Ella Fitzgerald & Louis Armstrong – Ella And Louis Again (Album Review)

Released in 1957, Ella And Louis Again is the follow-up to the wildly successful Ella & Louis released a year prior; a release that was unapologetically intended to milk the chemistry of Ella Fitzgerald & Louis Armstrong. As a result, it sounds a little rushed, with a little less polish than its predecessor, but that isn’t to say that it’s a bad release but it does demonstrate just how extraordinary Ella & Louis really is.

As a double album with a considerably longer runtime than its predecessor, Ella And Louis Again brings the core musicians (sans Buddy Rich; Louie Bellson on drums) back for a second outing but is interesting in that it breaks with the formula of the original for seven songs are solo vocal performances; four from Armstrong and three from Fitzgerald. Naturally, these songs are so impressive that most listeners won’t blink an eye but an argument could be made that an album sans the solo recordings would have been a far better, and more concise, follow-up. Yes, dear reader, you can have too much of a good thing and while the song selection is solid, they’re not as stellar as those selected for Ella & Louis. It is important to note that upon release, the album was also made available as Volume One and Volume Two thereby reducing the runtime of each part to that of a traditional album.

The cover art for Ella And Louis Again is adequate but the original is iconic. Textual elements weren’t needed the first time around, for the master musicians told their story by merely sharing the same space. Disappointingly, the album artwork for Ella And Louis Again is both unimaginative and unappealing while simultaneously showing a disconnect between Fitzgerald and Armstrong. Whether intentional or not, it does mimic the disconnect within the music whereby a considerable number of tunes are solo efforts and those that are duets are, in many cases, inferior to that heard on their debut outing.

As it pertains to sonic quality, Ella And Louis Again doesn’t come close to the impressive audio experience of Ella & Louis; an Apple Digital Master with both high-resolution offerings and a Dolby Atmos mix. Ella And Louis Again is derived from the standard CD reissue and on its own, this isn’t too much of an issue but if you decide to listen to this album immediately after the first, you’ll be in for a shock. The difference is, pardon the term, night and day. The mastering is adequate but it isn’t the final word in sound quality as it relates to this particular release. What you’ll experience is a clinical reproduction that needs a drop in the treble and a boost in the mid and bass regions to sound its best.

While I may have various complaints, Ella And Louis Again is an excellent album in its own right that is arguably only dwarfed by the breathtaking Ella & Louis.

Don’t Be That Way isn’t the strongest opening. It’s a lovely song but it lacks the wow factor that was needed to launch an album such as this. Frank Sinatra’s rendition, however, has a little more swing and is, therefore, more appealing.

Makin’ Whoopee, however, would have been the quintessential lead-off track despite it being a solo Armstrong performance. It’s fun, witty, and has the same playful feel that I adored on Ella & Louis. Although, it has often been marred with controversy, surrounding the story arc, relating to the entrapment of men for makin’ whoopee.

Unpacking the lyrics you can definitely see the issue but the use of euphemisms throughout brings a smile to my face every time I hear it; in the same way as Chuck Berry’s cover of My Ding-A-Ling does. Perhaps, I never grew up, but who doesn’t find the word whoopee to be hilarious? As for the controversy, let’s just say that it doesn’t bother me, as I see the humour in it, but I can also understand why some may find it offensive.

Reflecting on the other covers of Makin’ Whoopee, Frank Sinatra’s is lovely, as is Shirley Horn's, but perhaps most interesting is that Ella Fitzgerald recorded the tune in 1958; a slightly different but lovely rendition! None, however, are quite as good as Armstrong’s interpretation, although The Ben Webster Quintet came awfully close on Soulville.

They All Laughed has a killer hook and is one of the best tracks on the album, despite its slow start. It does amaze me, however, that They All Laughed hasn’t been covered more in the modern era, or even reinterpreted with contemporary zeitgeists in mind for George Gershwin’s tune, as so many of his were, is timeless.

Fred Astaire’s original is magnificent as is Oscar Peterson’s interpretation.

Comes Love is magnificent and is one of the best jazz standards ever written and recorded. As a Fitzgerald solo outing, it’s perfect and while it’s been covered extensively, few come close to this particular recording. Although, Vince Jones' and Joni Mitchell's interpretations come close.

Autumn In New York is a beautiful slow-tempo jazz number. This recording is particularly unique as Autumn In New York is seldom performed as a duet. Some may subsequently lament Armstrong’s gritty vocal, for it is a little contrasty to the smooth jazz musical backing and Fitzgerald’s silky tones, but it works surprisingly well. Plus, Armstrong’s trumpeting is other-worldly.

Of the other renditions, Frank Sinatra’s is arguably the best while Diana Krall’s is a lovely up-to-date interpretation.

Let’s Do It (Let’s Fall In Love) is Louis Armstrong at his very best. The intonations in his vocal get me every time; magnificent! While this disappointingly wasn’t one of their duets, Fitzgerald did record a beautiful rendition of the song herself.

Stompin’ At The Savoy is a great toe-tapper that I would have loved to have heard performed live in any out-of-the-way jazz club in the 50s. The nostalgia, even though I never lived it, is strong when you listen to this jazz masterpiece and if you too would like to experience an incredible live recording look no further than Fitzgerald’s performance from the Chicago Opera House with the Oscar Peterson Trio.

Of the other available performances, Judy Garland’s is magnificent while Art Pepper’s is a stunning instrumental.

I Won’t Dance has a terrible opening but thankfully once Armstrong enters the mix, things start to pick up. I’d go as far as suggesting that Fitzgerald’s solo, recorded in 1961, is significantly better than this duet. Nevertheless, it isn’t one of the better songs on Ella And Louis Again but there are other excellent interpretations to listen to, such as Fred Astaire’s early recording, even if it isn’t as emotive as Frank Sinatra's. For modern renditions, look no further than Jane Monheit and Michael Bublé’s recording and check out the exceptional music video for Willie Nelson and Diana Krall’s interpretation.

