Avatar – Dance Devil Dance (Album Review)

Avatar – Dance Devil Dance (Album Review)

True to its album title, Dance Devil Dance is Avatar’s most rhythmically melodic groove-based metal album to date. Some may lament the shift from the slightly heavier sound heard on their previous albums, but it’s not a difference so far removed that fans will be left out in the cold. It’s complementary, rather than contrasting, thereby making Dance Devil Dance one of the most compelling releases of 2023.

Visually striking and downright creepy, Dance Devil Dance is almost deserving of inclusion on the list of The Worst (And Most Disturbing) Album Covers Of All Time. Yet, it doesn’t make the cut as it is true to the band’s musical style and is at least more visually compelling than their 2018 release Avatar Country and Hunter Gatherer from 2020. Still, when a band has artwork as stunning as Hail The Apocalypse, you know the cover art, this time around, could have been better.

Thankfully, we don’t listen with our eyes and while cover art can either make or break an album, yes it remains that important, the music heard on Dance Devil Dance is extraordinarily good. The overall recording, mix, and mastering are some of the very best I’ve heard from the Metal genre. Metal tends to be too compressed and lacking in depth and detail. It isn’t uncommon to hear your favourite metal album as a wall of sound and while some may enjoy that, the additional space between musical elements ensures Dance Devil Dance is a sonic masterpiece. Don’t get me wrong, this is one loud recording, but for the style of music, it is utterly perfect. The drums alone are masterfully recorded and it’s the little elements such as the cymbals ringing out, rather than crunching, that make a real impact. 

While I’ve yet to pick up a physical release of this album, the Hi-Res Lossless Apple Music stream is marvellous. It isn’t an Apple Digital Master but it need not be as you’ll be in metal heaven from the very first note. Depending on how you prefer to listen to your music, you may prefer to add a little bass EQ to give the album a further earth-shattering punch; an advantage, for this music lover, even if it results in slightly reduced clarity and detail. I want to feel Dance Devil Dance in the deepest depths of my soul and the stream, with a slight adjustment, doesn’t disappoint in that regard.

Dance Devil Dance sets the tone for the album, and that opening guitar lick, which is repeated throughout, is magnificent. I only wish it had been a little more prominent in the mix, perhaps a decibel or two higher. Regardless, Dance Devil Dance is an epic opener and I simply adore Johannes Eckerström’s vocal dexterity as he’s got incredible control over it and when he hits the high notes, I'm reminded of the great Ronnie James Dio. 

Chimp Mosh Pit gets the groove going and while it may not be a standout, it holds the album together perfectly and sometimes that is all that’s required. That said, the mid-song musical solo, by the entire band, is off-the-charts good. It will, subsequently, be interesting to see how fans react to Chimp Mosh Pit when played live as I have a feeling it has the potential to be more powerful live than via the studio recording. 

Valley Of Disease has an interesting grinding opening element that works remarkably well. The unrelenting rhythmic core of Valley Of Disease has a tribal feel that is going to make this a fan favourite.  

On The Beach shouldn’t work, particularly with the seagull entrance, but it somehow does. Another aspect that doesn’t seem as though it should work, on paper, is the vocal shift. Yes, it has the potential to take you out of the album experience, especially if you don’t like the vocal style, but the more I listen to On The Beach, the more I get it. It works. It shouldn’t. But that’s okay because Avatar are pushing their, and our, creative boundaries and the correlations in varied styles are ultimately a highlight of their recordings. 

Do You Feel In Control? returns us to a more traditional metal approach and while Do You Feel In Control? is a solid tune, it’s ultimately album filler.

Gotta Wanna Riot is the GREATEST SONG Avatar has ever recorded. It might even be my favourite metal song of all time. The ba-ba-ba-ba lyric element is what gets me every time for it’s The Beach Boys meets Avatar and I love it! Additionally, Eckerström’s vocal delivery throughout is masterful and the band are on fire. Gotta Wanna Riot is going to be a stadium-filling tune; no doubt! 

The Dirt I’m Buried In is groove metal 101 and is a great followup to Gotta Wanna Riot. A special note needs to be given for the guitar work on this track. It isn’t pushing the limits of what’s possible, but damn it’s got an addictive rhythm that will have you pulling out your air guitar.

Clouds Dipped In Chrome is thunderous and will appeal to old-school metal fans. It does, however, feel a little out-of-place in the tracking of the record. I probably would have positioned it closer to the start of the album, or before the closing track Violence No Matter What, but that is just a subjective preference. Regardless, it’s a solid tune, even though I feel it is unlikely to become a standout amongst fans.

Hazmat Suit has a drilling rhythm that integrates perfectly with my soul, especially during the chorus. The drumming and guitar work here is exceptional and is as much a tip of the hat to the performance of the band as it is to the Mixing Engineer and co-Producer Jay Ruston. 

