MUNA – About U (Album Review)

MUNA – About U (Album Review)

About U was the debut release from MUNA; a band thoroughly engrossed in electronic pop. As far as debuts go, they’re normally not as polished as this release and while some may lament the use of AutoTune-styled vocal manipulation and presentation, it works exceptionally well for this style of music and other than a couple of times throughout the entire album, I don’t feel it is a technique that is overused. 

Released in 2017 on Vinyl, CD, and Compact Cassette, About U is a stunning introduction to MUNA and while I’ve yet to pick up a copy of the album on Vinyl, I look forward to adding it to my collection in the near future for it’s energetic and utterly addictive, meaning that it is very likely that I’d wear that record out. In the interim, however, the Apple Music stream, an Apple Digital Master, is simply magnificent. The album has most certainly been recorded, mixed, and mastered incredibly well and while it has a modern sound, that isn’t a detriment for the soundstage is immersive with great separation between each musical element. There is little doubt in my mind that you will adore the streaming version of About U if you don’t have access to a physical copy; I know I do.

So Special sets the tone of the album from the moment the song begins and the depth of the musicality with the vocal sitting right on top of the mix is utterly perfect. 

Loudspeaker will get you moving, either on the dance floor or via some toe-tapping and head-bopping. A great song!

I Know A Place has a killer rhythm and is a solid tune with a catchy lyrical aspect. 

Winterbreak is a little weak, but perhaps it is simply due to the tempo shift as the previous tracks were a lot more upbeat in comparison to Winterbreak. 

Around You picks up the tempo and this pace is where I feel MUNA shines.

After is EPIC; I love the moodiness. 

Promise isn’t a standout but works well within the album structure. 

If U Love Me Now is a lovely vocal-focused song with a solid beat that works well for this style of music. 

Crying On The Bathroom Floor is ready for the dance floor; exceptional!

End Of Desire is a B-side; not a bad one, but not a standout either. 

Everything is another spectacular vocal-focused song with a musical backing that is absolutely captivating; I love it! Everything is, without doubt, one of the best songs on About U. 

Outro closes the album perfectly, although this is one song where I feel the vocal manipulation was taken a little far and is subsequently distracting. Nevertheless, Outro encourages me to play the album again and remain within MUNA’s expanding catalogue of music. 

From start to finish, About U is absolutely incredible. There isn’t a bad song to be heard on the album and that is something that simply cannot be said for most debuts. A masterful release!

Metallica - Garage Inc. (Compilation Album Review On Vinyl & Apple Music)

Comment

Metallica - Garage Inc. (Compilation Album Review On Vinyl & Apple Music)

Throughout the 90s, Metallica exploded with Bob Rock at the production helm and while some may still lament this shift from their Thrash origins, it did allow for a radio-friendly, welcoming sound, that would make the band a household name. However, all was not lost in the Black Album, Load/Reload eras for in 1998, Metallica would once again go back to their roots to deliver the somewhat produced Garage Inc. compilation. 

Yes, some of the newer recordings on Garage Inc. are a little less Thrash driven than some fans may like, but I find all songs, from all eras, blend effortlessly together thereby making Garage Inc. one of the greatest compilations to have ever been released.

As it has a little bit of everything, Garage Inc. quickly became one of my most beloved albums and arguably my favourite Metallica album; at least until S&M was released in 1999. The double CD would go everywhere with me and I look back at that era with nostalgia for it was the music of my youth that simultaneously gave me the confidence to traverse the confusing and wondrous world around me.

Years later, however, while the double CD had succumbed to the MP3 era, I was fortunate enough to acquire the Blackened Recordings Vinyl reissue (BLCKND013-1). To say it’s superb is an understatement. While I’ve been critical of other Metallica reissues on their own Blackened Recordings label, this particular release is nothing short of pure perfection and is highly recommended. 

The mastering is superb with a full and warm tonality that is not only perfect for vinyl but the style of music. When listening to the vinyl reissue, I never find myself longing for more musicality or a different presentation such as that offered via streaming services. The vinyl layout and design, while mimicking the original CD, is similarly stunning offering full-featured liner notes that become a value-added proposition for fans and collectors alike.