Gee, Baby, Ain’t I Good To You? is a great tune and it’s wonderful to hear Armstrong’s trumpet again. Unlike the continuous inclusion throughout Ella & Louis, Armstrong’s magical trumpeting is only featured on six of the nineteen songs found on this release so it’s an audible pleasure when it appears in the mix.

Other notable renditions include the original from the Nat King Cole Trio, Diana Krall’s dedication to Nat King Cole, and Dr. John’s unpretentious recording on Afterglow. Dizzy Gillespie’s instrumental, while a little shrill, is also magnificent, as is Count Basie’s performance.

Let’s Call The Whole Thing Off is a masterpiece!

While I can’t think of a better interpretation, you may thoroughly enjoy Fred Astaire’s recording and Bing Crosby’s duet with Rosemary Clooney. Fitzgerald’s solo performance from Ella Fitzgerald Sings the George and Ira Gershwin Song Book is sung in a similar manner to the duet but I’ve got to be honest and say that I miss Armstrong when listening to this version.

These Foolish Things (Remind Me Of You), as a Fitzgerald solo recording, is flawless. Her vocal prowess is perfectly suited to the style and no one has done it better. In my opinion, this is Ella’s song. Although, Nat “King” Cole’s interpretation is magnificent as is Aaron Neville’s soulful rendition.

I’ve Got My Love To Keep Me Warm is a great tune but the sequencing shifts too much from These Foolish Things (Remind Me Of You) thereby creating a jolt to the senses; an aspect that wasn’t present on Ella & Louis. Fitzgerald would record I’ve Got My Love To Keep Me Warm a year later for Ella Fitzgerald Sings the Irving Berlin Song Book; a solid recording but nowhere near the duet found on Ella And Louis Again.

Willow Weep For Me is a solid Armstrong solo. While you’ll thoroughly enjoy listening to it, I’d suggest that it isn’t a song that you’ll seek out on its own. Wes Montgomery’s masterpiece, however, is well worth tracking down.

I’m Puttin’ All My Eggs In One Basket is an upbeat tune that is simply fun. They don’t make music like this anymore; an adage, yes, but one that rings true when you listen to a classic recording such as this. Armstrong did record the song in 1936 and while it’s lovely, I’m so glad it was rerecorded for this release for it’s an improvement over the original, particularly as it relates to the duet style. Fitzgerald also rerecorded it as a solo in 1958 and it's a little smoother than that on Ella And Louis Again, thereby making it a must-listen. Fred Astaire’s interpretation is also worthy of your time if you haven’t previously heard it.

A Fine Romance continues the lighthearted style. If only all tunes, particularly modern music, were this carefree? It’s not that I dislike modern recordings, many are exceptional, but when you go back and listen to this type of music you find there’s something special, often innocent, and excitingly memorable; elements that are sadly missing from many modern releases.

Fitzgerald rerecorded the tune for her album, Ella Fitzgerald Sings the Jerome Kern Song Book in 1963; it’s lovely but something is missing. Yes, dear reader, I feel it works better as a duet. That said, Kiri Te Kanawa knocks her solo out of the park.

Ill Wind is the final Fitzgerald solo performance, on Ella And Louis Again, and as beautiful as she performs it, I prefer Frank Sinatra’s recording from In The Wee Small Hours. Additionally, The Ben Webster Quintet recorded a masterful rendition on Soulville.

Love Is Here To Stay is perfect jazz club material and while it’s been covered considerably, it’s amazing that so many modern jazz musicians have overlooked it.

Is Fitzgerald and Armstrong’s interpretation the best version of the song? Yes and no!

When you have Sinatra performing it masterfully on Songs For Swingin’ Lovers, I simply don’t feel Fitzgerald and Armstrong matched his recording.

I Get A Kick Out Of You, Cole Porter’s opus, is the final Armstrong solo and what a performance it is. Yes, Sinatra recorded the song but in this case, as much as I love his rendition, Armstrong knocks it out of the park. Michael Bublé’s 2018 recording, from Love, is a solid modern take but is arguably too similar to Sinatra’s to set them adequately apart. Interestingly, Fitzgerald did record I Get A Kick Out Of You on Ella Fitzgerald Sings the Cole Porter Song Book from 1956; it’s magnificent and one can only wonder why it wasn’t performed as a duet on Ella And Louis Again.

Another notable recording is Rod Stewart’s from Fly Me to the Moon... The Great American Songbook, Vol. V.

Learnin’ The Blues is a great closer, especially with Armstrong’s trumpeting, but it is ultimately Fitzgerald’s gorgeous vocal that makes me want to play the album again. Frank Sinatra’s recording is one of the best, as is Willie Nelson’s from That’s Life, but the mix of Fitzgerald and Armstrong offers listeners something special that the solo recordings can’t give us; a rustic and simultaneously smooth rendition that can only be achieved due to the different, but complementary, styles of Fitzgerald and Armstrong.

While Ella And Louis Again can never live up to, or surpass, the brilliance of Ella & Louis it should not be ignored for if the former were a five-star release then this follow-up would be a four-star album; an excellent musical experience by anyone’s standards.

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The Alan Parsons Project – Tales of Mystery and Imagination (Album Review)

Unlike George Lucas ruining the original Star Wars trilogy, the 1987 remix of Tales of Mystery and Imagination is nothing short of perfection and while the original mixes, from 1976, are worth your time tracking down and listening to, the remix is arguably the best way to enjoy this cult classic. 

Yes, there’s an 80s vibe to this 70s album, but the prog-rock style remains ever-present thereby offering not only refinement in production but a significant improvement over the original. No doubt there’ll be some who prefer the original mix and there’s nothing wrong with that. Subjectively, I prefer the fuller, more atmospheric, sound of the remix along with the inclusion of the Orson Welles’ narration; although it does make for a less fluid and relaxing musical experience. 

While the original mix has previously been difficult to come by, in the modern era, it’s wonderful to note that it is available, as of 2024, via Apple Music et al. However, in going back to the album whilst compiling the upcoming Best Albums of 1976 ranked list, I took the time to listen to both versions and can declare that I remain most impressed with the 1987 remix as it’s more akin to a rock symphony than its original mix. It is simply a sonically better, and bolder, presentation, that works incredibly well with the style of music. 

