James Blunt – Who We Used To Be (Album Review)

James Blunt is one of those rare artists who consistently release highly compelling modern works of art that, for lack of a better term, are timeless. Who We Used To Be, however, loses a little focus (compared to his previous works) as Blunt continues to meld his signature sound with that of more modern recordings. That isn’t necessarily a bad thing, especially if one’s aim is to stay relevant. Still, it does shift Blunt’s musical style to such an extent that there are moments on this release that make the British pop sensation indistinguishable from any number of his contemporaries. While Who We Used To Be is amongst the very best releases of 2023, I do hope that Blunt’s future releases will be dialled back a little more, perhaps to the unique styling we heard on All The Lost Souls (2008); an exceptional release and one of Blunt’s finest.

Released in 2023, Who We Used To Be is the seventh studio album from James Blunt. With a core 10-track, 31-minute, linear structure, it’s closer to an EP than a full-length LP. Yet, in a strange dichotomy, a decision was made to offer a Deluxe Edition with an LP-length runtime, of ~44 minutes, and an additional four tracks. One may assume, as is often the case, that the bonus material on the Deluxe Edition fails to add to the overall album experience and only contains recordings that didn’t fit well with the core album’s linear structure. That, however, couldn’t be further from the truth as the 14-track release flows far better than the truncated 10-track edition.

While modern listeners likely won’t care, particularly as attention spans no longer lean towards the longer LP format, artistic output should never yield to the masses, and it is with that in mind that I implore you to exclusively listen to the Deluxe Edition. That, unfortunately, is going to be a problem for those who appreciate buying their music on vinyl, as the singular, and extremely limited vinyl release (300 units), released as a 45rpm edition (and pressed to recycled vinyl) only contain the core album tunes. It’s, ironically, a bit of a waste, especially considering both Standard and Deluxe Editions have been released on CD.

Don’t get me wrong, I appreciate the recycled vinyl approach, but pressing the album at 45rpm, in an attempt to gain greater fidelity, is a fool’s errand when it comes to recycled vinyl. Hence, it would have made more sense to release the album on vinyl, via the Deluxe Edition linear structure, at the more common 33rpm, and press more copies, as the artwork alone is worthy of presentation via the larger canvas.

As it pertains to the overall sound quality, aside from the chosen production style, Who We Used To Be is sonically pleasing via the Lossless Apple Music stream. It isn’t an Apple Digital Master, but that need not be an issue for its sonic presentation is bold, enveloping, and perfectly aligned with the overall sonic qualities that I associate with Blunt. Yes, it’s a little on the loud side, but not distractingly so.

Alongside the Lossless edition is the Dolby Atmos mix. Compared to the stereo mix, it’s more spacious with greater instrument separation, but it lacks energy and emphasis in the bass and midrange of the audible spectrum, as it’s a little too detailed and revealing. Granted, the bass is more balanced, resulting in less distortion, an aspect which may be appealing to some, but I much prefer the bombastic nature of the stereo mix as it’s akin to a live performance with a vibe to match.

The good news is, you can listen for yourself and make up your own mind. So, press play on your preferred version and join me as I take a look at the songs that make up this noteworthy release.

Saving A Life is a magnificent opening tune. The catchy musical bed, accompanying Blunt’s incredible vocal, is so sonically pleasing, as it builds to the crescendo, that you’ll find yourself compelled to put the song on repeat, but I appeal to you to listen on because this is just the beginning. Yes, “Saving A Life” is a modern classic, with a polished pop production to match, but the appeal of Who We Used To Be is the sum of its parts rather than a small selection of notable tunes.

Some Kind Of Beautiful picks up the tempo and will see you on your feet dancing to the groove that would be perfectly suited to any nightclub the world over. The melody is naturally the focus, but Blunt’s vocal delivery on “Some Kind Of Beautiful” is the true standout and is amongst his most impressive vocal presentations, particularly as it relates to his faster-paced numbers.

Beside You is a compelling tune, but the opening echo-based vocal technique, while appropriate to the song, is the first real indication of Blunt merging too much with modern production stylings for “Beside You” is most certainly a James Blunt tune, but if you weren’t familiar with Blunt, you may consider this song to be from one of his contemporaries as it’s overproduced with too much vocal distortion. Still, and this shows his musical talent, “Beside You” remains thoroughly enjoyable.