I’ve also listened to the Apple Music edition, an Apple Digital Master, and for a compressed digital offering, it too is extraordinary. Not as good as the vinyl reissue, however, but you won’t be disappointed if you only have access to the Apple Music edition for it produces a beautiful full-bodied sound only lacking the vinyl warmth that is inherent to the format. 

DISC 1 / Side One (New Recordings '98)

Free Speech For The Dumb is a fat Thrash-infused song that encourages you to turn the volume up. It isn't my favourite song on the album, but it gets the album off to an incredible start.

It's Electric is an excellent song that is perfectly suited to Hetfield's vocal style and the overall musicality of the band. It is mastered with a little too much focus on the treble region, but that is a minor quibble.

Sabbra Cadabra has a gorgeous guitar intro. The groove is so compelling that you will be toe-tapping and head-bopping subconsciously. The overall sonic signature of Sabbra Cadabra is cemented in blues rock and roll and I absolutely love it!

Turn The Page was an exceptional song when originally performed by Bob Seger, but Metallica has made it their own and has taken the song to another level. It is one of Metallica’s greatest recordings and is one of their songs I play regularly.

DISC 1 / Side Two (New Recordings '98)

Die, Die My Darling is a killer rock track. I love it!

Loverman may initially sound like a strange pick as one wouldn't normally associate Nick Cave And The Bad Seeds with Metallica, but Metallica certainly recorded an excellent rendition that is worthy of the musicality heard on the original recording. Both versions are excellent, but I find that I gravitate to Metallica’s interpretation as I feel it is the more polished of the two. 

Mercyful Fate is an exceptional song that commands you to turn the volume knob to the right. Yes, your neighbours will likely call the boys and girls in blue, but it will be worth it! Seriously, listening via lower volumes destroys the musicality and energy of this song. It is expertly recorded and mixed while being nothing short of a rock and roll symphony. King Diamond and Hank Shermann would be proud!

DISC 2 / Side One (New Recordings '98)

Astronomy has always been a favourite of mine. The incredible Blue Öyster Cult may have recorded the original epic, but the first time I ever heard Astronomy was when Metallica covered it for Garage Inc.. Hence, as excellent as the original is, I will always hold Metallica’s rendition near and dear to my heart. Interestingly, it would be this song, along with Don’t Fear The Reaper, that would push me to become a dedicated fan of Blue Öyster Cult. Therefore, one can conclude that while some cover albums aren’t worth listening to, there are others, such as Garage Inc., that are done with so much respect to the original, you feel compelled to track down the original recordings.

Whisky In The Jar is an awesome groove-filled track. It is another song that compels me to sing-a-long as my body moves to the rhythm of the music. I probably look like I’ve lost control of myself, when in public, but I don’t care, Whisky In The Jar is that good!

Tuesday's Gone is perhaps the only song on the album that I don't like. It isn't a bad song on its own, it just isn't well suited to the album. Plus, every time I listen to it, I think of Bob Geldof. I also feel Metallica sounds too much like Bon Jovi on this track. I love Bon Jovi, but this is a Metallica record. As I think about it more, perhaps it is the nasal grind of the Geldof/Bon Jovi duet, I Don’t Like Mondays, that reminds me of Metallica’s rendition of Tuesday’s Gone. That all said, I much prefer Lynyrd Skynyrd’s original as it is less monotonous. I guess we can be thankful that Metallica didn’t try to interpret Free Bird as some songs should never be covered.

The More I See wraps up the '98 recordings in style with a harder hitting song than Tuesday's Gone. It also displaces the ridiculous outro Metallica recorded as part of Tuesday's Gone. The More I See is certainly meat and potatoes rock and roll, but Metallica’s added gravy ensures the song sounds fantastic.

DISC 2 / Side Two (Garage Days Re-Revisited '87)

Helpless has an incredible rhythm and riff-centric sound but the soundstage, while dynamic, does border on the limits of acceptable audio compression. A great song, nonetheless. 

