions, it’s somewhat impossible to declare which version is the best. Therefore, this is one time when I appreciate the lossless Apple Music stream for I need not concern myself with tracking down the very best version as my ears have already told me that I thoroughly enjoy the edition delivered via the streaming service.

Should I wish to further entangle myself, however, in different versions, the 2004 remaster and 2018 Deluxe Edition are also available on Apple Music, but in briefly comparing them I find that I prefer the release labelled with 1975 as the published date. It, coincidentally, is also the release containing the Dolby Atmos version of the album; a mix that I don’t feel compelled to listen to for this album is beautiful in the original stereo mix. Interestingly, however, it isn’t an Apple Digital Master, for that particular labelling has been given to the 2004 remaster. The problem I have with that edition is that it is mastered too loud, whereas my preferred edition, which is shared below, is lovely and smooth with a warmth that one would usually expect from an analogue medium.

Your preferred version, however, may differ from mine but I have found my preferred edition and any further exploration would only cause additional confusion, particularly when you factor in the Atmos release and the plethora of physical counterparts. The good news is that you too can sample the available editions, via streaming, and decide for yourself as to which digital version is more pleasurable. But first, join me as I take a look at the songs that make up this exceptional release.

Monday Morning opens the album with an infectious upbeat tempo that sets the stage for the entire album. Buckingham’s vocals are divine and are amongst his greatest vocal performances.

Warm Ways shifts the tone somewhat, but the mellower lush presentation, following Monday Morning, isn’t a shock to the senses as Warm Ways has an inviting atmosphere. While it isn’t Christine McVie’s strongest song, Warm Ways has a lovely musical accompaniment that is perfectly suited to the era and her vocal styling.

Blue Letter is an energetic rock number with Buckingham on vocals. It may not have been written by any member of Fleetwood Mac, but this Michael and Richard Curtis tune suits the album’s style perfectly.

Rhiannon is one of Fleetwood Mac’s most iconic songs for the mesmerising blend of folk and rock, along with Nick’s haunting and poetic vocals, is captivating.

Over My Head has a magnificent slow build to this breezy pop-rock tune. Christine McVie once again shines as Over My Head has catchy hooks and an infectious chorus that should have made it an instant classic. The backing vocal harmony, however, is a little campy, thereby causing distraction from an otherwise exceptional tune.

Crystal is a song that first appeared on Buckingham Nicks’ debut album; prior to them joining Fleetwood Mac. While this version is different, one thing is for certain, Buckingham’s vocal presentation is second-to-none and the backing vocals, particularly those provided by Nicks, are extraordinary as the musical bed allows your mind to drift into a sonic wonderland. They, most certainly, don’t make music like this anymore!

Say You Love Me has an upbeat, feel-good rhythm, that is amongst Fleetwood Mac’s most recognisable songs. The irresistible melody and sing-along chorus drive the song forward and make it impossible to not be moved by this classic tune.

Landslide is a magical piece of songwriting and audible art. Credit for this tune, naturally, has to be given to Nicks for it is her at her most vulnerable; an aspect that comes through crystal clear in her beautiful performance.

World Turning is a funky folk meets country groove-driven track that has a playful vibe and adds a dose of energy and spontaneity to the album. Despite being an album-only tune, it’s also a hidden gem and one that deserves more attention than it generally receives.

Sugar Daddy is a rock number that showcases the band’s blues roots. While the entire album is exceptional, Sugar Daddy is one song that, while it would be missed, should have been omitted for it sounds more like a demo than a fully-fledged song.

I'm So Afraid closes the album on a high note with Buckingham's searing guitar solos and raw, impassioned vocals. While there’s no shortage of exceptional songs written by Buckingham, I’m So Afraid is a personal favourite as it showcases that Fleetwood Mac can go beyond the blues-based pop-rock that defined their career and take on an even bolder composition that will leave you reflecting on this incredible tune whilst simultaneously wanting to spin the record again. Of course, in the modern era, it is easier than ever to put this song on repeat and it’s worthy of such appreciation because it is one of the greatest, and most underrated, songs Fleetwood Mac ever recorded.

Fleetwood Mac not only rejuvenated the band's career but also laid the foundation for the iconic lineup that would go on to create some of the most enduring music of the 20th century; along with this very record. With a blend of catchy hooks, heartfelt lyrics, and masterful musicianship, Fleetwood Mac is easily one of the greatest albums of the 70s. Whether you're a longtime fan of the band or new to their music, this album is essential listening for anyone who appreciates classic rock.

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Eloy – Power And The Passion (Album Review)

Released in 1975, Eloy’s Power And The Passion, their fourth studio album, is a masterpiece of progressive symphony rock that has to be heard firsthand to be fully appreciated. The musical structure and compositions are exceptional, yet the concept album approach doesn’t quite grab me. Granted, I appreciate the human vocal as another instrument in the mix, rather than a storytelling device, but the idea of a drug-fueled time traveller and an encounter with a wizard doesn’t grab me at all.

What does captivate me, however, is the cover art and music contained within this release. Eloy has always had captivating artwork, primarily targeted at the larger vinyl canvas. Yet, in a surprising omission, Power And The Passion hasn’t been reissued on vinyl since 1982. Those of you who aren’t enamoured with this legacy format may question what all the fuss is about, but I’d argue that Eloy is one of those bands that would see many collectors, particularly of their classic 70s era recordings, clamour for the chance to get updated copies of the albums they love; if for no other reason than to have an unadulterated piece of captivating visual art.

As it stands, the lossless Apple Music stream will have to suffice for the modern music lover as this CD counterpart is derived from the last CD remaster from the year 2000. Perhaps suffice is the wrong word to use because the sonic prowess of the lossless stream is magical. It may not be an Apple Digital Master, but it’s enveloping, with a soundstage that goes well beyond your speakers and is so impressive that I can see why another remaster hasn’t been issued. While I haven’t heard an original mastering of the Power And The Passion, when music sounds this good, I’m in pure sonic bliss and truly hope that the band, and record label, leave well enough alone. That said, this album, and Eloy’s classic era releases, are most certainly long overdue for being reissued on vinyl.

Introduction sets the stage perfectly for the songs that are to come. With its masterfully composed ethereal synthesised sounds and spacey textures, Introduction creates a sense of anticipation and mystery that flows beautifully into Journey Into 1358.

Journey Into 1358 is a killer tune with an incredible vocal presentation and musical bed that gives a sense of grandeur to the song.

Love Over Six Centuries is a lovely musical experience that is not only flawless and epic but must be heard firsthand in order to be fully appreciated. It’s so good, that it is easily one of the greatest songs Eloy ever recorded.

Mutiny, as with the other songs, flows so seamlessly that you could be mistaken for appreciating the album as a single body of work, and while I wouldn’t necessarily seek any song out on its own, as Power And The Passion is best heard in its intended album structure, songs such as Mutiny are so powerful that I could see them being easily added to a playlist, or played on repeat for hours on end.