It’s also important to mention that the 1976 mix was reissued in a 2007 Deluxe Edition and via the 40th Anniversary releases; a release that is not currently available to streaming services. As physical releases go it should be noted that Mobile Fidelity Sound Lab was the first to re-issue the original album on CD in 1994, although this particular release isn’t readily available and goes for considerable prices on the second-hand market. These releases no doubt showcase a perfect example of why physical media reigns supreme, but it’s a missed opportunity for those of us who choose streaming as our primary method for music delivery and it would be nice to see these additional versions released to a broader audience. 

Similarly frustrating is the fact that a higher resolution and the well-respected surround sound mix is missing from Apple Music. The only version present is the lossless CD-quality edition and while it’s an adequate facsimile, it could be so much more immersive. Given Apple Music’s push for Spatial Audio Dolby Atmos streams, it’s bizarre that Mercury Records hasn’t delivered Apple Music for streaming via their network. Most likely, while it is only conjecture on my part, they’re probably waiting for the 50th Anniversary release window before offering an updated release. Some may ponder if the surround mix is available elsewhere, or if a higher resolution is present via TIDAL or Qobuz and the answer to that thought process is no. They have the exact same version, of this album, as Apple Music. While it may be a frustrating omission, let’s hope that we will see additional offerings over the next couple of years as the album approaches its 50th Anniversary.

While fans will be aware of Alan Parsons’ legacy, newcomers may not realise that this project and the subsequent albums didn’t merely come about randomly for Parsons worked with The Beatles, Paul McCartney & Wings, and Pink Floyd as an engineer on Abbey Road, Red Rose Speedway, and Dark Side Of The Moon respectively. To say he’s a legend would be an understatement but no amount of collaborative efforts with these musical masters could have prepared the world for the haunting musical retelling of Edgar Allan Poe’s most classic written works.

Of course, 70s art rock would be for nothing if album artwork hadn’t played a key role. Instantly recognisable, the barren artwork directs your eye to the centre image, one of a shadow man presented on a strip of recording tape. The concept’s great for it is as if there’s an open door in the two-dimensional world that we can see but can’t quite access. From a distant view, it also gives the impression of an audio waveform; at least to me. 

Upon the release of the 1987 remix, however, the cover art did get a makeover that fills in the white space with an even more obscure caricature, taken from the original liner notes, that works surprisingly well with the existing artwork. It also maintains a solid match to the music but whichever way you look at it, both designs can stand on their own, sans the musical accompaniment. 

As with many popular albums from the era, there was a range of alternative cover art, with some of the cassette releases being particularly appealing along with the 1977 vinyl reissues that feature Parsons being wrapped up as if he would become the faceless mummified man. 

Nevertheless, while the cover art may have drawn you to the album, it’s ultimately the music that keeps us engaged and coming back for more. Join me as we explore the music that makes the Tales of Mystery and Imagination so compelling. 

A Dream Within A Dream (1987 Remix) opens the album with Orson Welles’ narration. While it isn’t the best opening, it’s far from the worst and helps the music to build gradually in the background. Once the minute-long spoken introduction has ended, the rest of this tune, instrumental in nature, has an oriental feel to it before morphing into a rhythmic rock piece. A Dream Within A Dream is just that; a multitude of songs within a singular track. Stunning and emotive, A Dream Within A Dream most importantly flows seamlessly through the transitions, blending perfectly into The Raven. 

The Raven (1987 Remix) is the opus here, both from Edgar Allan Poe’s perspective as well as The Alan Parsons Project. It’s magnificent and in part that is due to Alan Parsons’ use of the vocoder that breathes an otherworldly life into the song. Similarly, Leonard Whiting’s non-distorted vocal on The Raven is incredible, as is the guitar solo that is notable for being included in this 1987 remix. Even if you’re not a fan of the entire album, The Raven is one of the greatest classic rock songs ever recorded. 

The Tell-Tale Heart (1987 Remix) has a Led Zeppelin feel to it but it’s symphonic rock at its very best. There are moments of chaos and moments of subtle delicateness, but it all comes together in a killer tune that will set your stereo on fire; figuratively speaking, of course! 

The Cask Of Amontillado (1987 Remix) flows seamlessly from The Tell-Tale Heart, even though the style is much more mellow by comparison. It takes a group of master musicians to pull off such a transition even when contrasted against the era of the linear album format. The adage that they don’t make music like this anymore rings true for The Cask Of Amontillado is audible perfection.

(The System Of) Doctor Tarr And Professor Fether (1987 Remix) is a killer rhythmic tune. John Miles’ did a remarkable job on the vocal but it’s the guitar tuning, and performance, that really sets this recording apart from the rest of the songs on Tales of Mystery and Imagination. 

The Fall Of The House Of Usher [Instrumental] (1987 Remix) while split into Prelude, Arrival, Intermezzo, Pavane, and Fall sections is arguably a collective body of work that shouldn’t be considered as individual pieces when discussing the movement. Yes, it is sectional and could be discussed in that manner but The Fall Of The House Of Usher is stronger as a continuous piece of work that will remind you of Pink Floyd in places, particularly in the Arrival section, and classical symphonies in others. There’s even a classic film vibe, think The Godfather, to be heard within the Prelude area of the movement.

The Fall Of The House Of Usher [Instrumental], overall, is a lovely piece but one would rightly suggest that Side A of the original vinyl release would be worn out, unless you’re more of a fan of the symphonic elements, for that is where the soul of Tales of Mystery and Imagination really lies. Of course, what could be seen as a weakness could also be interpreted as a strength for this album can be listened to, and subsequently interpreted, in different ways. The Fall Of The House Of Usher [Instrumental] is a 15-minute behemoth but it’s as memorable for its length as David Bowman's movement through space and time in Stanley Kubrick's 2001: A Space Odyssey. 