The Small Hours is musical perfection as it terrifies me and simultaneously excites me. That haunting introduction and beat would be the perfect musical accompaniment for any horror film set in an insane asylum. It is brilliant from start to finish and in some ways reminds me of Blue Oyster Cult’s Don’t Fear The Reaper.

The Wait has incredible energy, but I feel Hetfield’s distorted vocal lets the song down as he sounds lost in the soundstage. While it certainly isn't a bad song, it also doesn't feel polished. Although, I guess that is the point of a 'Garage' style album, isn’t it?

Crash Course In Brain Surgery features the bass that Newsted was deprived of on ...And Justice For All. Overall, it is a solid cover and worthy of inclusion.

Last Caress/Green Hell is one of the greatest covers/recordings Metallica has ever made. It is Punk Rock with a little Thrash thrown in for good measure. I love it!

DISC 3 / Side One (Garage Days Re-visited '84 + B-Sides & One-Offs '88-'91)

Am I Evil? YES, I AM!...I always get a little carried away with this song. It is bloody brilliant and if Satan has a playlist, this would most certainly be on it.

Blitzkrieg is as thrashy as you can get. Get that air guitar out and enjoy!

Breadfan has a killer riff but, beyond that, I don't feel drawn to the song. Hence, for me, this is a filler track.

The Prince is somewhat similar to Breadfan as I don't connect with the song on an emotional level. That said, I would be lying if I said that I didn't enjoy aspects of each song. I can certainly point to aspects that I adore, but if it doesn’t come together cohesively, then those elements remain highlights in an otherwise pedestrian performance.

Stone Cold Crazy is a great song. I love the original as it is one of Queen's best, but Metallica, yet again, takes the song to another level of excellence.

DISC 3 / Side Two (B-Sides & One-Offs '88-'91 + Motorheadache ‘95)

So What is a great way to start the sixth side of the vinyl release. It’s rude and crude, but it’s such a fun song! If you can look past the overt profanity, you will thoroughly enjoy this epic rock song.

Killing Time is a solid cover song that I neither like or dislike. It is a filler track and is perfectly suited for that purpose.

Overkill raises mixed emotions as I believe that some music just shouldn’t be covered. Perhaps it is just me, but covering Motörhead is akin to Avenged Sevenfold covering Metallica. It works, really well, but I'm not sure it should be done.

Damage Case is a great song, with a great groove.

Stone Dead Forever is an excellent song, but I feel Hetfield is imitating Kilmister, rather than making the song his own. This is, of course, the danger of cover songs versus recording someone else’s unpublished song. Yes, imitation is a form of flattery, but I have always had reservations about it when listening to cover songs.

Too Late Too Late is a perfect song to close this epic release on. While it encourages me to listen to the album again, and stay within Metallica's back catalogue, Garage Inc. is a lengthy release and I seldom follow it up with anything else as I want to savour the experience.

Metallica's Garage Inc. is an incredible covers album. There really isn't a bad song to be heard and while I may not connect with a few of the songs, they certainly work well with the overall style of the compilation. If nothing else, it becomes clear that should Metallica run out of song ideas, and got bored playing their classics, they could make it as one of the greatest cover bands in history.

Comment

Madonna – MDNA Deluxe Edition (Album Review On Vinyl, CD, & Apple Music)

Madonna – MDNA Deluxe Edition (Album Review On Vinyl, CD, & Apple Music)

Released in 2012, Madonna’s 12th Studio album MDNA is one of the most cherished albums in my collection. It’s classic Madonna with an upbeat styling and a couple of simply gorgeous vocal-based songs. It’s also an album that compels me to keep coming back for more and is only second to her exceptional Ray Of Light release in 1998.

I’m fortunate enough to own both the Vinyl and CD Deluxe Edition, although when I found a copy of the Vinyl release, I subsequently passed the CD down to my daughter who has kindly allowed me to revisit it for this review. 

With an expanded booklet, the CD liner notes offer a value-added proposition for fans as photographs are included that are absent from the Vinyl release. It’s a shame when this happens because while the Vinyl edition is presented as a gatefold design, a placard could have been easily included; as has been the case in countless other releases, by other artists. Look, it isn’t a deal-breaker, but as a fan and a collector I notice these differences and feel that the Vinyl releases, due to their significantly higher cost should deliver additional value for the fans. That isn’t to say that the CD-based music-lover should miss out, but that greater parity should be adhered to. 