Imprisonment has a rather creepy introduction but, thankfully, it doesn’t continue for it is one song that gives me the heebie-jeebies. After the anxiety has ceased tormenting my senses, Imprisonment comes into its own and while not a standout, it’s a solid album-only tune.

Daylight, in contrast to Imprisonment, is a little too campy and upbeat. It’s also fair to say that it’s my least favourite song from the album, but I can appreciate it in the record’s linear structure and the album wouldn’t be the same without it.

Thoughts Of Home is short but is an absolute masterstroke of creative genius with a composition that I never tire of.

The Zany Magician will encourage you to get out your air guitar for this is a killer rock number with attitude to burn. Not only is it memorable, but it’s one of the greatest songs that Eloy ever recorded. Yes, the vocal aspects could have been removed entirely, and it could have been a masterful instrumental number, but that aspect adds context for those who are following the story arc.

Back Into The Present doesn’t truly embrace the setup that was heard in The Zany Magician, but there are some redeeming qualities, such as that killer guitar solo.

The Bells Of Notre Dame is an ideal closer; one that permits contemplation whilst simultaneously encouraging you to play the record again. Incorporating aspects heard throughout the entire album, The Bells Of Notre Dame is nothing short of a sonic masterpiece.

Overall, Power And The Passion is a masterful work of progressive rock that continues to enthral listeners with its timeless appeal. While I may not be convinced of the album’s thought-provoking themes, the epic compositions ensure the album remains a classic of the genre and is a testament to Eloy's enduring creativity and innovation. Whether you're a seasoned prog enthusiast or a newcomer to the genre, Power And The Passion is essential listening for anyone who appreciates ambitious and adventurous music.

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Eagles – One Of These Nights (Album Review)

Released in 1975, One Of These Nights was the fourth studio album from the Eagles and their greatest achievement in the era prior to Hotel California’s release. It would also become the Eagles’ first number-one record, and without a B-side to be found, is best described as a masterpiece. Yes, One Of These Nights has forever resided in the shadow of Hotel California, released a year later, but in many ways, as much as I adore the latter album, I feel One Of These Nights offers music lovers a stronger all-round album experience. 

While the Eagles were one of those bands that consistently built upon the success of their previous releases, their ability to seamlessly blend various musical styles, including rock, folk, and country, not only demonstrated their versatility as musicians but also broadened their appeal to a vast audience. Add to that their songwriting mastery and what you have is a record whereby each track offers a compelling narrative alongside memorable melodies.

Of course, killer songwriting would be for nil if the vocal harmonies that the Eagles are renowned for were, in any way, flawed. Whether it's the soaring choruses of Take It To The Limit or the soulful interplay in After The Thrill Is Gone, the band's harmonies elevate each song to new heights, heights that are perfectly matched by their instrumental prowess. 

Even detractors would have to admit that the production values of the Eagles, throughout their entire career, have been exceptional. The recording, mix, and mastering of each album have been impeccably done thereby ensuring that every vocalisation is clear within the mix. Every instrument is given room to breathe and at no time is an element overwhelming in the mix. While the band members were exceptional musicians in their own right, credit has to be given to producer extraordinaire Bill Szymczyk. His work with the Eagles, amongst others, is legendary and he would produce five of the Eagles’ most well-received studio albums throughout the years. 

As the Eagles are one of my all-time favourite bands, it’s likely no surprise that I find myself fortunate to own the 2014 vinyl re-issue (RRM1-1039). Sonically, it’s lovely! You’ll get the analogue warmth that is a trademark of the vinyl format and you’ll also notice the instrumental and vocal separation is spot on, meaning it’s a solid edition to consider. Is it the best? Well, I can’t tell you as I haven’t had the opportunity to listen to other vinyl editions. What I can say is that I’m content with this vinyl reissue, and the associated Apple Music stream, and feel no need to seek out another copy of this classic album.  

Turning our attention to the Apple Digital Master on Apple Music, it also sounds thoroughly enjoyable. It’s a little muddier than I’d ideally like, particularly in the low-end audible range of Too Many Hands, but it’s a minor quibble that may not apply to you, depending on how you have your music playback system configured. If, however, I compare it to the vinyl reissue, the analogue format doesn’t exhibit the dull thud heard on the stream. Instead, Too Many Hands delivers depth to Don Henley's drum track, along with clarity and separation of Randy Meisner’s bass track, when listening to it on the turntable. It isn’t necessarily off-putting, but something that you should be aware of if you care about such minute elements. 

Regardless, it’s all about the music and with that in mind, join me as I explore the songs that make up one of the greatest albums the Eagles ever recorded.

One Of These Nights has an incredible introduction with a sultry groove that creates the backbone of the tune. Add in the haunting vocal harmonies, Don Henley’s magnificent lead vocal, and a memorable guitar riff, and this title track quickly becomes not only a standout but an instant classic. 

Too Many Hands is a gritty rock number that features a driving rhythm section and blistering guitar work that’s masterfully mixed with the Eagles’ trademark sound, incorporating country and soft rock elements, magical harmonies, and melodic mastery.  

Hollywood Waltz slows down the pace with this incredible melancholic ballad. The lush instrumentation, including subtle percussion, gives Hollywood Waltz a cinematic quality. While it was never destined to be a hit, and is subsequently an album-only tune, you’ll find yourself captivated as you sit and listen to the enveloping soundstage; one that would be sorely missed if this song had been omitted from the album.

Journey Of The Sorcerer can, and should only, be described as one of the Eagles’ greatest recordings. The mix of folk and country influences, driven by intricate acoustic guitar picking and a whimsical, almost mystical atmosphere, ensures that this song is not only memorable but is a hidden gem for those Eagles fans who have never delved into the album or gone beyond their greatest hits. 

Lyin’ Eyes is one of the Eagles’ most iconic songs, and for good reason as it has an addictive rhythm; one that you’ll find yourself toe-tapping and head-bopping along to. With its memorable melody, lush arrangement, and poignant lyrics, the song perfectly captures the complexities of human relationships and remains a timeless classic. 

Yes, the shift from Journey Of The Sorcerer to Lyin’ Eyes can be a little abrupt, for the modern digital music lover, as these editions don’t permit the longer pause that is present if you have a vinyl edition. Nevertheless, it doesn’t take long for the senses to adjust and by the time the first chorus is reached, you’ll be in sonic heaven, most likely singing along to the chorus. 

Take It To The Limit is a powerful ballad that showcases the vocal prowess of bassist Randy Meisner. As with Lyin’ Eyes, Take It To The Limit has become an anthemic number for the Eagles with a soaring chorus, magnificent vocal harmonies, and a musical bed that will encourage anyone to embrace, and overcome, life's many challenges. 

Visions is a lesser-known track on the album but is a solid album-only tune. 

After The Thrill Is Gone is a beautiful ballad with a stripped-down arrangement that ensures Henley and Glenn Frey’s vocal mix thoroughly explores the emotional depth of the tune.