Train gets you going then slows things down. It’s great when music isn’t predictable. You’ll hear a little David Bowie, Tom Waits, and Nick Cave influence throughout, further showcasing Eckerström’s vocal capabilities, particularly in the lighter regions of the recording. In fact, it’s the more melodic alternative rock styling as opposed to the metal elements, that are the highlight of Train. Although, I do wish that the song would have ended on a metal curve as the shift to the closing tune, Violence No Matter What, is a little sharper than I’d ideally like to hear.  

Violence No Matter What (Duet With Lzzy Hale) is a great closer and it’s wonderful to hear Lzzy Hale on this duet, but she’s a little too recessed in the mix. Her vocal growl,  mixed with her higher pitch, is deserving of a slight bump in volume. Granted, it’s an Avatar album and while I’ll praise the mix in every other way, on Dance Devil Dance, I truly feel that this was a missed opportunity. I also would have excluded the dropping of the drumsticks at the end as I don’t feel it works. Regardless, as I originally stated, it’s a great closer and when looking past these aspects, it encourages me to play the album again.

Dance Devil Dance is not only a great metal album, but it’s also a great album in general and is deserving of its position as one of the best albums released in 2023. With its melodic groove-based styling, it will appeal to a broad range of listeners; many of whom wouldn’t give music from within the metal genre a second thought. While its accessibility may perturb hardcore metal fans, I say the more the merrier, so if you like Dance Devil Dance as much as I do, please consider sharing this review with everyone you know or at the very least send them a link to the album so they can experience it for themselves. 

AC/DC – Powerage (Album Review)

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AC/DC – Powerage (Album Review)

As a longtime fan of AC/DC, I’ve been fortunate enough to collect all their releases, yet despite a massive back catalogue of music, there are some albums, such as Powerage that simply don’t get spun that often. Yet upon putting it on the turntable, I marvel at the sonic masterpiece before me and wonder just why I don’t seek Powerage out more often. 

Released in 1978, Powerage is the rock legend’s fifth studio album and is easily one of the best Bon Scott era recordings. Despite loving Highway To Hell, I may even go as far as declaring Powerage the best 70s release from AC/DC. Yet, I just don’t seem to reach for it. It’s as if it has been overshadowed by Highway To Hell, Back In Black, and Scott’s unfortunate passing in 1980.

As a result, underrated, is likely the best way to describe Powerage for it’s a monster of an album but it just isn’t the one that everyone talks about, nor is it the album that you immediately think of when you think of AC/DC. While I acknowledge that I prefer Brian Johnson’s vocal style, and that leads me more to his side of the AC/DC catalogue, Bon Scott was an incredible vocalist in his own right and no more is that true than when listening to his searing vocals on songs such as Rock ’N’ Roll Damnation, Riff Raff, and Sin City.

Of course, Powerage is more than one single man as it is also Cliff Williams’ first recording with AC/DC. Bass player aficionados can best debate his appointment, but you won’t find me criticising Mark Evans; the man he replaced. In fact, and this will undoubtedly be blasphemous to some, I don’t hear a radical shift between the two players. Perhaps Williams played it safe, and in many ways, he was never a flashy bass player, but I’d argue that he never really stood out because his main role was to keep a steady pulse that connected all band members thereby guaranteeing the hard rock blues-based vibe all AC/DC fans know and love.

Speaking of AC/DC’s sound, let’s shift our attention to the sonic presentation and distribution of Powerage. While I’m fortunate to own the 2003 vinyl reissue, along with having access to the Hi-Res Lossless Apple Music stream, it is imperative to note, for those who are fans of Powerage, that different mixes exist. Yes, dear reader, the UK release was originally issued with an entirely different mix of the album. That mix is subsequently no longer available, as the US mix was chosen as the gold standard. Hence, if you wish to delve into the minutia of Powerage, you might want to seek out an original UK vinyl or cassette pressing. To be clear, I’ve never heard it and for me, at the moment, I’m content with the worldwide reissue from the 2003 remastering sessions. 

As with all AC/DC vinyl reissues from 2003, Powerage is immaculately presented with an inner sleeve that details the era in relation to what was happening within the band and how those shifts impacted the music. In many respects, it is akin to a short biography that offers fans a little insight into the recording process of the album. 

While the liner notes are well presented regarding the outline, band photographs, and production details, it is sans lyrics. In many respects, that isn’t really an issue, as the original releases of the album didn’t come with lyrics either, but if you’re a fan wanting to ensure you don’t embarrass yourself with a mondegreen during your next karaoke night, you’ll have to turn to Apple Music’s lyrics, rather than the physical counterpart, for that aspect. 

As you’ll likely be able to tell from the photographs, the record itself is visually magnificent. Simply designed album labels really play to the no-nonsense approach that has been an AC/DC trademark for decades. Plus, and even more importantly, the sonic reproduction that comes off the record is spectacular with plenty of headroom, thereby allowing you to turn the volume knob up and rock out. 

Similarly, the Apple Music edition, an Apple Digital Master, sounds great but arguably is a little more shrill and compressed, unless you boost the bass, thereby resulting in a sound that doesn’t hold together as smoothly as the vinyl counterpart; especially when pumping the volume. That isn’t to suggest that you’ll be disappointed with the digital counterpart, but if you have access to a quality turntable, you’ll likely have a more immersive experience. 