That said, it’s great to see that the entire Deluxe Edition track listing made it to the Vinyl counterpart as that doesn’t always occur. Of course, as with any Deluxe Edition, one will need to decide if the additional songs are worthwhile. At least, on both editions, they are separated from the album with a second CD housing the bonus tracks and Side D of the Vinyl release being dedicated to these songs. 

Sonically, the Vinyl record is darker and moodier than the CD. The CD, by comparison, is bright, and a little fatiguing, but similarly thumps in the low end as one would expect. The CD naturally has plenty of clarity, but if you’re after a sound that resembles being in a nightclub with a world-class DJ, then you really should track down a copy of the Vinyl release. As for streaming, the Apple Music edition, an Apple Digital Master, is perfectly positioned between the two physical formats as it is neither too clean, nor distorted, and is therefore thoroughly enjoyable to listen to. 

While I love the Vinyl reproduction of MDNA, and you really can’t go past the affordability aspect of the Apple Music edition, regardless of which edition you choose to pick up, you’ll thoroughly enjoy the release as the mastering, while a little hot, is perfectly suited to Madonna’s style. 

Girl Gone Wild is an incredible opener that somewhat reminds me of Hung Up opening Confessions On A Dance Floor. You’ll be toe-tapping and head-bopping, if not dancing, from the moment the beat kicks in. 

Gang Bang will test your systems bass response. Turn Gang Bang up to 11, especially if you have a subwoofer; you won’t regret it. The soundstage is immersive and expansive throughout the song and the siren, later in the song, is so well-positioned within the mix that the first time I heard the song, on a family drive, we swore the cops were about to pull us over. All of this makes for an incredible song and a personal favourite from MDNA.

I’m Addicted is a solid song, but I’d suggest the vocal processing is a little overdone in the chorus. 

Turn Up The Radio is a great song, but stay clear of the music video as it just isn’t good. Turn Up The Radio has a great tempo that will encourage you to move your body. Seriously, if you’re sitting still through this song, or most of this album, you’re listening wrong!

Give Me All Your Luvin’ (feat. Nicki Minaj & M.I.A.) Is campy and is far from the greatest song on the album. I’ve no doubt many fans adore it; it just isn’t the type of song I appreciate. That said, it doesn’t take me out of the album experience, but it’s one song that I could easily skip when playing the album via one of the digital formats.  

Some Girls picks things up again; I love it! 

Superstar is a great song, but is it just me or does Superstar remind you, too, of Katy Perry’s Firework? Either way, both are great but Superstar, while corny, is thoroughly enjoyable.

I Don’t Give A (feat. Nicki Minaj) has an incredible rhythm, plus it’s one of the wittiest songs I’ve heard in a long time. I Don’t Give A is one of the best songs on MDNA and it’s one of the greatest songs Madonna has ever recorded. Minaj’s inclusion here is nothing short of perfection. Magnificent!

I’m A Sinner is great and reminds me of the style applied on the Ray Of Light album. As with I Don’t Give A, I love the double entendre. 

Love Spent isn’t a standout and isn’t as memorable as other songs on the album, but every time it comes on I thoroughly enjoy it. 

Masterpiece is a masterpiece! Although, it can get a little muddy in the low end, so depending on how you’ve got your music playback system setup, you may find you’ll need to adjust the bass levels. 

Falling Free is sonically lovely and the focus on Madonna’s vocal is absolutely perfect for this song. It’s also another style that reminds me of Ray Of Light; perhaps that is why I adore MDNA so much as it offers such variety.  

Beautiful Killer isn’t a bad tune. The rhythm is addictive, the musicality is spot on, yet, I can’t put my finger on it but it sounds as if something is missing, such as a cohesive element. 

I F****d Up is pure gold!

B-Day Song (feat. M.I.A) is cringeworthy. That is all!

Best Friend is a panning nightmare, especially on headphones, yet it is a compelling effect and not a bad song.