I Wish You Peace is a stereo panning nightmare, when listening on headphones. Via a stereo, it fills the room and immerses you in the soundstage. Nevertheless, I Wish You Peace is a lovely closer that allows for both contemplation as well as encouragement to play the record again as it’s a gentle, acoustic-driven song that offers a message of goodwill and is one of Bernie Leadon’s greatest lead vocal performances. 

One Of These Nights is a timeless masterpiece that showcases the Eagles at the peak of their creative powers. With diverse musical influences, impeccable songwriting, and flawless production qualities, this album remains a classic that continues to captivate audiences around the world; particularly those who venture beyond Hotel California. If you're a fan of classic rock, or simply appreciate great music, One Of These Nights is a must-listen.

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Bee Gees – Main Course (Album Review)

Released in 1975, Main Course marks a significant turning point in The Bee Gees' career; one that would also contribute to major shifts within the music industry during the following years. Departing somewhat from their signature harmonious ballads and melodic pop, Main Course ventures into the realm of disco, a genre that would soon catapult the brothers Gibb to even greater international stardom than they had already experienced. Funk, rhythm and blues elements are also present throughout, but it was the Bee Gees’ musical skill that permitted a merging of the genres into a coherent sound that was not only startling at the time, but long-lasting and thoroughly appreciated by music lovers to this very day. 

There’s no doubt that the shift in style would have had its detractors but part of an artist’s journey should be an evolution, for few are successful in recording the same type of music over and over again. The stylistic shift would also revitalise their career, following a few less-than-stellar releases in the prior years. Whether or not you embrace the disco-infused sounds of the Bee Gees, one thing is for certain, they embraced the new sound that was not only fresh but also timely, aligning with the disco fever that was sweeping the globe during the mid-70s.

Naturally, Main Course boasts several iconic hits that were perfectly aligned with the zeitgeist upon release, but songs such as Jive Talkin’, Nights On Broadway, and Fanny (Be Tender with My Love) remain as fresh today as when they were released. While there may never be another band, or artist, quite like the Bee Gees, their music lives on for generations of music lovers to enjoy as they make their way to the dance floor. 

While a focus is most certainly on the disco vibe, to say that Main Course is solely a disco album would be disingenuous for the melodies and harmonies still exist with a touch of funk, soul, and pop. Main Course is, really, quite a diverse record. 

Aside from the music itself, part of the album’s appeal is due to its slick and polished production values. Working with the legendary producer, Arif Mardin (who also produced their 1974 release, Mr. Natural), the Bee Gees were helped in elevating their music to new heights and that included a greater focus on Barry Gibb’s falsetto vocal. Of course, with such a producer behind the scenes, and the Bee Gees already well-established by this time, the result is a sonic wonderland that is best heard firsthand as words are insufficient to describe the musicality that will be emitted from your speakers. 

The high production qualities thankfully make their presence felt on the CD-quality stream and while Main Course isn’t presented as an Apple Digital Master, the record is delivered nicely with an enveloping sound stage, clarity between elements, and a boogie rhythm that will get you moving. Is it perfect? Well, that aspect is truly subjective, but I wouldn’t reject a respectfully remastered edition with a little boost to the low and mid-range aspects of the sonic spectrum. Of course, adjusting one’s EQ settings can bring it into line with expectations but what I can say is that if this is the only master available to music lovers, then we’re incredibly fortunate for it's quite lovely. 

Nights On Broadway opens with a funky bassline and pulsating rhythm that’s a masterful accompaniment for Barry’s falsetto and Maurice and Robin’s vocal harmonies. It’s a magnificent tune that is not only an ideal opener but harks back to the mid-70s and the emerging musical styles of the era.

Jive Talkin’ is, arguably, the most iconic track from the album as this disco anthem showcased the Bee Gees' transition into the genre. With its infectious groove and catchy guitar riff, there’s little doubt as to why Jive Talkin’ became an instant hit.

Wind Of Change is best described as lush. The musicality, the vocals, and every aspect have a succulent appeal that immediately grabs your attention. While Wind Of Change was never released as a single, the catchiness of the song had the potential to be a minor hit had it been released. It, subsequently, is a hidden gem and is deserving of more recognition than it has received. 

Songbird is a departure from the disco sound that dominates the album. Instead, we’re met with an absolutely beautiful tender ballad that is saturated with raw emotion and sincerity. It really is one of the greatest vocal-focused performances the Bee Gees ever recorded and is another song that is severely underrated. 

Fanny (Be Tender With My Love) returns the album to its more upbeat groove and while it has all the hallmarks of a disco tune, it’s the melding of rhythm and blues, with a touch of soul, that ensures this song remains memorable with it’s catchy melody and infectious rhythm. 

All This Making Love would traditionally have opened side two of the vinyl release and while it makes perfect sense in that format, as there’s a longer pause between songs when flipping sides, it can present a slight jolt to the senses in the modern era. On its own it’s magnificent but in the flow of a digital album, be it streaming or CD, the funky, upbeat tempo rhythm that exudes energy and swagger is too much of a sonic shift to ignore and the subsequent brilliance of this song can be lost as a result.

Country Lanes offers listeners a sonic respite filled with a folk-inspired melody and evocative lyrics that make for an ideal reflective ballad. The song's gentle instrumentation and lush harmonies create a sense of intimacy and nostalgia, transporting listeners to a simpler time and place.

Come On Over continues the ballad-inspired style with a touch of country influence. It’s the quintessential album-only tune and while not filler, it’s unlikely that you’ll seek it out on its own.

Edge Of The Universe is a fantastic atmospheric number that works masterfully with the song's hypnotic rhythm and swirling synthesisers. It’s a hidden gem, certainly, and if it doesn’t connect with you immediately, may I suggest you listen to the song a couple of times as unpacking this multi-layered recording will allow you to fully explore the magnificence of the song.  

Baby As You Turn Away closes the album on a high note with a ballad style that has a haunting melody accompanying the emotive lyrics. It’s masterful and is the perfect album closer; one that permits reflection whilst simultaneously encouraging you to play the record again.  

No matter which way you look at it, Main Course is a landmark release that showcased the Bee Gees during one of their most creative periods. With its irresistible grooves, magnificent vocals, and captivating lyrics, Main Course remains a classic album and is a testament to the enduring legacy of one of the world's most iconic groups.

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Art Garfunkel – Breakaway (Album Review)

Released in 1975, Breakaway, Art Garfunkel’s second solo release, showcases the artist's remarkable vocal prowess, emotive storytelling, and timeless appeal. While fans may have been hoping that a resolution would once again see the legendary duo of Simon & Garfunkel record and release another album, that wasn’t to be, but Breakaway does include the Simon & Garfunkel duet; My Little Town. That duet aside, we are blessed to have Breakaway; an album that can be best described as a classic record. 