The differences are particularly noticeable on Sin City. As solidly as the bass solo is reproduced, on the digital release, the surrounding musical elements, outside of the solo, are simply less dynamic and jarring on the senses. When listening to the vinyl record, however, you’ll feel the bass in the deepest depths of your soul. Similarly, the opening of What’s Next To The Moon is incredibly open on the vinyl reissue but feels more restricted in soundstage depth and width on the Apple Music release. 

The result is that, for this fan, the vinyl release is simply more enjoyable to listen to. That doesn’t mean that I don’t listen to, or thoroughly enjoy, the streaming version, for you can’t take a vinyl record with you everywhere you go. It’s simply a case of, if given a preference, I would choose the analogue format over the digital version in this particular instance. The delta is small, however, and if you don’t compare the versions, as I have, you’ll not know what you’re missing out on.

Rock ’N’ Roll Damnation is a killer opening track that harks back to It’s A Long Way To The Top (If You Wanna Rock ’N' Roll); another exceptional opener on High Voltage. The guitar work here is exceptional and Scott’s vocal is searing. Interestingly, Rock ’N’ Roll Damnation only saw the light of day as the record label felt Powerage needed a radio-worthy tune. I’d argue there are several single-worthy songs to be heard on Powerage, but radio-friendly, perhaps not. Nevertheless, Rock ’N’ Roll Damnation has become a fan favourite and a mainstay in AC/DC’s back catalogue, even appearing on their compilation soundtrack Iron Man 2. Plus, it’s about the coolest song to have ever featured handclaps; an often overused and somewhat corny musical technique. 

Down Payment Blues could have very well ended up on Stiff Upper Lip; an incredible album in its own right. Just take a listen to this full-bodied blues-based rhythmic rock masterpiece and you’ll see the correlation. It’s an incredible song, one of my all-time favourite AC/DC tunes and another Bon Scott vocal extravaganza. This is blues-based hard rock at its very best! 

Gimmie A Bullet is a solid rock and roll tune, but it’s nothing to write home about, and certainly pales in comparison to Down Payment Blues. Still, Powerage wouldn’t be the same without it.

Riff Raff is an off-the-charts riff-driven song that will have you air-guitaring every time you hear it. The riff is so memorable that you’ll even hear the influence on Rick Springfield and Dave Grohl’s The Man That Never Was, from the Sound City – Reel To Reel documentary soundtrack.

Sin City is a monster track for the opening of Side Two of the record. Just like the seductiveness of Las Vegas, which the song is influenced by, Sin City will reach down to the lowest depths of your soul, infusing it with a masterful rhythmically charged, bass-focused, sonic masterpiece. What more could one ask from AC/DC? More music, certainly, but Sin City is utterly perfect!

What’s Next To The Moon has a guitar tuning that I adore as the level of distortion is spot on. A great song!

Gone Shootin’ is a barebones rock and roll tune but it has such an incredibly addictive rhythm that it becomes an instant classic and a highlight of Powerage. 

Up To My Neck In You continues the rhythmically charged attack on the senses and while Up To My Neck In You was never going to be a standout tune, Angus’ lead guitar licks ensure that Up To My Neck In You is a hidden gem. 

Kicked In The Teeth has a killer, primarily, vocal introduction that is simply incredible. From a vocal perspective, I’d suggest that this is one of the best vocal performances of Bon Scott’s career. If nothing else, it’s a perfect closer for Powerage with a drilling rhythm that will make you want to play Powerage again and stay within AC/DC’s extensive catalogue of music.

Powerage, while underrated, is amongst AC/DC’s greatest recordings as it highlights the raw power and energy of their music. It’s all killer, no filler, pure blues-based rock and roll. If you’re a fan you already know this, but when was the last time you spun this 1978 rock classic? You may be surprised just how long it has been but if you’ve made it this far, you’ve got no excuse; give it a spin!

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Bob Dylan – Street-Legal (Album Review)

Bob Dylan – Street-Legal (Album Review)

Released in 1978, Street-Legal moved the needle of Bob Dylan’s creative output from a folk-based acoustic style to a pop-rock driven form that blends with his poetic singer/songwriter versatility, thereby ensuring that Street-Legal, and future releases, would be more accessible while simultaneously building upon his previous styles. Naturally, not everyone saw the brilliance in this move, and as exceptional as Dylan’s 60s-era works are, it’s his late 70s releases that intrigue me the most. 

As Dylan’s 18th studio album, it, therefore, becomes understandable that longtime fans would have been less than impressed with the stylistic changes, but what isn’t in question is the fact that the music featured on this release hasn’t aged. Sure, there are recording choices that can be linked back to the era, such as a focus on backing singers, but as you listen to Street-Legal, or any of his other albums, other than the topic of discussion within his lyrics, the musicality is as fresh today as the day it was recorded. It’s an incredible feat and one that while not alien to the music industry is an anomaly nonetheless. 