Give Me All Your Luvin’ (feat. LMFAO & Nicki Minaj) [Party Rock Remix] isn’t a bad remix and it’s true to say that I prefer this rendition to the original. It still isn’t an amazing song, for me, but I already want to play the album again. 

MDNA is an incredible album from start to finish and while there are a couple of songs that I consider to be campy or not perfectly in sync with the rest of the music on MDNA, I’m sure you’ll enjoy it as much as I do as it is one of Madonna’s best albums. 

Agnetha Fältskog – A (Album Review On Vinyl & Apple Music)

Comment

Agnetha Fältskog – A (Album Review On Vinyl & Apple Music)

Every now and then new music appears from the individual members of ABBA. Agnetha Fältskog is, of course, one-quarter of the enormously successful Swedish pop group. As a lifelong fan, of both ABBA and Fältskog’s solo efforts, I immediately ordered the vinyl release and while I love the album as a creative piece of work between Fältskog and her collaborators Jörgen Elofsson and Peter Nordahl, the vinyl release is a little disappointing.

From the get-go, I was surprised the cover art was so out of focus. Yes, it is captured softly to separate Fältskog from the album typography and while it may look glorious on streaming services and CD-sized canvases, the larger vinyl reproduction makes me wonder if I’m slowly going blind. One would have thought, or at least hoped, that this would have been taken into consideration, but sadly it wasn’t. 

While the mastering is solid, the pressing is questionable. Pressed by GZ vinyl, there are several scuffs from the manufacturing process that create a few additional pops and clicks. Yes, vinyl is fundamentally a fragile medium, but if records are cared for, as mine are, they can be appreciated without pops and clicks destroying or impacting the listening experience. Nevertheless, when the pops and clicks aren’t audible, the vinyl reproduction is sonically beautiful. 

The Apple Music stream, an Apple Digital Master, is exquisite and therefore if you prefer to stream your music, you can guarantee that nothing is lost. Perhaps a little warmth, as the vinyl seems fuller with a more enveloping soundstage, but the digital counterpart is far from cold and harsh and the difference is only noticeable when comparing the two formats.

SIDE A

The One Who Loves You Now is a lovely song to commence the album with, although I’d like to hear a version with a slightly slower tempo as I feel it would have further amplified an already exceptional song. 

When You Really Loved Someone comes into its own when the chorus begins. That said, this song borders on campy pop music and Fältskog’s vocal sounds a little overproduced and processed on this song. It isn't necessarily bad but it makes me think of numerous modern pop stars and therefore I question if the vocal presentation suits Fältskog’s capabilities. Regardless, When You Really Loved Someone is an exceptionally enjoyable song.

Perfume In The Breeze has a great tempo. You'll be toe-tapping and head-bopping in no time. Although, again, I feel it is overproduced, especially in the vocal region of the chorus. It just sounds as though it’s following a modern pop music formula. I do, however, thoroughly enjoy Perfume In The Breeze. 

I Was A Flower is absolutely stunning. It’s one of the greatest songs Fältskog has ever recorded, if not the greatest. You'll want to turn the volume up and become absorbed by the soundstage as it wraps around you as the speakers disappear, leaving you, Fältskog, and the instrumental orchestral movements to exist in that special place where music and ecstasy intersect.

I Should've Followed You Home is the perfect song to follow I Was A Flower. It’s a recording and mixing marvel as the vocals were recorded in two different studios. Yes, this has been done before, but each studio has a unique sound, yet the vocals are merged superbly. The decision to have Gary Barlow duet with Fältskog was superb as his vocal tonality compliments Fältskog’s perfectly. That all said, it would have been interesting to hear the difference had both artists been recording in the studio, at the same time, in a linear manner. I have a sneaking suspicion the song would have been even stronger, but I’m far from disappointed with the song we have.

SIDE B

Past Forever is beautiful. I love Fältskog’s vocal on this track as it sounds largely untouched and natural. Her soaring vocal is a pleasure to listen to and I could put this song on repeat for hours. I’d really like to see Past Forever re-recorded as a duet with Celine Dion as all the sonic cues are there to suggest such a collaboration would be nothing short of pure perfection.