Last Dance is a beautiful song. Blunt’s vocals are delicate throughout the verses and soar during the chorus, resulting in a tune that is not only worthy of his legacy but is a hidden gem.

All The Love That I Ever Needed is classic Blunt and is one of the songs from this release that is closest to his career-defining tunes, thereby making it highly compelling to long-time fans and newcomers alike.

The Girl That Never Was has a stripped-down production, with a simpler composition, that allows Blunt’s beautiful tones, and the message contained within them, to come through clearly.

Cold Shoulder picks up the tempo with a bolder musical presentation that, while not a standout, will find you toe-tapping and head-bopping along to this pleasant album-only tune.

I Won’t Die With You is a party number, and outside of the verses, the chorus lights up the song with a musical bed that is highly compelling, even if the brass instrumentation appears to be synthesised. While I don’t have anything against synthetic sounds, and love much of what came out of the 80s, I was ready to applaud the trumpeter as it’s believable enough to be an organic performance.

Dark Thought is lyrical magic, both in relation to its storytelling and Blunt’s vocal delivery. While there can only ever be a select few songs released as singles, “Dark Thought” has lead single written all over it as it’s amongst his greatest songs that casual fans have likely never heard. Yes, the subject matter may be too introspective and dark to launch an album on, but “Dark Thought” is a musical masterpiece.

Glow is a lovely song, with a subtleness and relaxed tone that acts as a perfect album-only tune, as every song doesn’t need to be a hit for an album to be exceptional. Coincidentally, it is the closing song for the standard release of the album, and in that context, I don’t feel that it’s strong enough to encourage one to play the album again. The song also ends prematurely, which leads to a sense of an incomplete record.

Confetti And Roses is somewhat sombre, but Blunt absolutely nails the vocal delivery on this tune, and it’s a core reason as to why the Deluxe Edition linear structure is paramount to the album’s overall appeal, for I couldn’t imagine Who We Used To Be without “Confetti And Roses”.

Care A Little Less has a unique quality about it. It’s not the type of song that I’d usually link to Blunt, but it’s highly compelling nonetheless. For a reason that escapes me, as I listen to “Care A Little Less”, I can’t help but hear the production and songwriting styles that align with those of Michael Jackson and Quincy Jones. Perhaps I’m hearing something that isn’t there, because it’s not a direct correlation, but there’s something within this tune that leads me to that conclusion.

A Thousand Lives is another magnificent song that would be easy to overlook if all you ever did was listen to the core release of Who We Used To Be, hence why the Deluxe Edition should be the only version of the album you listen to.

When You’re Gone closes the record on a much bolder and compelling note than “Glow” would have, as “When You’re Gone” is more in line with the album’s overall style, one that incorporates modern production and songwriting techniques while remaining true to Blunt’s musical vision. As it pertains to this closing number, it will encourage you to play the record again, as Who We Used To Be can seldom be listened to once.

No matter which way you look at it, Who We Used To Be is an extraordinary album and is one of James Blunt’s most impressive to date. While it’s most certainly amongst the best albums released in 2023, there’s a real chance of Blunt disappearing within an overly crowded genre, as the merging of his unique sound, with modern musical stylings, prevents him from standing out as he once had. That, however, doesn’t deter this fan, as this collection of songs will stay with you long after the album has ended; that is, should you listen to the Deluxe Edition.

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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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Sparks – Interior Design (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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John Farnham – Age Of Reason (Album Review)

Following the remarkable comeback success of Whispering Jack (1986) was never going to be an easy task, but Farnsy, as he’s affectionately known, not only came back with a comparable follow-up, he, in many ways, blew it away with an album that proved, in this maturer rendition of himself, that he was a lasting power within the Australian Music scene.

Naturally, many people consider Age Of Reason as John Farnham’s second album, but just as the world isn’t merely 2026 years old, Farnham’s career well and truly predated his most successful era (1986 through to the mid-90s) with an impressive twelve studio albums being released before Age Of Reason in 1988. Of course, most fans know the corny old-time hits, which most certainly include Sadie (The Cleaning Lady), but the majority of his earlier releases have been out of print for decades and unavailable on streaming services, hence the confusion.

For those looking for a little more Farnsy in their life, particularly before he was a household name and one of Australia’s greatest musicians, you might also wish to take a listen to The Little River Band’s 1983 release, The Net,1985’s Playing To Win, and No Reins (from 1986), as he was the lead singer during that era of the band. Yet, and perhaps even more intriguing, his releases with the Little River Band are not part of those core 12 studio albums I mentioned earlier. Hence, what Age Of Reason represents is the middle point of, arguably, the most successful rise in popularity that the Australian Music scene has ever witnessed.