While music lovers will declare that the music is the most important aspect, by the mid-70s, albums were primarily released on the vinyl format and Breakaway’s cover art would have looked exceptional, and would have stood out from the crowd, in any record store. It’s album covers such as this that make me wonder how many people would have purchased the record based on the artwork alone, without knowing or having heard the music at all. Nevertheless, the imagery is spectacular and there likely isn’t a straight man alive who wouldn’t have wanted to be vicariously ensconced between actresses Helena Kallianiotes and Laurie Bird. Unfortunately, by the time 1979 rolled around, Bird had taken her own life but her spirit continues to live on via Breakaway’s artwork. 

As it pertains to the sonic qualities of the release, the CD-quality lossless Apple Music stream is exquisite. While I don’t have access to another edition of this classic album, I can’t imagine seeking one out for the stream is more than anyone could expect as the soundstage is wide and enveloping and every musical element is perfectly positioned within the mix. Flawless, is one way to describe it, yet one can’t help but wonder how the album would sound quadraphonically. 

When released in 1975, quadraphonic vinyl and 8-track releases were issued alongside the stereo edition. While the quadraphonic mix was out-of-print for decades, a Hybrid Multichannel SACD was reissued in 2018 by Vocalion (under license from Sony Music Entertainment UK Limited) and was extremely well received by quadraphonic music aficionados. Due to the numerous glowing reviews, I wish that Sony Music would issue the quadraphonic mix to Apple Music for the streaming service supports Dolby Audio which can deliver up to 5.1 channel mixes. An Atmos mix need not apply, especially when the existing quadraphonic mix is already so well respected. 

While I understand that Sony Music may wish to hold onto certain editions, for a variety of reasons, I’m the type of music lover who would like to see the most compelling versions of an album released everywhere so that everyone can enjoy it. While the SACD release is not overly priced and is still available, not every fan will have access to an SACD player; particularly one that is capable of multichannel playback. Apple Music, however, has the potential to allow many more people to listen to, and enjoy, these multichannel mixes; even if in a semi-psuedio playback environment for those without extensive surround sound systems. 

As previously mentioned, the lossless CD-quality stream is thoroughly enjoyable and it is the music, after all, that is the most important aspect, not the delivery format. With that in mind, join me as we take a look at the songs that make up this incredible release. 

I Believe (When I Fall In Love It Will Be Forever) is a magnificent cover of Stevie Wonder’s original from his 1972 release Talking Book. As pleasurable as Wonder’s recording is, however, it pales in comparison to the masterpiece that Garfunkel has recorded. It isn’t just in the chosen vocal styling, but in the musicality, as Garfunkel’s interpretation is bolder, smoother, and more uplifting than the original. It’s a perfect opener that sets the tone for the music that is to follow. 

Rag Doll is a beautiful tune that’s perfectly suited to Garfunkel as it showcases his ability to infuse music with emotion and sincerity. Rag Doll is, subsequently, a timeless, and somewhat hidden, gem. 

Break Away is a stunning upbeat ballad that is worthy of being the album’s title track. The inclusion of David Crosby and Graham Nash, on backing vocals, particularly on this recording, enhances the song and creates a captivating atmosphere to go along with the pleasing musical backdrop. 

Disney Girls, a Beach Boys cover, is stunning! The original, however, is quite the song in its own right. It’s so good that, at times, I prefer the original. Let’s just say that it’s a killer tune and both The Beach Boys and Garfunkel performed it masterfully. 

Waters Of March is one of those songs that you’ve most likely heard on numerous occasions for it has a long legacy and many artists have recorded it. While it’s a perfectly adequate song for the album, and I wouldn’t like to see Breakaway sans Waters Of March, I’m not entirely convinced that it was worthy of Garfunkel, or that his interpretation added anything new to this classic tune. I, therefore, have a love/hate relationship with the song for it flows well within the album’s context, but it isn’t a song that I would seek out on its own. 

My Little Town, a collaboration with Paul Simon, was also released on Simon’s 1975 studio release; Still Crazy After All These Years. While we can lament the cessation of the duos’ collaboration, My Little Town is a lovely tune that harks back to a beloved era. No, it isn’t the strongest song that Simon & Garfunkel ever recorded, nor is it a standout, but it’s lovely nonetheless.  

I Only Have Eyes For You is another well-known tune for this soppy love song has been recorded and aired ad nauseam. Still, Garfunkel’s interpretation is lovely as his vocal control is utterly perfect and the lush, but tepid, orchestration provides a dreamy atmosphere that not only perfectly suits the song but also captures the essence of love and devotion.

Looking For The Right One is a Stephen Bishop composition that Bishop would later record beautifully and release on his 1978 studio album Bish. As for Garfunkel’s original recording, it too is stunning and is another example whereby either version can be thoroughly appreciated.

99 Miles From L.A. is a cover of Albert Hammond’s recording; also released in 1975. Hammond’s is a lovely interpretation, but it isn’t quite as fulfilling as Garfunkel’s rendition. Garfunkel’s musical bed is a little more recessed while his vocals were recorded with an ethereal echo. The result is a thoroughly more pleasing musical experience. 

The Same Old Tears On A New Background closes the album with a reflective ballad that continues to showcase Garfunkel’s emotive vocals. Add to that the beautiful instrumental backing and the amalgamation creates a poignant conclusion to the album's emotional journey; one which will encourage you to play the record again.

Breakaway, subsequently, stands as a timeless masterpiece showcasing Art Garfunkel's exceptional musical talent. With its captivating melodies, heartfelt lyrics, and impeccable craftsmanship, Breakaway continues to resonate with audiences decades after its initial release, solidifying Garfunkel's legacy as one of the preeminent voices in the history of recorded music.

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America – Hearts (Album Review)

Released in 1975, Hearts is a masterpiece of 1970s soft rock, showcasing America during their most prominent years. While it’s another impressive collaboration with George Martin, in the production chair, Hearts is most notable for seamlessly blending acoustic guitar-driven compositions with lush harmonies and subtle instrumental arrangements. The result is an album that, much like the rest of their 70s catalogue, is easy listening soft rock folk music that will appeal to just about any music lover. 

As previously mentioned, Martin’s contribution here, along with Geoff Emerick's engineering of the album, ensured that the production quality of Hearts was top-notch, with each instrument and vocal harmonisation meticulously arranged to create a cohesive and immersive listening experience. Hearts, subsequently, has a timeless appeal and while not presented as an Apple Digital Master, sounds lovely via Apple Music. It is, of course, up to Warner Records as to which edition of an album is delivered to Apple Music, but one would expect more with Apple Music not only supporting Hi-Res Lossless delivery but also Spacial Audio; particularly as Hearts had been released in the 70s as a quadraphonic edition alongside the stereo release.

Given the classic album status of this record, Warner may wish to keep additional versions in the archives for anniversary releases on physical media. However, one can’t help but wonder if this isn’t a missed opportunity for a Dolby Atmos mix need not apply as Apple Music fully supports Dolby Audio; a legacy surround format that can deliver up to 5.1 channel mixes via the streaming service.  