Dance Your Pain Away is a disco-based track that is significantly different to the last few songs and while auto-tune is clearly used here, it's a great dance track that has a modern sound and one which DJs would have a field day incorporating into their live sets. If you want to hear additional remixes, check out the Remixes EP. 

Bubble is a lovely vocal-based track. I absolutely adore it!

Back On Your Radio is campy. Okay, it isn't that bad. No, wait, there's the chorus again. It just isn't good and should never have been recorded, let alone released. Harsh, yes, but this is a song for an artist aiming for a younger audience, arguably an audience that Fältskog wasn’t focusing on as it sounds out-of-place with the rest of the album.

I Keep Them On The Floor Beside My Bed is the only song on A to be penned by Fältskog and is simply beautiful. As the final song on the album, it closes it perfectly and encourages me to listen again and stay within Fältskog’s back catalogue.  

Overall, A is a thoroughly enjoyable album that should be in every fan’s collection. 

Comment

Frank Sinatra – In The Wee Small Hours (Album Review)

Frank Sinatra – In The Wee Small Hours (Album Review)

Widely regarded as a masterpiece, In The Wee Small Hours is one of the smoothest Sinatra albums while simultaneously being one of the most depressing. Its moodiness is arguably it’s appeal but I generally prefer Sinatra’s more upbeat recordings, similar to those heard on Come Fly With Me. That isn’t to suggest that In The Wee Small Hours isn’t an incredible album, just that you’ll get the most value out of the album when listening in a reflective mood. 

While I’ve often considered picking up a copy on vinyl, the somber nature of the recording has always deterred me and, subsequently, when I choose to enjoy In The Wee Small Hours, I turn to streaming services and to be completely honest, while I know vinyl aficionados will lament this opinion, the Apple Music stream, an Apple Digital Master, sounds absolutely stunning. The Apple Music edition is smooth and warm, albeit not as warm as vinyl would be, but for a lossy digital presentation, most people, myself included, would need nothing more than this release as it really is that good. 

In The Wee Small Hours Of The Morning is a delicately beautiful opening song and sets the tone for the entire album. Somber, yes, but delightful! 

Mood Indigo is a gorgeous easy listening tune that I could listen to on repeat indefinitely. They simply don’t make music like this anymore, do they? Few interpretations live up to Sinatra’s recording, or Duke Ellington’s original, but Vince Jones’ interpretation is one rendition that I encourage you to check out.

Glad To Be Unhappy works well within the album structure, but Glad To Be Unhappy simply doesn’t have a sonic element that will hook you in and become memorable. It really is, pure filler!

I Get Along Without You Very Well is an astonishingly good track. Over the years it’s become one of my favourite jazz standards. As with Mood Indigo, Vince Jones performs the song masterfully with a little more upbeat tempo than Sinatra and who can forget Diana Krall’s gorgeous interpretation on The Look Of Love?

Deep In A Dream is an adequate album track, but it’s nothing to write home about. 

I See Your Face Before Me flows beautifully from Deep In A Dream and is a lovely song in its own right.

Can’t We Be Friends? Is a great song; I love it! However, I consider the Ella Fitzgerald & Louis Armstrong rendition to be the gold standard. 

When Your Lover Has Gone is somewhat lacklustre as there is a little too much brooding to be heard and while Sinatra performs it well, it simply isn’t a standout song. 

What Is This Thing Called Love? has a gorgeous musical backing and is a lovely song.  

Last Night When We Were Young is another song that works well within the sequencing of the album, but it’s another tune that simply doesn’t stand out and become memorable. 

I’ll Be Around isn’t a bad song at all. Not a standout by any means, but enjoyable nonetheless.

Ill Wind is an interesting song. I like it, but I can’t tell you why. Is it the song title? Sinatra’s vocal styling? The musical element that is prominent throughout? Perhaps it is none, or all of the above, yet Ill Wind remains a favourite of mine and sometimes we don’t need a reason for liking something, do we? 

It Never Entered My Mind is a lovely song, but simply isn’t memorable and makes me question why an album, with so many non-standout tracks, receives such reverence.