Upon its release, Age Of Reason rose to the top of the charts and became not only the most successful Australian release of 1988, but would remain in the number one position for eight weeks with sales, as of 2026, reaching in excess of 845,000 units. Yes, these numbers are considerably less than Whispering Jack, but as longtime readers and music lovers will note, sales at the cash register are rarely a true indicator of musical brilliance. However, in this case, the album’s success is most certainly representative, as Age Of Reason would also go on to win three ARIA Awards in 1988.

As one of the very first albums I owned, on cassette, Age Of Reason is notably infused with my soul and has stood the test of time, despite wearing out that initial tape. When searching for a replacement copy, in the 90s, I was surprised to find that the CD release featured two bonus tracks. While Farnham’s covers of When The War Is Over (from Cold Chisel’s Circus Animals) and It’s A Long Way To The Top (If You Wanna Rock ’N’ Roll) [from AC/DC’s High Voltage] are splendid, neither fundamentally enhance Age Of Reason and it can, therefore, be suggested that the core 10-track linear structure is the ideal way to appreciate this classic album.

For modern-day music collectors, all CD releases still include these bonus songs, but I was over the moon when Sony Music Australia decided to repress a vinyl release in 2017, sans the bonus material. Of course, the album’s tracking is but one aspect, for if the repressed record failed to set the turntable on fire, its release would be a disappointment for many fans. So, how does it sound? Well, it sounds like digital pressed to vinyl. Granted, there’s no way to tell which master was used or how this reissue was created, but it’s clean with a decent dose of clarity. It could be a touch warmer, particularly in the mid to low-end of the audible spectrum, as it lacks a little of the smoothness and warmth I’d ideally expect to hear.

Compared to the CD-quality Lossless Apple Music stream, the repress doesn’t quite live up to the hype. It isn’t that it’s bad, per se, but the streaming counterpart is noticeably more dynamic and permits the raising of the volume with no listening fatigue or sonic degradation. The vinyl record, however, sounds lovely at modest volume levels but quickly becomes fatiguing and sonically compromised as the volume is turned up.

Yes, dear reader, you read that correctly, I prefer the digital counterpart as it not only sounds right, but is detailed, warm and full-bodied, and is capable of playing consistently well at all volume levels. It isn’t often that that happens, for vinyl is usually a format with a full-bodied presentation, but that is not the case for this particular release.

What the vinyl reissue gets right, however, is the beautifully reproduced album artwork. Yes, the cover art is a little soft, but from memory, it always was, and the album’s liner notes are presented with full lyrics on the printed inner sleeve with production details on the rear of the record. About the only criticism the packaging deserves, and it really isn’t that big of a deal, is that the reissue isn’t presented in a gatefold presentation. Truth be told, it doesn’t need to be, but it would have been nice to have an exact replica of the album’s original vinyl release.

Age Of Reason is a quintessential title track, one that is instantly recognisable from the very first clock tick and note to the last. While it’s no You’re The Voice, Age Of Reason has a similar resilience in both lyrical intent and overall styling. Musically, it’s expansive, expressive, and the soundstage is so well-developed that you’ll find yourself drawn in and captivated by what can only be described as a textbook-perfect recording; one that, if you had the chance to witness, was a highlight of Farnham’s live performances.

Blow By Blow kicks things up a little with a rock-fuelled edge that, despite being sonically different to the album’s opener and title track, flows seamlessly and is another of Farnham’s stadium-filling pop-rock numbers. Of particular note is Bill Harrower’s killer saxophone, for despite only being used sparingly, it becomes a trademark element of the song, one that I look forward to hearing upon each play.

Listen To The Wind shifts the tempo downwards for a more elegant performance that showcases Farnham’s remarkable vocal prowess. His vocals are vulnerable, and while there may be a tad of production trickery going on here, this presentation is amongst his most unique as it sits atop the magnificent musical bed. David Hirschfelder is incredible on keyboards, but one thing you’ll notice when listening to the album is that each song amplifies one of the musicians, and it just so happens that I feel this is Hirschfelder’s most memorable contribution to the album.