Given Hearts has been reissued for the audiophile fans amongst us, higher-quality versions of this album do exist. That said, some of these releases are now out-of-print and command significant prices on the secondhand market. Interestingly, however, Qobuz has a Hi-Res Lossless 24-bit / 192 kHz edition of the album available to stream or purchase so if attaining the highest quality reproduction is the most important aspect to you, you may wish to check out that version. As to why Apple doesn’t have access to the same version as Qobuz, I’ve no idea. It is yet another minor quizzical frustration that streaming-focused music lovers must contend with. 

Turning our attention back to the Apple Music stream and what you get is a CD facsimile that reproduces the album’s analogue-era warmth and fullness with lovely separation between instruments and a pleasurable stereo soundstage. While I’ve no doubt there are advantages to the other, aforementioned, releases, the stream is so lovely that I question if I need to seek out other editions. At any rate, it’s all about the music, so join me as I take a look at the songs that make up this incredible mid-70s release. 

Daisy Jane sets the tone for the album with its gentle acoustic guitar intro and soft melodic vocals. It’s one of America’s most beautiful ballads and the song's catchy chorus and lush harmonies ensure that it’s not only a standout from the album, but is amongst the greatest songs that America ever recorded.

Half A Man shifts the tempo slightly and while the initial shift presents a jolt to the senses, you quickly meld into the soft rock elements that are, in some ways, reminiscent of Alice Cooper; particularly in his solo ballad-styled 70s and 80s recordings. Whether or not Half A Man is an exceptional song will be determined by your subjective tastes, but it’s ideal for the era in which it was released as the upbeat horn delivery and backing vocals pigeonhole it perfectly to the sounds that were prominent during the mid-70s. 

Midnight is captivating with its dreamlike haunting melody and atmospheric instrumentation. The vocal harmonies are stunning and when merged with the musical bed, it makes for a standout tune that’s a hidden gem of, not only, America’s back catalogue, but of the 70s. 

Bell Tree flows beautifully from Midnight as this song continues the serene atmosphere with gentle acoustic guitar melodies, subtle percussion, and delicately delivered vocals. It may not be a standout, but it’s songs such as Bell Tree that make for an exceptional album experience. 

Old Virginia has folk-focused instrumentation that combines seamlessly with America’s vocal delivery and harmonies; a beautiful song! 

People In The Valley features a more upbeat tempo and rhythmic groove than the prior songs, yet the catchy chorus and infectious melody make it a compelling listen and showcase America's ability to craft memorable pop-rock tunes; even if it presents a minor shock to the senses when listening to the album in its linear structure.

Company is an interesting tune for it isn’t the greatest song America ever recorded, yet there’s an intriguing aspect to it that I can’t quite explain. It isn’t a B-side, nor is it filler. It does, however, work perfectly within the flow of the album and I like it; even if I can’t communicate why. 

Woman Tonight, with its energetic rhythm and infectious groove, is a standout tune as the musicality is off-the-charts good. While it doesn’t seem that it should work on paper, the Caribbean and reggae-influenced undertones work surprisingly well with America’s style.

The Story Of A Teenager slows things down again and while I don’t mind the uptempo numbers, more melodic tunes, such as this one, are much more well-aligned with America’s vocal-focused presentation.

Sister Golden Hair is, arguably, the most iconic track from Hearts. Featuring a catchy guitar riff, and memorable chorus, Sister Golden Hair is a timeless classic and a standout within the classic rock sub-genre. 

Tomorrow is the perfect song to follow on from Sister Golden Hair as it doesn’t detract from the brilliance of the previous track but is magnificent in its own right. While the musical bed is stunning, it is the harmonious vocal delivery that makes Tomorrow an exceptional tune. 

Seasons is an interesting closer as part of me would suggest that Tomorrow would have been a stronger final track, if for no other reason than to allow the listener time for contemplating the music they’ve just heard. Instead, Seasons will pique your attention with its theatrical nature that sounds as if it would have been better placed in a different sequenced position. Nevertheless, Seasons is a lovely album-only tune that will encourage you to play the record again. 

With its memorable melodies, heartfelt lyrics, and impeccable production, Hearts continues to captivate audiences and stands as a testament to the band's enduring legacy; one that has its peers but one that sees America at the very top of the folk-rock movement of the 70s. 

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Alice Cooper – Welcome To My Nightmare (Album Review)

There are classics and then there is Welcome To My Nightmare. Going solo, after the official disbandment of the Alice Cooper Band, Cooper would return with a debut solo album that not only built upon his previous successes but also took his musicality to new and unexpected heights. While it was familiar, yet different, Welcome To My Nightmare delves into the dark and twisted recesses of Cooper's imagination, taking listeners on a journey through the nightmares of a troubled mind. As far as concept albums go, this is amongst the greatest and stands as a cornerstone in the history of rock music.

While one of the most appealing aspects of Welcome To My Nightmare is its story-driven approach, you need not worry if you’re not interested in that style of album for I’m sure Steven, the album’s protagonist, won’t mind as the songs are exceptional in their own right. From the haunting opening track, to the chilling finale, this album immerses listeners in a theatrically surreal world filled with macabre imagery and unsettling melodies that will leave a lasting impression for it is nothing short of a musical masterpiece.

Being a master storyteller is but one part of Cooper’s musical skill, for his ability to deliver emotive vocals, alongside poignant lyrics, is profound and elevates his music to another level entirely. Welcome To My Nightmare, along with so many of Cooper’s solo albums, pushed the boundaries of what was possible with music and the album format and while we’ll take a look at the songs that make up this incredible release, I dare say that it is best heard in its linear structure for it’s a textbook example of how to write, record, and release a concept album.

While the music is one aspect, the record's iconic cover art perfectly encapsulates the album's theatrical spectacle. Drew Struzan’s illustrations pop off the canvas and as much as it can be appreciated on the smaller screen of a smartphone, this is an album cover worthy of vinyl ownership. Speaking of which, I’ve been fortunate to own the 2018 Limited Purple Vinyl Edition; a visually stunning and thoroughly enjoyable reissue with a relatively low noise floor and a rich dynamically charged sound stage that has plenty of clarity, oomph, and analogue warmth to captivate most music lovers. However, is it the final word in sonic quality for this classic album? That is, naturally, subjective and while I’m aware of the Analogue Productions reissue and respect what Chad Kassem and his team do with their remasters, as I own quite a few, I am growing weary of 45rpm releases.

Granted, I acknowledge that the entire Atlantic 75 Audiophile Series is being delivered exclusively on 45rpm 180-gram heavyweight vinyl, as well as Hybrid SACD releases, but with an album such as this one, the flow naturally suffers from being placed across four sides rather than two. For instance, Years Ago flows nicely into Steven but these songs are separated on Sides 3 and 4. Perhaps I’m being pedantic as I can see how a separation here would be appropriate, but after so many years of hearing this album in its original sequencing, I fear it would detract from the flow of the album.