Dancing On The Ceiling is a little off-beat, but the musicality is compelling as is Sinatra’s vocal presentation. 

I’ll Never Be The Same is a beautiful song. 

This Love Of Mine closes out the album nicely but In The Wee Small Hours is one record that I rarely find myself listening to on repeat, for I prefer a more positive musical outlook. 

In The Wee Small Hours may not be at the top of my list when it comes to Sinatra albums that I want to sit down and listen to in a relaxing setting, but I can’t deny that it has its appeal and that based on my mood, my interest in this album shifts accordingly. Is it an essential album? Well, no! I feel it is overrated and while lovely in places fails to be as compelling as albums such as Come Fly With Me, Swing Easy!, or Ol’ Blue Eyes Is Back.

AC/DC – '74 Jailbreak (EP Review On Vinyl, Apple Music, and TIDAL Hi-Fi)

Comment

AC/DC – '74 Jailbreak (EP Review On Vinyl, Apple Music, and TIDAL Hi-Fi)

Few EP releases are as strong as AC/DC's '74 Jailbreak. In many respects, one could call this release a mini-greatest hits had it not been for the fact that the included songs were largely unavailable to music lovers outside of Australia. Released in 1984, US audiences were able, for the first time, to conveniently hear five exceptional tracks that were never released in their region during the 70s. While it is difficult to comprehend a fan's joy upon first hearing this release, one only has to spin the record and turn the volume up to hear just how polished AC/DC was in those early years. It is an experience that must be heard to be believed. 

Without a B-side to be found, '74 Jailbreak is one of the greatest AC/DC releases and should be in every fan's collection. Yes, the EP is short but that isn't necessarily a bad thing, especially if you opt to listen via CD or streaming services. From my experience, the Apple Digital Master, available via Apple Music, is the gold standard when it comes to streaming and while TIDAL Hi-Fi delivers the CD-quality counterpart, from the same mastering sessions, the TIDAL Hi-Fi version isn’t any better than the edition presented on Apple Music and subsequently, in this case, I prefer the Apple Music edition as it takes up less storage when using offline play as well as being more accomodating for those of us with restrictive cellular data allowances. That said, you can rest assured that regardless of how you choose to stream ’74 Jailbreak, you’ll be hearing the very best sound that streaming has to offer.

When at home, however, I’m fortunate enough to own the 2003 vinyl reissue and to say it’s spectacular is an understatement. Vinyl rarely sounds better than this, although I don't feel that way about all the AC/DC reissues from 2003 as the inner-groove distortion on the Back In Black reissue is infuriating. Nevertheless, '74 Jailbreak has an incredible soundstage with a perfect mix that ensures the bass and drum beats remain prominent, but never overpowering. Similarly, Bon Scott's vocals have never sounded better and each percussive element is crystal clear. If you’re a vinyl fan, this is one record you should add to your wish list, and your collection, as I know you won’t be disappointed. 

Side One 

Jailbreak may not be the first song fans gravitate towards but it’s an exceptional song that has been featured in AC/DC’s live performances for decades; even if it does appear a little self-indulgent when performed live. This studio recording, however, is the perfect opener for ’74 Jailbreak as it sets the tone for what is to come and never disappoints. 

You Ain't Got A Hold On Me has an incredible rhythm, although, I’ve always thought that Scott's vocal sounds a little too thin and forward in the mix. Interestingly, you may notice when listening to Brian Johnson-era recordings, by comparison, his vocals were always mixed in a more central position in relation to the music, whereas Scott's tend to stand out in the mix. It is a minor difference, but a noticeable anomaly.

Show Business is blues-rock 101. I love it!

Side Two

Soul Stripper is a layered and complex wonderland that presents listeners with a massive soundstage. The entrance, albeit lengthy, never gets dull and Scott's vocal entry and presence in the song is nothing short of perfection.

Baby, Please Don't Go is an incredible cover that I’ve always enjoyed. Is it the best version, however? Well, that is, of course, subjective but I can only reiterate that the Aerosmith rendition is just as good and that if you want the purist recording of this song, you should check out Big Joe Williams' 1935 recording. Nevertheless, Baby, Please Don’t Go is the perfect way to close the EP, extraordinary!