Sonically, Street-Legal has a full-bodied sound and while it would be nicer if the soundstage had a little more width and depth, the shallowness adds to the sonic presentation. While a broader soundstage sounds good in theory, it would likely dramatically shift the album, most likely resulting in a less-than-stellar sonic presentation. 

Interestingly, Don DeVito, the album’s producer, would remix Street-Legal in 1999 in order to offer a slightly different mix that would result in a richer presentation. As far as I can ascertain, the version available on Apple Music, which is the focus of this review, is the remaster of the original 1978 mix. I’ve reached this conclusion as the remixed version of Changing Of The Gods has a runtime of 7:04 whereas the original runs slightly shorter at 6:37.

While the lossless Apple Music stream isn’t an Apple Digital Master, unlike Slow Train Coming, it doesn’t suffer from this omission. It sounds as one would assume the remastered CD would have sounded and is thoroughly enjoyable. The only advantage of an Apple Digital Master, and Hi-Res Lossless presentation, would be a little more refinement in the minutia of the recording.   

For those who aren’t streaming-first music lovers, Street-Legal continues to be reissued on both the black and silver discs of yesteryear and I, for one, am thoroughly pleased with that knowledge for I see streaming as a perfect counterpart to a tightly curated vinyl and CD collection. 

Regardless of how you choose to enjoy Street-Legal, it’s an underrated gem in Bob Dylan’s back catalogue. No, it will never be his greatest record, but as an album, rather than merely a collection of songs, it’s spectacular in its own right and is among his greatest releases. While many will analyse every lyric, I much prefer to consider Dylan’s vocal as an instrument rather than a storytelling device and subsequently won’t delve into lyrical interpretations.

Changing Of The Guards has a slow build. It’s as if someone has turned up the volume after the song had already begun. Let’s be honest, it’s far better than an abrupt opening and is perfectly suited to the overarching style of the album. Coming from Dylan’s 1976 release, Desire, the first thing you’ll notice is the backing singers. While I’m a fan of backing vocals, they can make or break a song and I remain on the fence as to how well they are implemented here, and throughout the entire album, as it has the potential to detract from Dylan’s vocals while also becoming a little repetitive. Yet, after repeat listens, it doesn’t bother you as much as you would think it does and given I thoroughly enjoy Changing Of The Guards in every other way, it’s one aspect that I’m willing to look past in order to enjoy this solid Dylan tune.

New Pony is a moody blues-styled tune with a slow tempo that will see you toe-tapping and head-bopping to the rhythm. It’s a brilliant song that is not only worthy of inclusion on Street-Legal but is essential to Dylan’s back catalogue. Plus, that mid-song guitar solo is what air guitar dreams are made of. It’s just a shame it isn’t longer and more prominent in the mix.

No Time To Think has a lovely slow waltz to it and if you remove the stylistic elements, No Time To Think is more aligned to Dylan’s 60s works than you may otherwise think as the core elements that made Dylan so successful have remained present on this song and throughout the entire album. 

Baby, Stop Crying is a great tune, although I’m not too fond of the opening as I feel it doesn’t get to the crux of the song quickly enough. The backing vocals here are great, and perfectly positioned in the song structure, but I would have loved for them to be turned down a decibel or two as I feel the subtleness would have made the song even stronger by allowing Dylan’s vocal to be more prominent. Regardless, I love this tune! 

Is Your Love In Vain? is musically stunning, with a perfect mix, and is one of my all-time favourite songs from Dylan. 

Señor (Tales of Yankee Power) is a masterpiece!

True Love Tends To Forget segues seamlessly from Señor (Tales of Yankee Power), although, you’ve likely never heard this tune before unless you’ve listened to Street-Legal for it’s another of those hidden gems with a solid mix and overall presentation. 

We Better Talk This Over picks up the tempo a little; a great tune! While you’ll likely never seek it out on its own, as an album track it’s thoroughly enjoyable and it’s important to remember that every song doesn’t need to be a knockout or a hit to have merit. 

Where Are You Tonight? (Journey Through The Dark Heat) is another hidden gem and a lovely closing tune that encourages me to play the album again. 

Overall, while I find Slow Train Coming to be the better of Dylan’s late 70s releases, Street-Legal is compelling and if you give it a chance, without necessarily comparing it to his landmark 60s works, I’ve no doubt you’ll come to a similar conclusion. Sometimes we can be too judgemental in our comparisons and we tend to forget that the aim is to simply enjoy the music. I don’t know about you, dear reader, but I’ll take an album that grooves with my soul over one that is critically and commercially acclaimed but fails to do so. As a result, Street-Legal is subjectively one of Dylan’s greatest releases. 

Bob Marley & The Wailers – Kaya (Album Review)

Bob Marley & The Wailers – Kaya (Album Review)

Few reggae albums are as relaxed as Kaya, but this easygoing styling is what makes this 1978 release a timeless classic. While many would point to their 1977 release, Exodus, as being their musical opus, Kaya is more consistent, accessible, and plays like a greatest hits release whereas Exodus only comes alive during the second half of the album. It’s a minor variation, but other than the exceptional Legend collection, when I want to just sit back and relax, Kaya is one album that’s always at the top of the list. 