To One In Paradise (1987 Remix) closes the album out nicely while ensuring that you’ll feel like playing it again. Even though To One In Paradise may not compare to the songs found on the first half of the album, it’s contemplative meaning that even if you decide not to spin the record again, you’ll be just as rewarded for sitting back and reflecting on the music you’ve just experienced. 

From start to finish, the Tales of Mystery and Imagination is an experience. One that will captivate you, and allow you to interpret Edgar Allan Poe’s works in an entirely different manner to his written output. Despite its modest success and subsequent cult following, I’m sure that if you take the time to listen, undistracted by the world around you, you’ll also become a fan of The Alan Parsons Project: Tales of Mystery and Imagination…forevermore. 

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Ella Fitzgerald & Louis Armstrong – Ella And Louis (Album Review)

Few albums are quite as revered as Ella Fitzgerald and Louis Armstrong’s Ella and Louis; a masterpiece if there ever was one. Recorded in 1956 at Capitol Studios, Ella and Louis is not only one of the greatest jazz albums ever recorded but one that will appeal to easy listening and swing lovers alike. Of course, and this is a subjective opinion, Ella and Louis is so beautiful that it will engage the soul of all music lovers. It’s a timeless classic!

As one of jazz’s landmark releases, Ella and Louis has naturally been released on just about every format available and was recently re-issued as a Dolby Atmos mix on Apple Music. While I was fortunate to have owned the HFPA (High Fidelity Pure Audio) Blu-ray release the Atmos mix on Apple Music is otherworldly. Yes, the Atmos mix is a lossy source and has been constructed from the original mono mix but the placement of players, vocals, and the listener in the soundstage is astonishingly good. Seriously, I’ve no idea who undertook this mix but they are a master of their craft. While you won’t be swept away as much as with other surround sound mixes, that take full advantage of the technology, this particular stream is immersive and proves that even mono recordings can benefit from upgraded Atmos mixes if the white-glove treatment is taken to ensure it sounds its very best. While all Atmos releases are not made equally, and some simply sound bad, this stream is so good that I question if I need to seek out the well-regarded Verve/Ume/Acoustic Sounds vinyl reissue. A strange argument, yes, but with limited funds, I must choose only the very best versions of the albums I love. This is one of them, of course, but as the stream, an Apple Digital Master, simply sounds right then perhaps it is time to be satisfied with what I have access to rather than constantly wanting more.

While Fitzgerald and Armstrong may be the main focus of this release, Ella and Louis wouldn’t have been so successful if it were not for the magnificent Oscar Peterson, Herb Ellis, Ray Brown, and Buddy Rich that laid the musical bed for Fitzgerald and Armstrong to shine. Armstrong’s trumpeting similarly soars as the band plays unobtrusively; a brilliant collaboration for Peterson et al are amongst the greatest jazz musicians in history and to take a backseat shows great humbleness. Similarly, one must acknowledge Verve founder and Producer Norman Granz’s song selection for there has rarely been a better sequencing in history. Without his guidance, Ella and Louis would have been a very different album.

Ella and Louis wasn’t the first time the two collaborated, nor would it be their last for the Verve trilogy of albums including this one, Ella and Louis Again (1957), and Porgy and Bess (1959) are amongst the finest ever recorded. It’s an odd pairing as you’ve got Fitzgerald with her delicately smooth vocal competing with Armstrong’s gravelly diction, yet the combination is a duet lover’s dream come true.

Can’t We Be Friends? is a beautiful opening track that sets the tempo for the album. Not too fast and certainly not too slow, thereby allowing the listener to settle in and relax with some smooth jazz-inspired music. Plus, Armstrong’s closing vocal element is simply magnificent far outperforming Frank Sinatra’s rendition from In The We Small Hours. Linda Ronstadt, however, delivers a silky performance on Lush Life; a rendition that doesn’t outperform this masterpiece but is notable in the same manner as Seth MacFarlane’s version from Once In A While is.

Isn’t This A Lovely Day? may shift the tempo to the slower side of the scale but the transition is fluid and the overarching style is so similar that you really don’t notice the shift for it feels natural. One of the most notable aspects of this tune is the subtle musical backing, particularly underneath Armstrong’s husky vocal. It’s a stunning contrast that is a pleasure to listen to. Then you have Fitzgerald’s silky tones that fuse with Armstrong's magnificent trumpet solo; a solo that will send you into a level of sonic shock if you’ve got a very revealing system for it rises above every other aspect of the music.

Of the other recordings of this classic tune, Fred Astaire’s various recordings are thoroughly enjoyable while others, such as those recorded by Tony Bennett, Diana Krall, and Seth MacFarlane are too overproduced for my liking. Bennett’s rendition, however, grows on you the more you listen to it.

Moonlight In Vermont is a magnificent tune and as much as I adore this rendition I’m smitten with Frank Sinatra’s version from Come Fly With Me. That said, Sinatra didn’t have Armstrong’s trumpeting which arguably takes Moonlight In Vermont to another level entirely. Willie Nelson, however, had Mickey Raphael’s harmonica to play against on Stardust; a brilliant reimagining of this classic tune. Other notable renditions include that from Billie Holiday, Chet Baker and the Gerry Mulligan Quartet, and Seth MacFarlane.

They Can’t Take That Away From Me is a fun toe-tapping tune with a mix of glee and melancholy. I adore this style of music whereby the lyrics tell a literal story, very clearly and unobstructed, for it becomes memorable; perhaps as memorable as the nostalgia the lyrics imply. While I love Frank Sinatra’s rendition from Songs For Young Lovers it pales in comparison to this recording. Diana Krall’s interpretation from Love Scenes, however, is simply magnificent. If you’re after an instrumental version, may I suggest Oscar Peterson’s recording from Pastel Moods.

Under A Blanket Of Blue is a masterpiece and one of my favourite songs from the album. Its romantic undertones are unmistakable and as with most of the songs from the era, and those preceding the recording, literal intent was far more paramount than in the modern era where interpretation is often subjective and often different from the intended meaning. Should you prefer an instrumental of this classic tune, Ben Webster’s rendition is incredible.