Two Strong Hearts continues the slower tempo, but with a more upbeat styling. It’s a great song, it truly is, but it’s also one that, after hearing it so often, you can tire of. It’s the chorus that, as catchy as it is, becomes a notorious earworm that is inescapable. Even so, Two Strong Hearts is thoroughly enjoyable, especially if you haven’t listened to the song recently.

Burn Down The Night returns the album to its pop-rock edge, but this time it’s edgier than the other songs on the album. That isn’t a bad thing, however, as the grit and overall intensity of the tune ensure the album avoids becoming a monotony of ballad-styled numbers. Plus, Farnham was just as good a rocker as he was an adult-contemporary pop icon, and in some cases, his rock numbers trump his most delicate and considered compositions.

Beyond The Call is an underrated masterpiece. As the opening tune for the second half of the record, it’s the perfect counterpart to the album's opener. Perhaps most perplexing is the fact that when this song was released as a single, it failed to enter the Top 40. Truthfully, I’ve never understood the music-buying public, and while many would have purchased the album, and therefore not bothered with the single, it’s such a powerful tune, with an incredible musical presentation, that this is one song that I would have assumed would have risen to the top of the charts. As with several other songs from Age Of Reason, Beyond The Call was another that was spectacular when performed live.

We're No Angels is a beautiful tune with a thoroughly pleasing contemplative element that brings awareness to humanity’s flaws. Add to that a magnificent composition, one which perfectly highlights Farnham’s diverse vocal styling, and you’ve got what can best be described as one of Farnham’s greatest recordings.

Don't Tell Me It Can't Be Done is another of Farnham’s pop-rock masterpieces, which has a killer guitar riff and semi-solo that will have air guitarists in seventh heaven, for Brett Garsed is amongst the greatest, and most underrated, guitarists of all time. His style is complementary to the song, rather than being a standout, but don’t let that diminish his contributions, for much of the album’s rock edge can be attributed to his guitar licks. If nothing else, Don’t Tell Me It Can’t Be Done can be seen as a motivational anthem and sometimes we all need a little motivation in our lives.

The Fire is a solid number, one that flows well within the album’s linear structure, but it’s not a standout. Of course, for an album to resonate, it isn’t merely up to a few hit songs, but the entire body of work, and in this instance, The Fire works exceedingly well as an album-only number, one that will see you toe-tapping and head-bopping throughout.

Some Do, Some Don’t is far from the strongest tune on the album and in some ways could be considered a misstep, but despite the campy styling, it gets me playing the record again, every time I hear it. That said, I could also see The Fire as the closing tune and, in many ways, would have allowed for greater contemplation of the album, particularly if you decided not to listen to the album again.

From the emotional balladry to romantic pop to the anthemic rock numbers, Age Of Reason showcases Farnham’s vocal versatility, skill, and general appeal, as his broad styling and highly compelling music will appeal to just about anyone. While Age Of Reason may be of its era, the 80s production cues haven't dated the record, meaning that old and new fans alike will find something to enjoy upon listening to this classic release.

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Michael Jackson – Bad (Album Review)

Topping Thriller was always going to be an uphill battle. While Bad may not have hit the heights of Thriller’s sales numbers, just like Off The Wall, I’d argue that it’s a stronger album than Jackson’s most iconic release. Of course, with sales exceeding 35 million worldwide, and five number one hits, Bad was an astronomical success in its own right and represents the pinnacle of Michael Jackson and Quincy Jones’ collaboration; a partnership that resulted in some of the greatest music ever recorded.

For anyone who has listened to the album or knows the hits, you’ll likely attest to just how extraordinary the music is. However, along with the new music came a new image, one that was considerably edgier and showed a rather different Michael Jackson. This shift would become particularly prevalent on songs such as Speed Demon, Dirty Diana, and Smooth Criminal, as Jackson’s musicality evolved with a greater focus on rock elements. Still, to call Bad a pop/rock record would be disingenuous because while it most certainly had those elements, it was primarily a pop (synth-pop) record that blended dance (disco and electronic vibes) and R&B, with a touch of rock. Upon further reflection, it’s easy to see Bad as a body of work in and of itself, with minimal influence from his time as frontman of both the Jackson 5 and The Jacksons. That isn’t to dismiss his incredible origins, but Jackson managed to do what few have done successfully: extract themselves from a successful group to launch a solo career that led to success and fandom beyond comprehension.