The problem is, as is the case with many albums from the 70s, there are too many editions to contend with. Physical media fans will understand this only too well, but even on streaming we’re met with the standard lossless release, the Dolby Atmos mix, the 40th Anniversary remix, and the Deluxe Edition that contains a barebone live recording from 1978. It simply becomes a troublesome matter of deciding which version to listen to.

Longtime readers will note my general disinterest regarding bonus tracks (even if they’re live, as is the case here) as they’re rarely worthy of listening to more than once and a new mix, particularly one not sanctioned by the original artist, is questionable at best. Hence, I appreciate that The Island Def Jam Music Group has ensured that the original LP track listing and mix remains available on Apple Music, as an Apple Digital Master, as it is superb and highlights the top-notch production values and musicality of the recording. It’s imperative to note that the CD reissue series that accompanied Kaya 40 was released as a double CD and the original mix and Kaya 40 are subsequently placed on different discs; just the way it should be! 

Delving a little deeper into the different editions, I find the Dolby Atmos mix isn’t anything to get excited about. It isn’t poor, by any standards, yet it doesn’t add anything to the album that wasn’t already there. Yes, some musical elements are clearer via this surround mix, but others are a little more subdued compared to the stereo counterpart. Perhaps it is simply a case that I’m more familiar with the stereo mix and subsequently prefer to stick with it as I seemingly know every note and instrument placement within the recording. I’ve no doubt, however, that those who are new to Bob Marley & The Wailers will likely find their preference leans towards the surround mix as it is a little more in line with modern recording styles and techniques. 

While this review is predominantly focused on the original stereo mix, Kaya 40 is interesting. Believe it or not, that is a compliment! However, as with the surround mix, it changes Kaya and not necessarily for the better. Although, I can appreciate some of the mixing choices on this release, as there are elements that are more pronounced than ever before, that does come with a downside as other elements are minimised or hidden. As with all music, it is subjective and your perspective may, and probably will, differ from mine. Is there a wrong way to listen to Kaya? No, it’s an incredible album with a rich heritage, I just prefer my original releases and mixes far more than modern interpretations. 

Easy Skanking is a relaxed mood setter and is an incredible opening tune. It helps that it was mixed and recorded impeccably well, for each musical element is identifiable throughout the soundstage.

Kaya is a solid title track but this wasn’t the first time the song was recorded for it also made an appearance on the, now out-of-print, 1971 album Soul Revolution Part II. That original recording is about as bare bones as you can get and plays like a demo. Still, if you track it down, you’ll hear the essence of the original tune in this excellent re-recording. 

Is This Love, as I’ve said before, has a simple, yet complex beat, combined with vocals and an overall tonality that will get your body moving. As the most well-known song from Kaya, and one of Bob Marley & The Wailer’s all-time greatest hits, Is This Love remains a timeless classic that will live on well beyond the demise of humanity. Magnificent!

The music video is solid, particularly for the era, but the most magical moments arise from Marley’s incredible smile. You can’t help but see the joy and love on his face and even after all these years, it remains infectious and capable of brightening up your day. 

Sun Is Shining is a re-recording as this song initially appeared on the 1971 release Soul Revolution Part II and African Herbsman in 1973. The Soul Revolution Part II version is fantastic. It’s not as polished as the interpretation on Kaya, but the unique underproduced style is mind-blowingly good. The African Herbsman edition adds a little more spit and polish to that original recording and it’s exciting to hear the evolution of the song. Now, while these are out-of-print, if you head across to YouTube, you can easily find these early recordings. In this case, it is most certainly worth your time. 

Original releases aside, Sun Is Shining is a great tune that fits well within the context of the album. I would have, however, loved to have heard the guitar tracking placed more prominently in the mix as it needs to be upfront with Marley to achieve the required impact. Yes, doing so would have diminished the laid-back styling of the song, but it would have been better nonetheless. The Kaya 40 mix somewhat addresses this element, while also ensuring the bass guitar is more prominent in the mix, but the other elemental aspects, of this particular edition, detract from the soul of the original Kaya mix. 

Satisfy My Soul is a landmark Marley & The Wailers tune, but this version is another that wasn’t originally released on Kaya as it was recorded for Soul Revolution Part II and was titled Don’t Rock My Boat. The original recording isn’t great so save your time and simply listen to this exceptional re-recording.

She’s Gone is toe tapping, head bopping, gold. While some may lament the slower styling heard throughout Kaya, and on She’s Gone, I love it as it’s akin to a meditation session. 

Misty Morning has some lovely horn work, but as with Sun Is Shining, it would have been fantastic had the brass been more prominent in the mix. Yes, the Kaya 40 mix helps a little but it’s also not as relaxed as the original release. All that said, it becomes apparent that Misty Morning could have been recorded with two completely different tempos, both being equally exceptional. Misty Morning is a great tune, regardless!

Crisis has a killer groove and as good as Marley’s vocals are, Crisis is all about The Wailers’ musical layering for there’s so much detail present on the recording that you’ll hear something new every time you listen to it. Incredible!