Tenderly is one song that if your system is overly revealing in the treble range, you may find Armstrong’s trumpeting to be mildly irritating for it is presented far louder in the mix than it probably should be. This is present on both the stereo and Atmos mix of the album but dropping the volume down a little will generally address that problem. Overall, Tenderly is a solid track but it’s also the weakest on the album. Of the other available renditions, Duke Ellington and His Orchestra performed it beautifully while Nat “King” Cole’s recording is also worth a listen.

A Foggy Day is the second Gershwin masterpiece featured on Ella and Louis; the first being They Can’t Take That Away From Me. Sinatra’s recording on Songs For Young Lovers is fantastic, as is Billie Holiday’s interpretation from Songs for Distingué Lovers, but neither come close to the perfection that is heard on this recording. Michael Bublé’s modernisation is also thoroughly enjoyable.

Stars Fell On Alabama, as with the other songs on Ella and Louis, is a spectacular jazz standard. The intertwining vocals of Fitzgerald and Armstrong are the highlight here as one is harmonic while the other is delivering the actual lyric. It’s magnificent!

Of the numerous recordings of Stars Fell On Alabama, some worthy versions that you should check out include recordings from Frank Sinatra, Billie Holiday, Doris Day, and Stan Getz.

Cheek To Cheek is an absolute favourite of mine. One of the best songs ever written; thank you Irving Berlin! The Fitzgerald/Armstrong collaboration is timeless and is the very best rendition ever recorded. Other notable recordings have been made by Andrea Bocelli and Veronica Berti and Frank Sinatra.

The Nearness Of You highlights Fitzgerald’s vocal prowess. What an amazing vocalist! Armstrong is no slouch on The Nearness Of You either, but when I think of this song it is Fitzgerald that I hear. Other incredible renditions of this classic tune include those recorded by Glenn Miller and His Orchestra, Rod Stewart, Barbra Streisand, and Willie Nelson.

April In Paris is a gorgeous closer that will leave you not only satiated but contemplatively willing to play Ella and Louis again for it is a true masterpiece. Other excellent renditions you may be interested in include those recorded by Frank Sinatra and Doris Day.

The adage that they don’t make music like this anymore certainly rings true for Ella and Louis is amongst the very best music ever recorded. While their other two Verve Records collaborative releases are a bonus for lovers of Ella and Louis, there’s something special about this first outing that was never replicated on those additional recordings thereby making Ella and Louis a must for any music collection.

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Missy Higgins – Total Control (EP Review)

While fans will undoubtedly be longing for a follow-up to Missy Higgins’ fifth studio album, Solastalgia, the Total Control EP has the potential to tide them over as she returns in fine form with an incredible rendition of The Motels’ Total Control amongst other songs. 

For those not familiar with the songstress, Missy Higgins is one of Australia’s greatest singer/songwriters and has been pivotal to the Australian music scene since her 2003 debut The Missy Higgins EP; an impressive first showing! Higgins’ unique vocal style is instantly recognisable, in much the same way as Paul Kelly’s is, but it is her ability to tell stories that ensured she’s achieved three No. 1 albums in Australia. Not bad considering she’s only, thus far, released five studio albums. 

Total Control is somewhat different, however, as the storytelling has been inspired by the TV Series “Total Control”; an Australian political drama. Plus, ironically, it isn’t Higgins’ narrative that is the most notable aspect of this release but her cover of the title song. Originally written by Martha Davis & Jeff Jourard, Higgins’ version will blow your mind and ensures that Total Control makes its way into the list of the best album releases (in this case a mini-album) of 2022.

Watch Out is sensational. The introduction alone, with the fundamental instrumentation, sets the tone of the song as Higgins’ poetic vocal soars above the musical bed. It reminds me of the style that Sophia Pfister applied to her music but most importantly Watch Out will stay as an earworm in your mind. While some may detest that fact, and sometimes I do too, Watch Out is so good that I thoroughly enjoy the repetition as it reminds me to play this mini-album again.

The Collector similarly will capture your soul and not let go with its catchy hook. It’s a toe-tapper with a southern rhythm and blues influence that is infectious.  

Edge Of Something (from the TV Series “Total Control”) offers listeners a beautiful soundscape and highlights Higgins’ glorious vocal; she’s magnificent, isn’t she? Edge Of Something is one of those songs that can be appreciated at both low and room-filling volumes and I suggest you consider the latter for it truly soars. Another magnificent performance but you’ve yet to hear Total Control so hold on to your hat. 

The music video, for the Edge of Something, is stunning. It’s simple, yet elegant, as Higgins performs from a side profile as scenes from the associated TV Series are interspersed throughout.

Total Control is magnificent! I hope you haven’t turned the volume down for Higgins is in the room with you and the soundstage is extraordinary and well worth appreciating at higher volumes. Yes, the original recording from The Models is excellent, especially the saxophone solo, but Higgins has made it her own and this rendition is nothing short of perfection.

Big Kids has a killer harmonic vocal introduction but the shift to Higgins’ vocal is a little clunky. Yet, as the song progresses, this stylistic choice makes sense and flows far better than initially expected. A solid song by any measurement but I can’t help but wonder if it couldn’t have been more impactful for I feel Higgins is a little too restrained in her vocal delivery on this tune. 

I Take It Back is a lovely closer that will leave you in a reflective mood. As with the rest of the songs on this mini-album, I Take It Back represents one of the best songs Higgins has ever recorded. It’s simply magnificent and the choral backing towards the end of the song will leave you speechless. 

While some may lament the mini-album runtime of this release, Missy Higgins once again proves that less is more by ensuring she has total control of your attention for the entire duration. While a full-length album would have been nice, it is by no means necessary especially considering there isn’t any filler to be heard on Total Control; an aspect I can’t say is present on all of her studio albums. Total Control is highly polished, well-considered, and purposeful, thereby making it an essential release that should be in everyone’s music library.