Naturally, part of this success must be attributed to Quincy Jones, as the three albums he produced with Jackson (including Off The Wall and Thriller) are arguably his greatest. While Jackson would continue to have incredible success with later releases, there’s no doubt that his collaboration with Jones was idealistic for both creatives, as Jones had never seen success of this calibre either. It was nothing short of a perfect match, and the high production values, pinpoint-perfect recording style, and overall mastering of the album have contributed to it being a timeless success.

While the latest 2012 Apple Digital Master is stunning, and simply sounds right via the Hi-Res Lossless presentation on Apple Music, several caveats will likely frustrate purists. This has nothing to do with the mastering or overall sound quality, but it’s the slight variances across editions that result in the latest offerings being different to those originally released. Credit for this additional information needs to be given to the good people over at Discogs, who have shared, in the notes, all the changes when compared to the original 1987 release of the album. The most notable change would be the omission of the spoken introduction for the song I Just Can’t Stop Loving You. Yet, despite playing the original cassette to death, I never noticed this or any of the other changes. Admittedly, it’s been a number of decades since I listened to the original release, as I no longer have that tape, but it perturbs me to know there’s a difference, and I was none the wiser. All that said, Bad is one of those albums that can be enjoyed via any variant, so let’s take a look at the songs that make up this legendary release.

Bad launches the album with a bombastic upbeat styling, yet despite how enjoyable the song is, the introduction has always been a little too sharp for my liking. It doesn’t detract from the album itself, but I usually make sure that the volume is lowered as I hit play. However, once the lyrics enter the mix and the rhythm begins to meld with my soul, Bad and its overall pop/rock attitude becomes an ideal album opener and a stunning title track that showcases Jackson’s shifting musical attitude.

The Way You Make Me Feel continues the energy and would have been a slightly more appealing opener, for that introduction is extraordinary. The sultry styling shows Jackson delving further into an attitudinal adulthood styling with this release, but it’s the rhythm and toe-tapping head-bopping brilliance that sets The Way You Make Me Feel apart from the album’s opener.

Speed Demon is one of the best songs from the record, and if you haven’t had a chance to check it out, take a look at the highly compelling music video. Aside from this aspect, Speed Demon’s strengths are based on the funk meets pop meets rock vibe, thereby making it another standout on an album that, in many ways, is akin to that of a Greatest Hits release.

Liberian Girl shifts the tempo considerably with a more atmospheric and smooth Caribbean styling. It’s the first time on the album that we hear Jackson’s gorgeous vocal in a softer tone, but it’s clear from the outset that for those who loved Jackson’s softer numbers on Thriller, they’ll feel right at home here. While Liberian Girl isn’t necessarily a standout, other than in composition and vocal delivery, it’s perfectly suited to the album and acts as connective tissue. It is interesting, however, that it was chosen to be the final single from Bad, for I believe it would have been best had Leave Me Alone been the final single released, particularly as it wasn’t included on the vinyl or cassette releases. Nevertheless, Liberian Girl is a lovely song.

Just Good Friends has a rough opening, but I’ll be damned if I don’t declare my love for this song. The funk, the synthetic instrumentation, and incredible lyrics and delivery ensure Just Good Friends has a little bit of everything, including a killer performance from Stevie Wonder. Interestingly, Just Good Friends was written by neither Jackson nor Wonder, yet it’s perfectly suited to both performers.

Another Part Of Me flows seamlessly and introduces a bolder funk aspect. There’s no doubt that Quincy Jones’ production cues can be heard throughout, but instead of the King Of Pop, Jackson should have been referred to, in this era, as The King Of Funk, for Bad, despite its harder edge, is a funk-driven musical wonderland with Another Part Of Me being a perfect example of this.

Man In The Mirror is one of Jackson’s most beautiful and powerful songs. As with Just Good Friends, Jackson didn’t pen this masterpiece, but there isn’t any other musician who could have recorded it better. It is a Michael Jackson trademark tune and is also one of the greatest songs ever recorded.

I Just Can't Stop Loving You may no longer have the spoken introduction, as it was edited out of most reissues, but in all honesty, it isn’t missed, and the flow between Man In The Mirror and I Just Can't Stop Loving You is far better sans the spoken word opening. As a pop-ballad, however, I Just Can’t Stop Loving You is a magical number. Siedah Garrett makes the perfect vocal counterpart to Jackson’s, thereby ensuring this is one of those timeless tunes that can appeal to anyone, for it’s a love song for the ages.

Dirty Diana takes things up a notch by delving back into the rock styling with guitar maestro Steve Stevens shredding up the song in a manner that is perfectly complemented by Jackson’s powerful vocal delivery.