Running Away is so underrated it’s criminal. This is one reason why listening to albums, rather than compilations or playlists, is essential, otherwise, you run the risk of missing out on some stunning music; Running Away being one such example. Admittedly, Running Away has made an appearance on Bob Marley & The Wailers’ Essentials Playlist but it was left off Legend – The Best Of Bob Marley & The Wailers; an unforgivable omission!

Time Will Tell closes out Kaya beautifully, although Running Away would have been a stronger closer. Nevertheless, Time Will Tell leaves me in a contemplative mood and is great for late-night listening sessions where placing the album on repeat isn’t of paramount importance.

Overall, Kaya is a timeless reggae classic that showcases Marley's prowess as a singer, songwriter, and performer. With its upbeat, feel-good, tunes and Marley's unique blend of political and spiritual themes, combined with his smooth, soulful voice and catchy melodies, Kaya becomes a must-listen for any reggae music fan. 

Måneskin – RUSH! (Album Review)

Måneskin – RUSH! (Album Review)

If Gene Simmons was right and rock is dead, nobody told Måneskin for RUSH! is a modern rock masterpiece. 

Released worldwide on the 20th of January 2023, RUSH! is the Italian rockers’ third studio album and while the previous releases, particularly their debut Chosen, have been exceptional in their own right, RUSH! takes their musicality to another level entirely and, certainly at this point, I don’t know how they’ll top this album; yes, it is that good and even though the year is still young, it most certainly has the potential to be not only the best album released in 2023 but to become a classic rock album for generations to come.    

Perhaps one of the most compelling aspects of RUSH! is Måneskin’s continued homage to their heritage by intermingling Italian-based lyrical tunes with English ones. Some may lament this fact, but as someone who appreciates the human vocal as an instrument far more than a storytelling device, I love this amalgamation and sincerely hope that they never change the formula for it works perfectly. It also doesn’t hurt that Damiano David’s vocal prowess, and natural charisma, is one of the greatest and most unique to enter the music scene in decades.  

Sonically, the band and the entire production team need to be congratulated for this is one exceptional release. The soundstage is as wide as it is deep and is utterly immersive and I’m just talking about the stereo mix for we’ll get to the Dolby Atmos mix in a moment. There’s no audible clipping or loudness atrocities to note and this is one album that you’ll never experience fatigue when listening to it. Yet, it’s loud and has a full-bodied sound; it simply rocks. 

While I’ve yet to pick up a vinyl edition, my only hope is that the physical counterpart will live up to the Lossless Apple Music stream. It may not be an Apple Digital Master, but it doesn’t need to be as it has been mastered so well, to begin with. That said, given how much I appreciate the stream, I subsequently question the need to pick up the vinyl release; although the larger artwork is compelling. 

As it pertains to the Dolby Atmos mix, it doesn’t knock my socks off. Look, surround mixes are great, when they’re done with discrete channels in mind, but the modern simulated surround options don’t always offer the greatest reproduction for music; films are another matter entirely. Nevertheless, while there will be many who will enjoy the Atmos mix, I found that it tried to place the listener in the middle of the band too much, thereby reducing the impact of each instrument within the mix. Rock music needs to be felt and the surround mix reduced that thumping rock sound we all know and love. There’s just more emotion to be heard and felt from the wall of sound style that is associated with the stereo mix. 

OWN MY MIND is a great album opener with a killer drum and bass rhythm throughout. OWN MY MIND sets the tone for the entire album and gets your body moving involuntarily from the very first note.  

GOSSIP (feat. Tom Morello) continues with the upbeat rocking rhythm and is one of my favourite songs on the album. It’s a fun listen and if you have a chance, check out the music video for it amplifies the song. Additionally, Tom Morello nails his solo and perfectly complements Måneskin’s style while staying true to his own recognisable sonic signature; such a great musician!

The music video is brilliant. It’s been quite some time since I’ve seen such a well-produced music video and it plays to the band’s persona as well as highlights the song. Morello as the security guard is priceless. I’ve never seen a better introduction for a guitar solo, ever. Yes, the non-musical elements, throughout, detract somewhat from the song itself, but they never feel out-of-place; although the ending is a little slow in direct contrast to the energy of GOSSIP. 

TIMEZONE dials the tempo down a little, but the shift doesn’t shock the senses as can often occur when albums shift direction. While TIMEZONE is unlikely to be a fan favourite, or stadium-filling song, it’s a solid album tune; sometimes that is all that’s needed. 

BLA BLA BLA is FUN! 

BABY SAID continues with the upbeat rock meets pop meets dance floor vibe. It’s so addictive as the rhythm intertwines with your soul; an aspect present in all good music. 

GASOLINE opens with the most overdriven, yet perfect, bass tracking I think I’ve ever heard; Victoria de Angelis, you’re a rock goddess! GASOLINE, without a doubt, is a stadium-filling tune if there ever was one and fans should expect to see it performed live for decades to come.

FEEL opens with David’s incredible vocal and, on this particular song, reminds me of Freddie Mercury. While the vocal is of particular note here, that would be dismissing all other aspects of FEEL for if you haven’t already, you’ll want to turn this rock and roll tune up to 11; exceptional!