Additionally, I strongly believe that if a mastering job is done properly, the benefits are also noticeable when released at 33rpm. For instance, as incredible as the Analogue Productions edition of Aaron Neville’s Warm Your Heart is at 45rpm, the Acoustic Sounds Series (also supervised by Chad Kassem) of Nina Simone’s I Put A Spell On You at 33.3rpm is every bit the aforementioned contemporary, once the recordings differences are taken into account, and it’s simply extraordinary.

Given all the praise I’ve seen directed at the Atlantic 75 Audiophile Series reissue, I really should pick up a copy, but it still amazes me that these releases are exclusive and limited. If they are the very best that these albums have ever sounded, and I have no reason (based on my own experience) to suggest otherwise, then why don’t they become the definitive standard henceforth; on every format, future release, and digital delivery platform? I don’t know about you, dear reader, but I feel it’s gatekeeping at its finest and unnecessarily feeds the FOMO attitude that is prevalent within music-collecting circles.

Turning our attention to the lossless Apple Music stream and what we’re presented with is the same mastering as that available on the standard CD counterpart. It’s a solid facsimile, with adequate dynamics and detail, but it’s also a little underwhelming and brittle, particularly in the treble range. Yes, EQ settings can address some of these shortcomings, but if a better master were available, such as the most recent reissue, we wouldn’t need to make these accommodations.

Welcome To My Nightmare serves as an ideal ominous introduction to the album’s central theme with eerie effects and haunting vocals. It’s surreal and is one of those songs that builds masterfully as it progresses. Additionally, the soundstage is immersive and by the time the brass instrumentation enters the mix, you’ll be in sonic heaven. Welcome To My Nightmare is, subsequently, a killer 70s tune, embracing various aspects of funk, jazz, and disco.

Devil’s Food is interesting in its delay to get started following the quiet final moments of Welcome To My Nightmare. It may be a minor aspect, but it’s a technique that I wish was applied more as it allows the senses a moment to reset. Nevertheless, Devil’s Food continues the dark and brooding atmosphere that flourishes when Vincent Price’s role as the curator enters the mix. In many respects, Price’s inclusion shouldn’t work, yet it does and provides an astonishing segue into The Black Widow.

The Black Widow is one of the best songs from the album and perhaps one of the most underrated. With a menacing guitar riff, sinister lyrics, and dramatic delivery, The Black Widow is one of the finest songs from Alice Cooper’s back catalogue.

Some Folks offers a departure from the album’s overall darker musical style by injecting a dose of dark humour with some killer swing, big band, and jazz-inspired elements.

Only Women Bleed is, arguably, Cooper’s greatest musical accomplishment. His emotive vocals and the song’s haunting melody combine to create a powerful ballad that knows few peers.

Department Of Youth aims to be a high-energy anthem that celebrates the rebellious spirit of youth culture, yet it isn’t a standout and I question if the inclusion of The Summerhill Children’s Choir was beneficial or detrimental to my appreciation, or lack thereof, of this tune. Let’s just say that I wouldn’t seek Department Of Youth out, on its own, outside of the concept album structure.

Cold Ethyl is a killer rock tune containing infectious rock riffs and tongue-in-cheek lyrics that create a twisted love song unlike anything else on the album. It’s original, you’ve got to give it that, and Cooper’s theatrical delivery adds a macabre charm to the song’s already gleefully morbid subject matter.   

Years Ago is a perfect interlude-styled haunting ballad that tends to drive anxiety directly into the soul of the listener. Yet, it’s compelling and is one of the best songs from the album.

Steven is one of the record's most ambitious tunes. Not only is the storytelling compelling but every musical aspect is perfectly positioned in the mix. The result is a song that is the sonic equivalent of an Alfred Hitchcock film. It is, without a doubt, one of the greatest Alice Cooper recordings of all time.

The Awakening flows beautifully from Steven and is somewhat of a musical interlude, but it’s a little too short for my liking as I feel it should have been extended. Nevertheless, the atmospheric music and eerie sound effects, merged with Cooper’s extraordinary vocal presentation, ensure that The Awakening is memorable.

Escape is a great closer, but it doesn’t flow as well from The Awakening as the other songs throughout the record have. Yes, there’s a delay between songs, but I’m not sure it’s enough to ignore the shift in style. Despite that aspect, it’s an epic finale that will compel you to play the album again.

Welcome To My Nightmare is not only one of Cooper’s best albums, but it’s one of the greatest records, concept or otherwise, from the 70s; particularly 1975. It really is a triumph of creativity and innovation that pushed the boundaries of the concept album to the very limits of what such a release could achieve. After more than four decades, it remains a timeless classic that continues to captivate and inspire music lovers and Alice Cooper fans alike.

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

ABBA’s self-titled studio album, their third, is a landmark release that distanced itself from the somewhat whimsically juvenile B-sides that littered Ring Ring and Waterloo. No, ABBA isn’t a serious album, by any stretch of the imagination, but where it separates itself from its predecessors is, in part, due to the higher production values and synergy between not only the songwriting team of Benny Andersson, Bjorn Ulvaeus, and Stig Anderson, but with the core ABBA members themselves. While ABBA is most certainly a standout release amongst their formative years, it remains one of their very best, and most underrated, albums and is also amongst the best records released in 1975.

While I always focus on the album experience, first and foremost, this eponymous release gave music lovers seven riveting singles, some of which have become staples in ABBA’s extensive back catalogue. Songs such as Mamma Mia, SOS, and I Do, I Do, I Do, I Do, I Do showcase the band’s ability to craft infectious pop and disco melodies that would not only solidify their status as one of the most influential acts of the 20th century but would ultimately make them timeless.

As already alluded to, the production qualities increased significantly upon this release but as longtime fans will note, not all editions of the album are created equally. It’s all in the mastering and it was unfortunate that I purchased one of the most brittle vinyl editions; the 2011 Back To Black (POLS 262) vinyl re-issue. The lossless Apple Music edition, an Apple Digital Master, is leaps and bounds ahead of that 2011 vinyl reissue as it has a far greater sense of space and clarity.

The ABBA fan within, however, couldn’t let one edition forever tarnish this great album. As such, when the ABBA – The Studio Albums box set was reissued in 2020, I couldn’t pass up the opportunity to dump all previous Back To Black reissues and give this one a shot. Impressed, by the entire box set, would be an understatement. It’s the very definition of perfect and while your subjective preference may differ from mine, I consider the box set, and the version of ABBA, to be the final word in sonic quality as it’s flawless.

Of course, I can’t take the record everywhere with me, so for that purpose, the lossless Apple Music stream remains a highly respectable digital counterpart that is every bit as pleasurable as the 2020 vinyl reissue. Yes, the vinyl reissue is blessed with the renowned warmth of the format, but the Apple Music stream suffers from no digital glare and has the same smooth and dynamic presentation as its counterpart, so it’s likely to appeal to most music lovers.

As you head into the breakdown of the songs that make up this incredible release, it’s important to note that only the core songs, from the album’s original release, are featured below. This is because I’m a purist at heart and while I’m aware of the bonus tracks that have been made available via subsequent digital reissues, I much prefer listening to the album in its original linear structure. Thankfully, the additional tracks can be heard at any time via the Bonus Track Version, but for some reason, the Deluxe Edition is no longer available on Apple Music. Nevertheless, sit back, relax, and let’s take a look at the songs that make up this landmark release.