Smooth Criminal is, arguably, one of Jackson’s most recognisable tunes. The tribal rhythm, combined with the song’s punchiness, tight basslines, and shimmering musical bed, creates a stunning soundstage, one that allows Jackson’s bullet-styled vocals to be perfectly positioned within the mix. In many respects, Smooth Criminal could be considered a textbook perfect song and, if nothing else, is amongst Jackson’s greatest and a highlight of the 80s.

Leave Me Alone is one of the most interesting songs Jackson ever wrote and recorded, but not because of the subject matter. The intriguing aspect is that it was exclusive to CD releases of the album and didn’t feature on original vinyl or cassette editions of Bad. As such, many of us, myself included, had to purchase the CD as well, for Leave Me Alone is such a compelling track that one couldn’t simply live without it. It makes me wonder, at times, just how many CD players were sold as a result of this exclusive bonus track. Nevertheless, despite Smooth Criminal being a perfect closer, Leave Me Alone takes the album to another level entirely. Additionally, if you decide to pick up one of the vinyl reissues of Bad, it’s important to note that the majority of reissues stay true to the record’s original linear structure, that is, unless you track down a copy of the Music On Vinyl reissue from 2009 that includes this brilliant closer.

While Thriller is given far too much focus within Jackson’s remarkable legacy, Bad is arguably his most defining album for the production, recording, and songwriting are all second-to-none. Most importantly, however, it showcased far more musical versatility than any of Jackson’s prior works; an aspect that was previously hinted at, but never quite achieved. The result is an album that is more than just a collection of chart-topping numbers, for this is a cohesive work that is nothing short of a musical masterpiece.

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INXS – Kick (Album Review)

Few Australian albums are as widely regarded as the sixth studio album from INXS, Kick. While Icehouse garnered much attention with their 1987 release, Man Of Colours, it simply couldn’t reach the international acclaim and sales success that Australia’s other “I-based” rock band would achieve. Selling INXS (pun, most certainly, intended) of 20 million units worldwide, Kick stood out for its high production values that saw a diverse mix of rock and pop with funk-based tribal rhythms that led to what can only be considered a timeless collection of songs. Of course, there’s the ballad-focused Never Tear Us Apart, a highlight of this release, but despite the shifting styles throughout, INXS never deviated from their origins with Kick; they merely took their musical prowess to another level with a record that is akin to a greatest hits release, for there isn’t a lacklustre song to be heard.

Adding to the appeal is the striking album artwork, and while many modern listeners will instantly recognise the standard front-facing version, physical releases also incorporate an expanded artwork design that will appeal to just about any music-loving collector. What may be challenging, however, is figuring out which version best suits your personal tastes. As with many multi-million-selling releases, there’s a plethora of editions that target different audiences because, for some reason, the original mix and mastering is never good enough.

In order to simplify matters, however, I’m going to focus on the 2011 remaster, which is currently the edition that is readily available on streaming and recent mainstream CD and vinyl reissues. Yes, there are the audiophile releases, but they only further deviate from the goal of music first, hardware second, followed by the format; another John Darko idiom that appeals to this music lover. As such, I’ll be taking a look at the Lossless Apple Music stream and accompanying Dolby Atmos mix (both of which are delivered as an Apple Digital Master).

While I’m familiar with the original mastering from the 80s, as well as the 2011 stereo remaster that was released via CD, the Dolby Atmos mix is somewhat of a mixed bag, with most surround sound music lovers on QuadraphonicQuad.com awarding it a 7 out of 10 or higher. Naturally, when listening to these new mixes, one needs to separate oneself as much as possible from the stereo editions; a difficult task, no doubt, when an album is heading towards its fourth decade of being on one’s radar. Nevertheless, I find the Dolby Atmos mix to be an enjoyable listen with a full-bodied, natural sound that doesn’t detract from the original recording. Unlike some Atmos mixes from classic albums, this one doesn’t try to reinvent the wheel. You won’t instantly notice musical aspects flying around within the soundstage, and the stereo mix is so wide that some may even find the surround mix to be a little too boxed in, particularly on a song such as Devil Inside. However, and this is where the Atmost mix shines, it delivers a meatier (a technical term, naturally) sound that will appeal to those looking for concert-level thumping in one’s chest.