DON’T WANNA SLEEP again features some incredibly talented vocal licks that are a highlight and in this case, are the specific reason why DON’T WANNA SLEEP works so well.  

KOOL KIDS has a punk-rock Iggy Pop feel. What’s not to like? 

IF NOT FOR YOU shifts the style of the album, but the tracking has been done so well that, again, there is no jolt to the senses. Regardless, IF NOT FOR YOU is a simply beautiful song and only bested, from a ballad perspective, by THE LONELIEST. 

READ YOUR DIARY is a thoroughly enjoyable album-based rock tune; but other than a deep cuts playlist, READ YOUR DIARY is unlikely to receive much attention outside of this album as, when compared to all other songs on RUSH!, it simply isn’t as strong. 

MARK CHAPMAN is a song you need to listen to for the chorus alone; brilliant! The verses and musicality throughout, while adequate, are filler by comparison. 

LA FINE is so good. As one of the Italian-based tunes, I don’t even care what the song is about for every musical layer, including the lyrical delivery, permeates my soul to become an experience that has to be heard and felt. Exceptional!

IL DONO DELLA VITA in a similar vein to LA FINE will still appeal to those of us who don’t speak or understand the Italian language for it is so beautifully crafted that it can be appreciated from a musical perspective alone.

MAMMAMIA ain’t ABBA’s Mamma Mia but one can’t listen to MAMMAMIA without correlating the whimsical catchy aspects of both tunes. Released as the lead single, the punk meets rock with a touch of dance styling ensures MAMMAMIA will be a fan-favourite. 

The music video, while artistic, does little to amplify the song.

SUPERMODEL has a bit of a Red Hot Chilli Peppers vibe to it. It’s a solid pop-rock tune but isn’t going to be as timeless as some of the other songs featured on RUSH!.

The music video simply exists. It isn’t great.

THE LONELIEST is the perfect closer and one of Måneskin’s greatest musical achievements to date. It’s contemplative with a slower tempo, meaning that you can either finish listening to the album and ponder in appreciation or spin it again for RUSH! is an album you can’t listen to only once. 

The music video, for THE LONELIEST, is cinematic and well-produced, but it’s not as memorable as the song itself.

Overall, RUSH! is tight with a perfect runtime and linear tracking. It is most certainly an album experience and one that should be enjoyed in that context. Naturally, you’ll find individual songs that will stand out from the crowd as each has its own story to tell. THE LONELIEST is one such song, but I find it becomes even more special waiting in anticipation for it to appear in the chosen tracking, than placing that single song on repeat or in a playlist. That said, it really doesn’t matter how you choose to enjoy RUSH! as it’s an outstanding example of modern rock at its very best.  

Bob Seger & The Silver Bullet Band – Stranger In Town (Album Review)

Bob Seger & The Silver Bullet Band – Stranger In Town (Album Review)

There are classic albums and then there is Stranger In Town; an album that was monstrously successful in the United States but flew well under the radar worldwide. While releases were different and often region-restricted, back in 1978 when Stranger In Town was released, our modern interconnected world breaks down those barriers allowing us to all appreciate the masterpiece that is Stranger In Town; Bob Seger’s greatest musical achievement.

One aspect that isn’t so good, especially in the era of streaming, is the lack of acknowledgement of The Muscle Shoals Rhythm Section. Seger obviously had his own band, The Silver Bullet Band, but they would only play on four of the nine tracks heard on Stranger In Town, whereas The Muscle Shoals Rhythm Section played on the other five. Granted, Bob Seger & The Silver Bullet Band, at that time, was sold as more of a band than a solo project for Seger, but while The Muscle Shoals Rhythm Section were respectfully highlighted in liner notes on all physical mediums, streaming offers music-lovers no such acknowledgement which is a shame considering their input to Seger’s creative output. 

Perhaps it shouldn’t bother me as much as it does, but The Muscle Shoals Rhythm Section was an exceptional group of session musicians that recorded hundreds of songs, many of which you’d know immediately by hearing their trademark R&B meets soul with a touch of country; a hallmark sound of the southern United States. One such song, and their most successful hit, was Respect. Yes, Aretha Franklin’s Respect! 

Naturally, this is one aspect of streaming that leaves me cold towards the flexible format, despite its convenience, for it generally lacks information for those of us who deem such knowledge to be imperative. Most music listeners wouldn’t consider this a point of contention, but when you listen to Stranger In Town, you can most certainly hear the different styles between The Silver Bullet Band and The Muscle Shoals Rhythm Section. Hence, Stranger In Town would not be the album it is without the involvement of The Muscle Shoals Rhythm Section. 

While I’m lamenting the absence of liner notes from digital counterparts, I also have to note that Stranger In Town hasn’t seen a physical media release since the 2001 CD remaster; most likely the source of the Lossless Stream on Apple Music for it isn’t an Apple Digital Master and is only delivered in 16-bit 44.1 kHz CD-quality sound. Truth be told, there’s nothing fundamentally wrong with the stream that a little EQ or tone control manipulation can't fix.