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Zeal & Ardor – Zeal & Ardor (Album Review)

While Zeal & Ardor may be conveniently positioned within the metal genre, that placement is simply too limiting for their experimental metal style incorporates black metal, melodic metal, and industrial metal cues with numerous other musical influences including African American and blues rhythms. They’re unique and have never sounded as influential, all-embracing, and fired up as they do on this eponymous release; their third studio album.

Produced and written entirely by founder and lead singer, Manuel Gagneux, Zeal & Ardor once again showcases what a creative genius Gagneux is. While many of us wonder what the future of music is, especially when we contrast modern releases against those that came before, Zeal & Ardor prove that the future of metal music is alive and well. 

Every aspect of the production has been meticulously considered. From the songwriting to the recording, even the mix and mastering represent some of the very best within the respective genres. The result is an album that is full-bodied, dynamic, spacious, and immersive while also being impactful. It really is an experience that needs to be heard firsthand and as revolutionary as Devil Is Fine (2017) and Stranger Fruit (2018) were, Zeal & Ardor takes their music to a whole nother level. 

From a sonic perspective while I often look to vinyl releases for the pinnacle of sound quality, the lossless Apple Music stream, an Apple Digital Master, is so good that I see no need to search for better. Seriously, there’s no unnecessary clipping or distortion, the soundstage is wide and enveloping, and most importantly it simply sounds right; a subjective perspective, yes, but one that is valid nonetheless. 

Zeal & Ardor will wake the senses. It’s bold, reminiscent of the music that you’re about to hear, and arguably heavier than their previous releases thereby signifying a shift in their chosen style. My only complaint is that it’s too short, yet in a contradiction, it is the perfect length for it gets to the point without any extraneous elements to weigh it down. I couldn’t imagine a better title track; could you? 

Run has demonic undertones that reach into your soul. It’s an example of the alter-ego that Gagneux puts into his music and while scream metal is often an acquired taste, Gagneux hits the intonations perfectly. Thematically, regardless of your beliefs, Run makes you think and ponder your life, your actions, and ultimately, despite the knee-jerk reaction that some will have towards the negative side of the scale, Run asks that you don’t give up. At least, that is the message that I get from this song. 

The music video offers a terrifying look into the mind. Don’t get me wrong, it’s a brilliant musical accompaniment, but it will simultaneously shock you to your core. 

Death To The Holy is more musically upbeat with a touch of soul music threaded throughout. The pounding drum and bass rhythm is infectious and reminds me of Korn’s music.  

The music video is odd. While it questions what we know about our existence and societal belief systems, it isn’t quite as uniform with the music as the music video for Run was. 

Emersion is interesting for it isn’t the song you initially think it is as it weaves in and out of a kaleidoscope soundscape only to re-enter as frenetic moments in time. As an instrumental with an occasional vocal growl, it’s a solid tune that splits up the album nicely. 

Golden Liar is an absolute masterpiece! Gagneux's vocal delivery on Golden Liar is next-level and while I’ve no doubt Zeal & Ardor will continue to evolve, I hope it is in a similar direction to the performance captured here for when music is this good you simply want to experience more of it. 

The music video simply exists. It doesn’t build upon the song in the ways that I’d like to see from such a massive tune. That isn’t to say that it’s irrelevant, but that I feel it could have been something far greater than it is. 

Erase, despite not being out-of-place, isn’t the strongest song on the album from both a lyrical and musical perspective. It works within the album structure, but it’s unlikely that you’ll seek it out on its own. 

Bow is, however, a song that you will want to play on repeat for it’s astonishingly good. It’s metal, it’s soul, it’s blues, it’s simply a killer tune!  

Feed The Machine intertwines musical styles as many of the other songs on Zeal & Ardor do but it’s the playful nature of the non-metal elements that shine here and in some ways, I hear two different songs within this single composition and I can’t help but wonder what the song would sound like if it were recorded in both manners.

I Caught You is a bit of a mixed bag. While it continues the overall style fluidly, it isn’t as groovy as many of the other songs on Zeal & Ardor thereby resulting in I Caught You being album filler. 

Church Burns redeems I Caught You with a groove-infused tune that is an amalgamation of musical influences. A great song!

Götterdämmerung is a solid scream metal tune that shifts to a more common vocal structure throughout. This approach won’t appeal to all, but if it appeals to you, you’re bound to thoroughly enjoy Götterdämmerung. I know I do and that charging rhythm reaches into my soul. 

Hold Your Head Low is a little like I Caught You whereby it isn’t a bad tune but is most certainly filler. Yes, not every song can be genre-defining or single-worthy, but Hold Your Head Low is so close that the differentiation needs to be mentioned for there is a killer song to be heard here if it had only been pushed further with a more vicious soundstage.  

J-M-B shifts the style of the album, arguably a little further than one would expect. It simply sounds a little too alternative and post-grunge for my liking. 

A-H-I-L is sonically awesome. Take a listen on headphones and you’ll understand what I mean. It’s immersive and sensory, but most importantly it leaves you wanting more, even though it’s an instrumental track, thereby ensuring you’ll play Zeal & Ardor again for it is one of the best releases of 2022 and is the pinnacle of Zeal & Ardor’s music to date. 

While the cohesiveness and drive of Zeal & Ardor may have started to wane towards the end of the album, the diversity of musical styles is to be celebrated. Zeal & Ardor is genre-busting; a rare occurrence that not only brings more awareness to the metal genre but also informs those with a solitary focus that crossovers into other styles are as important as the genre’s legacy. With that in mind, I can’t wait to see what Zeal & Ardor will do next. 

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Midnight Oil – RESIST (Album Review)

New albums by beloved artists can be a challenging dichotomy for few reach, or surpass, their creative peak; arguably 1982-1990 in the case of Midnight Oil. Yet, with RESIST The Oils have returned to form by releasing an album that rivals their greatest releases. While nothing will ever compare to the groundbreaking Diesel And Dust, RESIST comes awfully close. The political style remains determinant in intent and the rock tuning and melodic rhythm are in perfect unison with Midnight Oil’s renowned sound signature. More than that, however, the biggest development in their music can be heard in the mix and mastering whereby the sonic experimentation that, while previously present throughout their career, is amplified to an extent previously unheard of by Midnight Oil. 

