Neil Young – Harvest (Album Review)

Despite the prolific nature of Neil Young’s creative output, and as enjoyable as much of his extensive catalogue is, few releases compare to his 1972 record, Harvest. It’s not only one of his most iconic and enduring works, but it also captures the singer-songwriter at a pivotal moment in his career, shifting tone slightly to a warmer, country-tinged sound, alongside his remarkable lyrical poetry and emotional depth.

While some fans will be divided between this solo outing and his noteworthy collaborations with Crazy Horse, the tone Crazy Horse adds to Young’s musical palette is one of a heavier rock vibe that is somewhat of a contrast to Harvest’s more laid-back approach. It’s important to note, however, that this more relaxed style was due to Young’s inability to physically play the electric guitar at the time, following an accident that, ironically, became a significant aspect that made this release a defining moment in Young’s career.

With a minimal album artwork to accompany the music, some may find it a little underwhelming, but I’d argue that it’s strikingly compelling. There’s a relaxed aspect that shines through the design, one that perfectly matches much of the album’s musical styling. The old, tarnished look also adds a sense of warmth that complements the music well.

Speaking of warmth, Harvest has a smooth tonality that will captivate your soul, but all editions are not necessarily created equal. That’s somewhat surprising, given Young’s penchant for purity as it pertains to what the listener ends up hearing, but it’s an accurate assessment. Over the years, I’ve been fortunate to have owned the HDCD reissue, and if you have a CD player that will decode the HDCD element, you’re in for a treat. Without that functionality, however, the CD can sound a little harsh, particularly if you don’t have the treble dialled back a little.

As it pertains to the Hi-Res Lossless Apple Digital Master, available on Apple Music, that version has a lovely presentation, but isn’t quite as lively as the aforementioned HDCD. Had I never heard the HDCD release, I’d likely find myself smitten with the Apple Digital Master. The Dolby Atmos mix (also available on Apple Music) is another beast entirely. As one may expect, there’s excellent instrument separation and depth, but there’s also a substantial increase in the bass and midrange. It’s not bloated and does enhance the mix by adding emphasis, but it also doesn’t sound quite right. Of course, after all these years, I’m used to the stereo mix, so it may simply take some adjustment for the additional boldness of the mix to merge with my senses. If nothing else, the surround mix is more enveloping when compared to the stereo mix, but it isn’t fundamentally better, just different.

One aspect I did notice, which I’ve never experienced before with this release, is a sense of fatigue when listening to the Atmos mix. It was only apparent towards the back end of the album, but it was distracting nonetheless. Most likely, it’s due to the senses needing to adapt to the increased detail within the surround mix. While I can appreciate the surround mix and do find it compellingly different, I’ll stick with the original two-channels. But, don’t take my word for it, dear reader, take a listen for yourself and see which mix you subjectively prefer, as there really is no right or wrong way to appreciate this classic release.

Out On The Weekend is a beautiful opening country ballad that sets the tone for the entire album. Musical gold is one way to put it, for every aspect of this recording is perfect with a sereneness that delivers a thoroughly enjoyable listening experience, extending from the very first note to the last. How “Out On The Weekend” was not released as a single is beyond comprehension, for it’s one of the very best tunes from the album.    

Harvest continues the acoustic laid-back styling and will see you toe-tapping and head-bopping along to the rhythm. It may not be the most complex song Young has ever written and recorded, but it suits the album perfectly.

A Man Needs A Maid is a unique song in that the minimal musical arrangement and Young’s distant vocal, particularly in the opening, sound unpolished, yet it isn’t and is as intentional as the inclusion of the London Symphony Orchestra. Part of me would love to hear a bolder version of this song, one with a more lush arrangement, but that would, naturally, take away from the core essence of the tune.

Heart Of Gold is a masterpiece, in every sense of the word, and while this sacred number should never be covered, Diana Krall’s edition, on her 2015 release, Wallflower, is a lovely rendition of this timeless classic. Still, it is, arguably, Young’s greatest song and while “Old Man” tends to receive more attention, “Heart Of Gold” is a vocal and musical wonder that makes Harvest even more compelling.

Are You Ready For The Country has a lively vibe. With an ideal country-rock groove, it becomes the perfect midway point for the album as well as a perfect closer for the first side of the record. It may not be a standout, but all songs need not be hit-worthy to contribute to a top-tier album experience.