Mamma Mia is a perfect album opener. Iconic and catchy, this lively tune perfectly encapsulates ABBA’s signature sound. It also helps that it’s got an infectious melody and irresistible chorus, for you’ll find yourself captivated from the very first note to the last.

Hey, Hey Helen is a little quirky when compared to Mamma Mia, but it works with its spirited tempo and vocal delivery. It can, however, get a little monotonous throughout the chorus, but as a fan of ABBA’s rock-focused tunes, I can live with that aspect, in part, because the riff is simply incredible.

Tropical Loveland shifts the tone of the album and adds a touch of reggae. This isn’t up to Bob Marley & The Wailers' standards, but it’s a solid tune and further showcases ABBA’s diverse musical arrangements. Plus, it does give you a sense of being transported to a sun-soaked paradise, thereby making it memorable, relaxful, and thoroughly enjoyable.

SOS is what I call a disco ballad for its combination of haunting melody, heartfelt lyrics, and emotional depth are regularly associated with ballad-styled music. Yet, add in the uptempo musical elements and you’ve got the disco component. Either way, and no matter how you choose to enjoy SOS, one thing is for certain; ABBA doesn’t get much better than this!

Man In The Middle is a dynamic and energetic track with impeccable harmonies and infectious rhythms that are ideally suited to the era. The song's catchy chorus and driving beat make it a standout track on the album and is, arguably, one of ABBA’s best, lesser-known, tracks.

Bang-A-Boomerang is a joyous and infectious tune that harks back to ABBA's origins. With its catchy melody and playful lyrics, Bang-A-Boomerang is guaranteed to put a smile on your face as you dance along to the irresistible rhythm. Perhaps the only negative aspect of the song is that there’s a little too much distortion present and it comes across as a demo, rather than a complete tune. It isn’t a dealbreaker, but it’s one song that can be jarring on the senses if you have too much treble dialled into your stereo.

I Do, I Do, I Do, I Do, I Do is a jubilant number with an upbeat tempo and infectious chorus. The song's catchy hooks and spirited vocals make it a standout and while it may not be everyone’s favourite, I’ve no doubt most would agree that the alto saxophone tracking that Ulf Andersson laid down is simply exquisite.

Rock Me is dynamic and electrifying. With its driving beat and energetic vocals, this song is guaranteed to get you on your feet, dancing along to the infectious rhythm.

Intermezzo No.1 is a captivating instrumental masterpiece that highlights ABBA's talent for crafting lush and evocative music. With its sweeping melodies and intricate arrangements, this song is a testament to the band's creative vision.

I’ve Been Waiting For You is one of Agnetha’s most beautiful vocal performances and is another song that showcases the emotional depth and musical sophistication ABBA brought to their music via this album.

So Long isn’t the strongest closing tune, particularly after I’ve Been Waiting For You, as it feels out of place within the flow of the album. Where it could have been placed instead, I’ve no idea. It’s a low point but, one thing is certain, it will leave you with a spirited and upbeat feeling that will compel you to listen to the album again.

Overall, ABBA's self-titled album is a minor masterpiece that showcases the band's unparalleled talent and musical innovation. Their skills in both increased production quality and songwriting are notable, resulting in infectious melodies, heartfelt lyrics, and dynamic performances that are timeless and are a must-have for any music lover's collection.

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Stevie Wonder – Songs In The Key of Life (Album Review)

Songs In The Key Of Life is one of those unique album experiences that comes along once in a generation. Billed as a double album, part of the uniqueness of this release was that it originally shipped with a bonus EP called A Something's Extra that included the four final tracks that you’ll find on all digital counterparts. While this additional element could be seen as unnecessary to the core album experience, I couldn’t imagine Songs In The Key Of Life sans these bonus tracks as some of them are representative of Stevie Wonder’s most creative output. Granted, in the modern era, bonus tracks are nothing special but we must remember that we’re talking about 1976; a year when the vinyl record reigned supreme and rather than have a third full-size record, with nothing pressed on the sixth side, the additional 7-inch record seems to be the perfect compromise between maintaining artistic vision and the vinyl record’s limited runtime. 

Even with such an abundance of music, as incredible as it is, Songs In The Key Of Life can, at times, be a little too long; particularly if you wish to listen to the album in its entirety. Of course, that is part of the appeal for it is an audible journey that needs to be experienced in its intended sequencing, at least once, as you’ll be amazed at just how fluid and spectacular this release is. Yes, it ebbs and flows throughout, and some songs may touch your soul more than others, but as an album experience, there really isn’t a bad song to be heard. Yes, there is the occasional extraneous moment, but if we believe in artistic license, then these aspects must remain unaltered, unchallenged, and ultimately appreciated.

As it pertains to the sonic presentation of this release, Songs In The Key Of Life was masterfully mixed and recorded with kid gloves, yet all releases should not be considered equal. I was flawed by the sonic reproduction on the High Fidelity Pure Audio (HFPA) Blu-ray release as the DTS-HD Master Audio lossless codec added a sense of presence that had always been absent from the CD counterpart. The presentation is fuller and more three-dimensional in its soundstage (despite being only delivered in stereo). Most importantly, however, the clarity of the Blu-ray release wasn’t as bright as the CD editions, thereby eliminating listener fatigue. Correcting these previous flaws makes for a thoroughly enjoyable listen ensuring that you still get the sparkle in the top end but it's never so prominent that it overpowers the mid or low-range aspects of the recording. 

Turning our attention to streaming and we have a Hi-Res Lossless Apple Music stream which is also an Apple Digital Master. While it is anything but shrill, sharing the reserved nature of the Blu-ray release, it’s also not quite as dynamic while also sounding a little concealed by comparison. That said, if you’ve never heard any other edition of the album, then the Apple Music stream will likely offer you a perfect facsimile. However, if you are looking to go that additional mile, the Apple Music stream may not be the best choice as songs that are meant to pop, such as As, are ultimately a little too relaxed. Interestingly, Qobuz has a different master, and it’s incredibly similar to that heard on the Blu-ray release, hence it may be the direct counterpart minus the physical container; an important aspect seeing as the Blu-ray release has been out-of-print for a considerable time. 

While it’s clear that I prefer the Blu-ray release, for it encourages my body to move involuntarily to the music, I just don’t feel the Apple Music stream is connecting with my soul. That doesn’t mean the Apple Music stream isn’t enjoyable to listen to, but it subjectively isn’t the perfect release of this classic album.

While mastering always plays a role in the appreciation of music, whether you pay attention to that aspect or not, Songs In The Key Of Life is really all about the music and as you listen you’ll come across a collection of songs that can best be described as a kaleidoscope of musical genres. Wonder effortlessly weaves through jazz, R&B, funk, and even classical elements with each tune being a testament to his versatility and mastery across various musical styles. Yes, the album is synthesiser-heavy, but Wonder’s inclusion of groundbreaking technology, at the time, was used to enhance the music rather than being implemented simply because it was available. The result of this refrain was that Songs In The Key Of Life is timeless and there’s little doubt as to why this 1976 record remains Wonder’s most celebrated release. 