As it pertains to the overall recording, the lossless Apple Music stream is stunning. When an Apple Digital Master is this good, I question the benefits of picking up an album on vinyl. Yes, the ownership and tactile arguments are justified, but vinyl is mastered differently and that difference can be enough to change the overall tone of the record meaning that there is a chance it could sound inferior to the stream that I already adore. It’s just something to consider, especially as the price of new vinyl releases is at an all-time high. While I do not doubt that those of you who choose to go the vinyl route will be thoroughly pleased, streamers can rejoice in the knowledge that RESIST sounds perfect with no excessive compression throughout, only really showing up on Nobody’s Child. 

For those who can’t get past the political direction of the band, I implore you to put aside your own opinions and give RESIST a listen for it will take you on a musical journey that isn’t easily forgotten. Of course, their message is clear, if you care to hear it, for it is one of solemn reflection with numerous calls to action but RESIST is one of the best rock albums you’ll likely hear in 2022; it’s classic Midnight Oil.

Rising Seas opens the album magnificently with a solemn Peter Garrett on vocal in an acoustic-styled manner, but that quickly dissipates into the rhythmically-charged Midnight Oil sound we all know and love. There’s no interpretation of lyrical intent required here, for Rising Seas is, arguably, the most direct, and to the point, song The Oils have ever recorded. Rising Seas is also a wonderful acknowledgement that we’ve failed the coming generations as it pertains to critical environmental matters. It’s reflective and that is ultimately its superpower for it makes you think, perhaps reconsider, and ultimately want to act.

The associated music video is the best five and a half minutes of footage you’ll likely see this year. They generally don’t make music videos like this anymore. It’s powerful and influential, but most importantly it delivers a very real concern in a manner that touches the soul differently than other forms of media. I strongly believe that music as a messaging platform can be extremely powerful and when you add visuals that match the lyrics the way Midnight Oil has, you’ve got a compelling storytelling device that everyone should see, regardless of their beliefs. 

The Barca-Darling River is Midnight Oil 101. That driving rhythm has Garret’s obscure dance moves written all over it and The Barca-Darling River, while not necessarily forging new ground, is an expansion of their previous works. The musical lull in the middle may detract some who were more interested in a continuous rock tune, but as far as I’m concerned it’s masterfully placed and the transition isn’t awkward. 

Tarkine reminds me, musically, of some of the songs from Paul McCartney’s Egypt Station but Tarkine isn’t a standout. The chorus and musical aspects of the song are compelling, as an album track, but you’re unlikely to seek out Tarkine on its own. 

At The Time Of Writing has a killer hook and is arguably the best song on the album. While the mix is complex, with numerous sonic cues, the soundstage remains solid and you’ll want to turn the volume up on a song that I dare say will become a classic. Sensational!

Nobody’s Child is a bluesy number and is the first time that compression is heard on the album and is particularly noticeable via cymbal crunching. It isn’t nearly as bad as many other modern recordings, but for those of you who detest compressed sound elements, you may wish to skip this song. Regardless, Nobody’s Child is arguably a little different than one may expect from Midnight Oil, but it’s a solid tune nonetheless. 

To The Ends Of The Earth is a masterful composition. It may be an album track, rather than being single-worthy, but I’ll be damned if I don’t acknowledge just how good To The Ends Of The Earth is. Garret sings it perfectly and the band is subtly present but equally dominant throughout. It takes great skill and restraint to have such synergy; a position that could easily apply to the entire album. 

Reef harks back to the classic Midnight Oil sound we all know and love; hence, it’s a killer tune and is another with pure honesty declaring that coral reefs don’t belong to governments or mining corporations but to people; a simple but easy concept for anyone to understand. It's a shame when something that should be common sense is neglected by many and subsequently needs to be expressed in this manner.   

We Resist is perfectly placed in the album structure and while the song is a call to action, I feel that it isn’t directional enough and therefore is too open to interpretation that may not have been intended by Jim Moginie when he wrote it.

The music video offers more context but isn’t nearly as compelling as the Rising Seas video. Again, it comes down to a feeling that it lacks direction and while that shouldn’t undermine its intent, it does mean that the topics being discussed have the potential to be overlooked. 

Lost At Sea is a song that puts me into bass rhythmic heaven for Bones Hillman's bass track is utterly perfect. It’s another song that will remind you of Midnight Oil’s classic era and while that isn’t necessarily a bad thing it’s a little too predictable; if you’re looking for an evolution of the band of course. Predictability, however, is perfectly acceptable when lyrical meaning is strong enough to rise above the music itself. 

Undercover sees Peter Garret deliver the vocals with an exceptional cadence. Yes, he’s been singing in this style for his entire career, but the effect is amplified here and can subsequently be thoroughly appreciated. Undercover is a great song and the more I listen to it, the more it unpacks itself. While it likely won’t be the first song you seek out, it’s one that I feel will become a fan favourite; after a few plays, of course. 

We Are Not Afraid is musical bliss. That introduction is magnificent and it’s fair to declare We Are Not Afraid as one of The Oils' greatest recordings; it’s certainly their greatest slower-tempo song. It’s one that I’d love to see Midnight Oil perform live with a Symphony Orchestra for as amazing as it is, there’s a more ostentatious song to be heard in We Are Not Afraid. The lyrical interpretations that can be devised from We Are Not Afraid are broad and diverse, but the underlying principle meaning is one that anyone can get behind and apply to their own circumstances.  

Last Frontier starts promisingly, even if the radio chatter and overall sonic interlude are a little distracting. I would have preferred that Last Frontier started at around the 1:30 mark, but alas that isn’t the case. As for being the closing song, I would have preferred if We Are Not Afraid closed out the album for the hook of Last Frontier is great, but the song itself is a little too disjointed, from a musical perspective, to close the album on a high note. Nevertheless, the lyrical questioning leaves the listener contemplating, and most likely Midnight Oil chose this song to act as a call to action for it is their motif. 