Old Man is amongst Young’s most thought-provoking numbers, but it’s the musicality of the tune that, for me, is the strongest element here, as it’s the gentle country-folk rhythm that keeps me coming back for more.

There's A World is musically bold, yet beautiful. It’s the contrast between musical stylings that makes the song so intriguing. Add to that Young’s unique vocal styling, and you’ve got a highly compelling album-only number that will keep you coming back to the record as much as the more celebrated tracks do.

Alabama is a killer tune. With equal parts relaxed and upbeat, this is rhythmic gold. The piano element enhances the raw intensity of the electric guitar throughout, thereby driving the song forward and making it one of the most compelling tracks from the record. In fact, I’d even go as far as saying that “Alabama” is the hidden gem from the record; it just hasn’t received the attention it deserves throughout the years.

The Needle And The Damage Done is a remarkable song, one that was recorded live, that tells of drug addiction, specifically heroin, and the associated consequences. While I seldom listen to music for its lyrical storytelling, instead preferring to appreciate the human vocal as if it were an instrument within the mix, Young is a master storyteller, and it’s his vocal clarity, on songs such as this, that allows the narrative to take centre stage.

Words (Between The Lines Of Age) is an idealistic closer. Incorporating elements from the songs that have come before, “Words (Between The Lines Of Age)” will simultaneously encourage the playing of the album again and contemplation of the music that’s just been heard.

No matter which way you look at it, Harvest is one of Neil Young’s finest releases; one that has not only stood the test of time, but has continued to be lovingly adored by generations of fans. Albums such as this are ultimately timeless, but it's with certainty that there will never be another Harvest, not from Neil Young, or any other artist, but its influence ripples throughout the decades of singer-songwriters that have followed in Young’s footsteps, even if Harvest can be seen as a spiritual successor to Bob Dylan’s celebrated 60s output.

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Michael Jackson – Got To Be There (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Elton John – Honky Château (Album Review)

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

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

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

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

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

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

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

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

Salvation is a beautiful song and a hidden gem.

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

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

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

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

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

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Deep Purple – Machine Head (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Alice Cooper – School's Out (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Alice Cooper – Billion Dollar Babies (Album Review)

Released in 1973, at the height of the Alice Cooper band’s creativity, Billion Dollar Babies remains a landmark sixth studio album, one that captured the band’s daring blend of rock with biting social commentary and has remained amongst their most beloved. Building upon the shock rock foundation of their earlier records, Billion Dollar Babies provides a spectacular contrast, as this release bursts with confidence and the highest of production values, both of which pushed the boundaries of mainstream rock in the early 70s.

Speaking of the production quality, Billion Dollar Babies is impressive. Every aspect has been well considered, with the artwork being just as important as the music itself. Those who stream or purchase digital downloads may not be aware, but the artwork design was next-level as it was presented as a wallet gatefold featuring a billion dollar note, amongst other interesting liner note elements, such as the band being dressed in white playing with bunnies, a whole pile of money, and a baby doll so unsettling it could give Chucky nightmares. It really is something to behold as you listen to this masterful production, one of Bob Ezrin’s greatest with the band.

One of the more confusing aspects for fans, however, is the plethora of available releases. There are reissues with bonus tracks, live performances, and surround sound mixes that give one a sense of fulfilment. That is, until you find yourself faced with which version to obtain or play. Choice is a good thing, they say, and while that may be true, to an extent, all I truly want these days is the original album in its entirety. All the bonus material may be fine from a completist perspective, but if we’re being honest, most of us would only listen to the bonus material once or twice.

Of course, the Quadraphonic edition, including the 2023 reissue, is another beast entirely, as is the unique 5.1 Surround Mix found on the 2001 DVD Audio release. As I’ve yet to hear any of the surround mixes, and therefore can’t comment further, may I suggest you head across to Quadraphonic Quad, for their community members are extremely well versed in any and all surround sound releases, including this landmark record.

Interestingly, with Apple’s push for surround mixes, one would have assumed that we would see it land on Apple Music, but it has yet to be delivered by Warner Records Inc., despite the 50th Anniversary Deluxe Edition showing up, in stereo, on the streaming platform. Nevertheless, it’s one less option to have to choose from, which is somewhat of a relief.   