On the negative side of things, the bass guitar is a little too recessed in the surround mix, and I find that by the time I’m halfway through the album, I’m looking to turn the volume down slightly as the Atmos mix is a little fatiguing. Granted, I may have turned the volume up too loud to begin with, as this is one album that will give your sub a workout, but if you’re particularly sensitive to listening fatigue, you may wish to stick to the stereo mix; even though that 2011 remaster is a little on the loud side as well.

As to which edition I ultimately prefer, well, for the most part, I find myself drawn to the stereo mix. That said, this is one album where I can appreciate both the surround and stereo mixes, ensuring that it’s an enjoyable experience on both my stereo and surround sound systems.

Guns In The Sky is a killer album opener with a rhythmic drive and lyrical context that is as relevant in today’s modern society as it was upon the song’s release in the 80s.

New Sensation will get any party started with its funky upbeat nature. It’s pure pop/rock gold and a trademark tune for the band.

Devil Inside may introduce a moodier tone, but it’s extremely compelling, from both a sonic and lyrical perspective, as the story of excess and the fear of missing out is a timeless issue that we all have to deal with. It is, however, the killer riff, rhythmic backing, and the chorus that make Devil Inside so memorable, for it has a little bit of everything melded into a single song.

Need You Tonight is a magnificent tune. That rhythmic approach, particularly during the introduction, knows few peers, for the funk meets dance with a touch of rock and elements of pop results in one of the greatest songs from not only the 80s, but in all of recorded music history.

Mediate transitions seamlessly from Need You Tonight, so much so that they could, in some respects, be considered a singular tune with a stylistic shift in the middle of the composition. Nevertheless, Mediate on its own is a sonic pleasure to behold for the spoken-style of the lyrics blends perfectly with the back beat and the atmospheric elements of the mix.

The Loved One has always been divisive for this fan. Whilst I don’t dislike the song, and I consider Kick to be a perfect album experience from start to finish, the shrillness of The Loved One’s introduction can be a little jarring on the senses, particularly on the CD releases of the album. Thankfully, the Apple Digital Master dials the treble range back a little, thereby making it more palatable, but it’s been so jarring over the years that I somewhat cringe when I know the song is about to begin. Thankfully, as the song builds and the chorus is repeated, I’ve fallen in love with the tune and find it thoroughly enjoyable. It is, however, not an original INXS composition but rather a cover of The Loved Ones’ original from their album Magic Box; a solid recording in its own right.

Wildlife is the weakest song on this classic release, but it’s still highly compelling and will likely see you toe-tapping and head-bopping along to the rhythm. It just isn’t a standout, but as an album-only song that acts as connective tissue, it does its job more than adequately.

Never Tear Us Apart is a ballad to end all ballads. Yes, that can be said about so many ballads from the era, but this is one of the most recognisable, and if you’ve heard it once, then you’ll find yourself singing along to, arguably, their greatest recording. That is in part due to an incredible mix that presents Michael Hutchence’s vocal delivery incredibly clear at the forefront of the mix. Yet, it’s the entire arrangement and Kirk Pengilly’s saxophone playing that’s similarly impressive, adding to the overall impact of this timeless classic.

Mystify transitions beautifully, despite the song’s varied styling in contrast to Never Tear Us Apart. As you listen, you may hear a little Crowded House influence, but Mystify could be best described as the most Australian song on the album, for there are also influences from the likes of Icehouse and Cold Chisel, thereby ensuring that Mystify will appeal to just about any Australian music lover.

Kick is a bold and brash title track that keeps the energy of the album rocking forward. Pengilly’s saxophone performance here is compelling, but depending on your setup, it can come across a little too shrill, thereby edging the listener towards listening fatigue. Still, the spirited performance flows well within the album’s linear structure and adds to the overall appeal of the record.

Calling All Nations has some killer guitar licks that meld well with the dance-driven styling of this tune. It really is a case of two dissimilar musical aspects coming together for the greater good of the song. While it’s not necessarily a standout, all songs need not be hit-worthy to ensure the flow and overall album experience is maintained.

Tiny Daggers is a fantastic closer, one that has a little Bruce Springsteen influence, that will compel you to play the album again, as Kick is one of those records that can seldom be listened to once.

No matter which way you look at it, Kick remains fresh, compelling, and one of the greatest albums ever released. It also happens to be the crowning achievement of INXS’ career and proves that a blend of rock, funk, and pop is a killer combination that continues to captivate us as much today as it did upon its release in 1987.

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