From start to finish, '74 Jailbreak is an exceptional collection of blues-based rock and roll songs that are timeless and will remain part of the social consciousness for generations to come.

Comment

Barbra Streisand – Higher Ground (Album Review)

Barbra Streisand – Higher Ground (Album Review)

Released in 1997, Higher Ground was Barbra Streisand’s twenty-seventh studio album and despite selling over 5 million copies, I completely overlooked this release at the time. Thankfully, due to the flexibility of streaming, I’ve been able to enjoy this masterpiece in recent years and consider it amongst Streisand’s greatest recordings as each song is worthy of inclusion. 

Listening via Apple Music, Higher Ground is presented as an Apple Digital Master; a mastering process that aims to deliver studio-quality sound. Even if I wanted to listen to the album via the CD-quality offered by TIDAL Hi-Fi, Higher Ground is sadly absent from that platform but as the Apple Digital Master often trumps the CD-quality stream, such an omission is only disappointing because it deprives music-lovers of experiencing all there is to offer from an artist’s collection. Nevertheless, the Apple Music stream delivers a soundstage that is enveloping, ensuring the album can be thoroughly appreciated as you get a sense of Streisand being in the room with you as the speakers disappear and you’re at one with the music.

I Believe/You’ll Never Walk Alone is a lovely melody-based opener that immediately captivates the soul from the very first note and highlights Streisand’s gorgeous vocal. That said, as much as I enjoy the melody aspect, both songs in their own right are exceptional, I wonder if the transition could have been a little more seamless as it almost sounds as if they are two separate tracks, just  without the 2-second pregap. 

Higher Ground is a stunning title track that is unassuming and thoroughly relaxing.

At The Same Time is a song I love, although I must admit that I would have left the children’s vocal choir out of the mix as it detracts from the musicality. Yes, I acknowledge the connection to the lyrical element, I just feel the mix wasn’t right. Perhaps it could have been corrected in the studio, but the choir’s inclusion simply sounds detached. 

Tell Him (Duet With Celine Dion) is an absolute masterpiece!

On Holy Ground is a beautiful song, but it could be argued that any song would have suffered following Tell Him. It is a case of incorrect sequencing, in my opinion, but I’m the type of person that would suggest a song like Tell Him would be best served as being the final song on the album as to not detract from any other song. 

If I Could is a lovely tune. 

Circle is simply magnificent and while I don’t normally appreciate music for its lyrical interpretation, instead considering the vocal as an instrument, lyrics are difficult to ignore in Streisand’s works as she pronounces every word so perfectly and the meaning behind the song is touching and remains even more relevant today than it arguably did when it was originally recorded. 

The Water Is Wide/Deep River is the second melody on Higher Ground and it doesn’t disappoint. 

Leading With Your Heart is another beautiful, unassuming, song and, if anything, Higher Ground represents a series of songs that are hidden gems and shouldn’t be overlooked. 

Lessons To Be Learned is one of Streisand’s greatest vocal performances. Yes, that could be said about so many of the songs she’s recorded over the years, but Lessons To Be Learned is a sonic joy, with a perfect mix, meaning that I often play Lessons To Be Learned as loud as comfortably possible as well as playing it on repeat. A stunning performance!

Everything Must Change is a lovely song, but there’s a little distortion in the right channel, especially noticeable when listening via headphones, that is distracting to this otherwise exceptional recording. I can’t say for certain where the distortion entered the mix as I question if it would have been overlooked in the original recording process, but the distortive element that occurs around 2:44 and again at 2:50 is also present on the Spotify stream. 

Avinu Malkeinu is a gorgeous Jewish prayer to close the album with, and while I have suggested that Tell Him would have been perfectly repositioned as the final song on Higher Ground, Avinu Malkeinu is worthy of its position and is arguably the perfect closer to one of Streisand’s greatest albums. 

Higher Ground is simply exceptional, without a B-side to be found. Having only become aware of this masterpiece in recent years, it has fast become one of my most treasured albums, for it really is that good. If you too missed checking out Higher Ground, remember that it is never too late to appreciate timeless classics such as this.