While I’ve been fortunate to have owned the Deluxe Edition from 2001, and that version is still available via Apple Music, it remains my go-to as it simply sounds right. While I have nothing truly bad to say about the 2023 remaster, I find the album has lost a bit of its sparkle as the remaster sounds a tad muddy and is too mid to low-end focused with the treble range dialled back considerably. Perhaps modern listeners and new fans will find it appealing, but it’s as if there’s a light blanket that has been placed over the speakers. Let’s just say that it doesn’t sound like the album I know and love, so I’m sticking with the older mastering.

Hello Hooray is a fantastic opener, even though it wasn’t an Alice Cooper original. It is, however, a cover song of a folk tune that was originally recorded by Judy Collins in 1968. Make no mistake about it, though, the Alice Cooper band recorded it, made it their own, and while it is highly subjective, this is the only version worth listening to.

Raped And Freezin’ is a return to the raw, straight-up rock and roll that the Alice Cooper band were renowned for in their early years. With a playful rhythm, compelling guitar licks, and a cheeky tongue-in-cheek lyrical presentation, this is one catchy and energetic number that makes the album-listening experience all the more pertinent, for Raped And Freezin’ was never destined to be a hit, but as an album-only number, it’s exceptional.

Elected started its life as Reflected on their 1969 debut Pretties For You, and as solid as Reflected is, Elected offers some much-needed spit and polish and is the far better of the two recordings. Fortunately, this reimagined tune, with its satirical take on politics and power, has become one of Alice Cooper’s biggest hits and has remained a mainstay of live performances.

Billion Dollar Babies is a magnificent title track and is one of the greatest songs Alice Cooper ever recorded. That introduction is off-the-charts good, and Alice’s snarling vocals are perfectly positioned against Donovan’s smoother high harmonies. It’s musically sharp and driving, and as the album’s centrepiece, it embodies the record’s theme perfectly.

Unfinished Sweet is a monstrously ambitious number with killer guitar riffs, an addictively good rhythm, and some incredibly pleasing vocals. As a mini rock opera, you’ll find it unsettling, humorous, and endlessly entertaining; unless, of course, you have a fear of the dentist. Nevertheless, from the menacing riffs to the whimsical interludes, Unfinished Sweet is a masterpiece in every sense of the word.

No More Mr. Nice Guy is one of the most enduring tracks on the album, for its irresistible chorus, punchy guitars, and the killer rhythmic backing have ensured that it became a staple of both radio and live performances. Even decades later, it remains one of Cooper’s signature songs.

Generation Landslide is an intriguing addition to the album. With its acoustic textures and biting electric riffs that form the core of what could have been a simple rock tune, the additional production elements result in a dynamic and memorable song.

Sick Things is one of the darkest songs on the album and one of the most sinister in Alice Cooper’s renowned discography. The slow, dirge-like delivery and overall macabre atmosphere is sonically gorgeous with a multi-layered presentation that rewards listeners the more they choose to listen to the album, as Sick Things has so many audible elements you’ll be unpacking them indefinitely.

Mary Ann flows seamlessly from Sick Things, but it couldn’t be more opposite if it tried. The piano-driven style, with Alice adopting a delivery more akin to a Barry Manilow performance, feels as if it would be ideal in any jazz club. It’s a great tune, and as one of the shortest on the record, it offers a curious but charming diversion before merging into one of Alice Cooper’s most controversial songs.

I Love The Dead is the magnum opus of Billion Dollar Babies. With tongue planted firmly in cheek, I Love The Dead will most certainly leave a lasting impression. Yes, it’s both horrifying and absurdly humorous, but it’s musically rich and theatrically encapsulates the shock value and dark humour that has defined Alice Cooper’s entire career. If nothing else, you’ll feel compelled to listen to the album again, for Billion Dollar Babies can seldom be listened to once.

Ultimately, Billion Dollar Babies captures the shock rockers at the peak of their creativity. While their other 1973 release, Muscle Of Love, is one of the finest albums the band ever recorded, it takes second place to this masterpiece, as it stands alongside Love It To Death as the very best from the original band lineup. From the shock theatrics to the biting satire, Billion Dollar Babies is as unsettling as it is irresistible, thereby making it one of the greatest albums in all of recorded music history, particularly in 1973.

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