Of course, the sonic aspects of the album would be for nil had Wonder’s songwriting not been up to snuff, but in Songs In The Key Of Life we find a lyrical approach that is nothing short of poetic genius. The storytelling is vivid and emotionally resonant, painting a rich tapestry of the human experience while simultaneously addressing social and political issues. 

Love's In Need Of Love Today opens the album with a beautiful vocal harmony before launching into a soulful ballad that, in many ways, sets the tone for the journey ahead. It, as so many of the songs from this album are, is masterful and is amongst the greatest tunes Wonder ever recorded. 

Have A Talk With God is a spiritual and introspective track that blends soul, jazz, and gospel elements. Wonder's vocals are accompanied by a celestial choir, creating a transcendent atmosphere that is extremely compelling. 

Village Ghetto Land is a socially conscious piece that uses orchestral arrangements to paint a vivid picture of urban struggles. The juxtaposition of classical elements with Wonder's soulful delivery adds a powerful dimension that is difficult to ignore. While it may not be a standout song, and would have never been considered for release as a single, it’s the quintessential album-only tune that is perfectly suited to the overall style of the record. 

Contusion is an instrumental jazz-fusion piece showcasing Wonder's prowess as a multi-instrumentalist and genre-bending artist. Featuring intricate melodies and a dynamic interplay between all musical elements, Contusion is an exceptional work of audible art that had it been released by one of the jazz greats, would have become a renowned jazz standard.

Sir Duke is simply magnificent with an introduction that Duke Ellington would have been proud of for Sir Duke was a tribute to the jazz legend. While the entire song is spectacular, the infectious horn arrangement and upbeat rhythm ensure Sir Duke remains a timeless classic.

I Wish is a funky, upbeat, energetic number that captures the essence of the funk and soul music throughout the 70s.

Knocks Me Off My Feet is a soulful and romantic ballad that showcases Wonder's vulnerability and emotional depth. The tender lyrics and melodic arrangement make it a standout and it's one of the best songs from the album.

Pastime Paradise is musically incredible. That instrumental styling, along with the lyrical delivery, stays with you well after the song has ended. Most modern music lovers will likely be familiar with Coolio’s reworked interpretation of the song as Gangsta’s Paradise from his 1995 album, Gangsta’s Paradise; an interpretation that I dare say is spectacular and better than this original. Nevertheless, the core Stevie Wonder tune has a haunting quality that, when combined with the choir element, represents some of the greatest music ever released.

Summer Soft, by contrast, is more mellow but flows seamlessly from Pastime Paradise. Summer Soft, however, isn’t a standout, but as another album-only tune, it’s simply incredible as it ensures the flow of the album is maintained. 

Ordinary Pain is a lovely mellow ballad, until it picks up the tempo midway through, which delves into the complexities of love and heartbreak. Wonder's emotive vocals, and the soulful arrangement, contribute to the emotional impact of the song, but it’s the mix that I find myself continually drawn to for the backing vocals are perfectly positioned in the mix and never detract from Wonder’s vocals or the musical bed. If Ordinary Pain isn’t a textbook example of a good mix in audio engineering circles, I’m not sure what would be.

Isn't She Lovely is a joyous celebration of the birth of Wonder’s daughter, Aisha who also happens to appear on the track as she’s the baby crying at the beginning of the song and the young child featured towards the end. It’s a fitting tribute to his daughter and while I would love to have a version sans these child elements, simply because I feel they detract from the core song a little too much, the song wouldn’t be the same if it were edited in such a way. 

Joy Inside My Tears is a contemplative and soulful ballad that explores the theme of finding joy amid life's challenges. The emotional depth of Wonder's vocals and the intricate arrangement make it a standout tune.

Black Man is a socially and politically charged track that addresses issues of racial identity and pride. The powerful lyrics and dynamic musical arrangement contribute to its impact as a statement on social justice. That said, it’s difficult to dance to so while it resides in a lyrically important place within music history, had it not been so lyrically powerful, it likely would have fallen flat. 

Ngiculela-Es Una Historia-I Am Singing blends Latin and African rhythms with Wonder's signature sound. The multilingual lyrics convey a message of love and unity and while most English language speakers would be unaware of the specific words sung, that doesn’t alter the fact that this song is thoroughly enjoyable.

If It's Magic is a delicate and enchanting ballad with a simple arrangement that highlights the timeless beauty of the harp and Wonder’s soulful tones. 

As is one of Stevie Wonder’s greatest songs. The rhythmic tempo, perfectly cemented in the 70s, is timeless and connects with your soul. The sweeping musical arrangements and heartfelt lyrics provide the backbone to a song that continues to build to its climactic and triumphant conclusion, showcasing Wonder's musical prowess. 

Another Star is a dynamic and energetic fusion of Latin, funk, and jazz influences. As another of Wonder’s extended musical journeys, there is little doubt regarding his skill as a musician for he’s able to capture your attention and hold on to it, whilst simultaneously ensuring that you’ll want to listen to the music time and time again.

Saturn is a cosmic and experimental track where the use of synthesisers and atmospheric sounds contribute to its otherworldly quality. It’s the first of the EP songs to be included on the album, and while I’m normally not a fan of bonus material, Saturn is magical and fluidly continues the brilliance that has already been present throughout the album thus far.

Ebony Eyes is amazing, brilliant, sensational…you get the idea. Flowing perfectly from the closing moments of Saturn, the rhythm reaches into your soul and ensures that your body will move involuntarily to the beat. It is, arguably, the best song from Songs In The Key Of Life and is severely overlooked. 

All Day Sucker has a lively rhythm and playful lyrics that further showcase Wonder's ability to create infectious grooves with not only his music but also his lyrical delivery. 

Easy Goin' Evening (My Mama's Call) was an interesting choice as the closing tune. It’s reflective, yes, but its tempo is so different to the previous three tracks that it feels like it would have been better suited in another sequenced position within the album with the energy of All Day Sucker closing out the collection of songs. Nevertheless, it’s a lovely album-only tune and while I always feel compelled to listen to the album again, following this song, I also find myself more than satisfied to move on to the next record in my library as the length of Songs In The Key Of Life can be a little too long. While there’s no such thing as too much Stevie Wonder, this classic album puts that statement to the test and sometimes it is best to appreciate the album and come back to it at a later date rather than to immediately repeat the journey.  

Overall, Songs In The Key Of Life stands as Stevie Wonder's crowning achievement and is a landmark release in the landscape of popular music that continues to resonate with audiences worldwide. It’s a breathtaking musical odyssey that spans a myriad of genres, showcasing Wonder's unparalleled musical skill, innovative production, and profound lyricism. It, ultimately, is nothing short of a masterpiece! 

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