While RESIST will support the Oils’ final tour, and more new music is always appreciated, if RESIST were to close out the Midnight Oil story, I couldn’t think of a more appropriate swansong. RESIST is also the final series of recordings from Midnight Oil that featured their longtime bassist, Bones Hillman, who passed away in November 2020. His bass chords are ever-present on RESIST and are some of his finest ever recorded. That too could be said for the contribution of the entire band but perhaps what is most remarkable is that Midnight Oil doesn’t sound as though they’ve aged, or taken a hiatus. RESIST, ultimately, is a worthy addition to their extensive back catalogue and one that will undoubtedly appeal to fans and newcomers alike. 

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Crosby, Stills & Nash - CSN (Album Review)

Released in 1977, CSN is the second official release from the folk-rock supergroup trio known simply as Crosby, Stills & Nash. While some will point to the eponymous debut as their greatest work, CSN has a greater sense of uniformity as each master musician perfectly complements the other, thereby making this a perfect entry point and arguably their most accessible album.

Some may lament Neil Young’s absence, but as valued as Young was throughout the years to the Crosby, Stills, Nash & Young (CSNY) lineup there’s something special about the vocal harmonies of the original trio that transcends the quartet. 

That uniqueness is also seen in the album artwork; an album that I still need to acquire on vinyl. Part of its appeal is the joy expressed by the band members and the feeling that they are ordinary people just like you and me thereby making the album and their music even more relatable. That said, modern re-issues, including streaming releases, have a different cover photograph to the original album release (pre-CD era) whereby all three are looking off in different directions as if harmony isn’t present amongst them. I prefer the newer, more positive, artwork as I feel it works better with the album experience. However, having both would be much more realistic to the entire art imitating life philosophy as a photograph is a mere moment of happiness often followed by despondency. While album artwork can certainly change our perception of music, what isn’t in question is the audible perfection heard on CSN.

The lossless 24-bit 44.1 kHz ALAC Apple Digital Master stream, from Apple Music, is full-bodied, detailed, and engaging. While there is an analog-like sound in this particular mastering of CSN, I can’t help but wonder what Steve Hoffman’s remaster (24K+ Gold CD Series - Audio Fidelity - AFZ 144) from 2013 would sound like as his work is generally well-regarded. The stream isn’t disappointing by any means but there are moments when listening to songs like Shadow Captain and Just A Song Before I Go where I wonder if there’s a little more detail, depth, and overall soundstage that could be pulled out of the original master recording. 

Nevertheless, sit back, relax, and join me as we take a look at the songs that make up CSN. 

Shadow Captain highlights the overarching style of CSN and is a solid opener. The rhythm and depth of the soundstage are particularly captivating but Russ Kunkel’s drum and conga beat are subtle but full of energy. Normally the continuous hi-hat element would drive me insane, but it’s perfectly mixed thereby not being too forward in the mix and allowing other musical elements to build upon it. 

See The Changes has a stunning vocal harmony that works perfectly with its basic composition thereby validating that sometimes less really is more for I couldn't imagine this song with more complex sonic elements. See The Changes is nothing short of pure perfection. 

Carried Away is phenomenal! The recording, mix, and mastering is second-to-none. It’s undoubtedly one of the best songs Graham Nash has written. Add to this, Crosby’s backing vocal combined with the harmonica results in a textbook recording that any new artist should aspire towards for they rarely make music like this anymore. 

Fair Game is cringe-inducing and that Caribbean style does little to help the song or the flow of the record. It isn’t bad enough to tarnish the album but this is one song that should have been omitted.

Anything At All is a magnificent song that will captivate you from the very first note as the percussive elements ring out beautifully. Crosby’s vocal is performed and recorded so well that you’d swear he was in the room with you. Could this be the greatest vocal recording of his career? It’s certainly up there if it isn’t. There’s also a sense of truth here for Crosby is declaring that his opinionated personality has been the cause of numerous squabbles throughout the years. Yet, simultaneously, Anything At All is reflective thereby breaching the divide between authorial transparency and reader perception and interpretation. In other words, Anything At All is as much my song and your song as it is Crosby’s song for we are all fallible when it comes to letting our ego get the better of us.

Cathedral immediately reminds me of Genesis; Phil Collins’ era. I love it when a song reminds me of another artist. It’s as if my mind has a built-in discovery algorithm and thankfully I appreciate both bands so this correlation is complementary. Getting back to Cathedral, it’s a masterpiece and one of the best songs CSN ever recorded with memorable lyrics that will stick with you well beyond listening to the song. As with Crosby’s Anything At All, one has to suggest that this is Nash’s finest composition.

Dark Star is a solid tune but it’s one that I would have loved to hear CSN record with Young for it needs a gritty boost in the vocal harmony. That said, the Latin vibe is addictive thereby making Dark Star a perfect toe-tapper. 

Just A Song Before I Go is a perfect amalgamation of vocal harmony and instrumentation. It’s a gorgeous song and while some may lament its brief runtime, I consider it to be the perfect length. The only thing I wish is that it was the closer for CSN, for it suits that role, from a lyrical standpoint, far better than I Give You Give Blind. 

Run From Tears has a killer guitar riff that, along with Stephen Stills' lead vocal, takes a B-side and turns it into an A-side. 

Cold Rain has a delightful piano introduction before building into another harmonic masterpiece. It’s sonically beautiful and an absolute pleasure to listen to.

In My Dreams is textbook Easy Listening. 

I Give You Give Blind would have been a perfect song to include Young on, for it has his edgy style written all over it, but in his absence, I feel it’s overproduced and a little too pop-focused. While it’s still a great soft rock tune, it doesn’t quite hit the heights that I believe it could have and I feel it was a flawed decision to close CSN with it. My choice for the final song, as previously mentioned, would have been Just A Song Before I Go. 

Overall, CSN is one of the finest albums ever recorded, even with the inclusion of Fair Game. If nothing else, it’s a career highlight for Crosby, Stills & Nash.

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