Dialling up the mid to low-end bass gets the album rocking a little more as it’s a rather clinical reproduction without this boost to the signal path. Purists, however, will likely point to the clarity and soundstage which is most certainly present, but it doesn’t allow for turning the volume up as the overall sound becomes even more brittle when doing so. A shame considering Stranger In Town is an exceptional, timeless, album that deserves to be played loud. 

Hollywood Nights is a great high-energy opening track that sets the tone for the entire album. Bill Payne’s piano and organ elements are perfectly suited to the song, but I can’t help but wish that they had been more prominent in the mix as I feel it would have taken Hollywood Nights to another level. 

Still The Same is a simply gorgeous soft rock ballad that flows perfectly from Hollywood Nights despite the tempo change. While I don’t know about you, dear reader, Still The Same is one of Seger’s greatest tunes, if not his greatest, as I never tire of listening to it. The inclusion of backing vocals by Venetta Fields, Clyde King, and Sherrie Matthews gives this song an additional, and much appreciated, soul element for it simply wouldn’t be the same song, sans these master vocalists. 

Old Time Rock & Roll is one of Seger’s most memorable recordings and every time it comes on, I can’t help but smile from ear to ear before rocking out. Before even knowing who Bob Seger was, I recall experiencing the song on the 80s television series, Alf. As I aged and began to explore music further, it was with great pleasure that I came across the original recording and subsequent album. While many will take issue with the way music can be appropriated into other mediums, the silver lining is that had I not had that childhood experience, I may not now be so enthralled, or have come across this song at all, for that was an era well before we had almost every album ever recorded at our fingertips. 

Back to the music, however, while we’re rocking out to this upbeat tune, it’s imperative to acknowledge Howie McDonald’s guitar solo and Alto Reed’s saxophone solo for both make Old Time Rock & Roll the timeless classic it is.   

Till It Shines maintains the tempo from Old Time Rock & Roll with a little southern rock influence. The result is a thoroughly enjoyable tune. However, Glenn Frey’s guitar solo should be a highlight, but the tuning sounds off, in relation to the rest of the song, that is. Don’t get me wrong, the riff throughout is great, it’s the mid-song solo that I’m suggesting has a problem. 

Feel Like A Number has some soaring guitar elements and the band is on fire ensuring that they’re not just another number in the grand scheme of things. It’s intriguing to note that even in 1978, being treated like a number was an issue; one that we find ourselves still dealing with to this very day. Whether you identify with the lyrics, or not, this is one of the best songs in Seger’s extensive catalogue of music. 

Ain’t Got No Money is classic Seger with his guttural, yet smooth, vocal. While Seger is front and centre in the mix, Ain’t Got No Money will see you toe tapping and head bopping and it’s fair to say Don Felder’s guitar solo trumps that of Frey’s on Till It Shines. That said, neither is truly exceptional. Given the boys from the Eagles, by this stage, were at the peak of their creativity, I would have expected more. Subsequently, I can’t help but wonder what Joe Walsh would have come up with on a song like Ain’t Got No Money; likely a little more distortion and gruffness that would have better suited the song.

We’ve Got Tonight is simply magnificent and it’s songs such as this that remind me why I love music as much as I do. We’ve Got Tonight is a timeless soft rock ballad love song that is incomparable and fits with the overall style of Stranger In Town perfectly.

Brave Strangers isn’t the greatest song to follow We’ve Got Tonight, unfortunately, for the tempo is mismatched. Nevertheless, Brave Strangers is a solid album-only rock tune.

The Famous Final Scene is a magnificent closing tune, a hidden gem and one of Seger’s finest recordings. I do believe, however, that We’ve Got Tonight would have been a stronger closer for Stranger In Town but that is a minor quibble and should not be seen as a reflection on the song itself. 

As music lovers, we are so incredibly fortunate to have music that is this good. Stranger In Town is a must-listen classic rock album that contains some of Seger’s greatest hits. With its intentionally meaningful lyrics, and a blues-based rock sound signature, it is also Seger’s most accessible creative work and offers newcomers a wonderful introduction to the American singer/songwriter. 

Andy Gibb – Shadow Dancing (Album Review)

Andy Gibb – Shadow Dancing (Album Review)

While the Bee Gees were already a trio setting the world on fire by the time 1978 rolled around, the Gibb Brothers’ youngest sibling, Andy was forging his own path, one that would ultimately lead to an incredible release, Shadow Dancing; Gibb’s second studio album. 

As you listen to Shadow Dancing, you get a sense that this could be an extension of the Bee Gees’ greater catalogue and that wouldn’t be a completely erroneous statement as four of the tracks were written in conjunction with Barry Gibb with the title track also being co-written by Robin and Maurice. Yet, to compare Shadow Dancing to the Bee Gees would be similarly erroneous on the behalf of the music-lover for Andy’s creative output should stand in isolation with nothing more than a tip of the hat for he was a consummate musician and songwriter in his own right. Of course, that isn’t how our minds work so throughout this review you’ll likely come across many correlating aspects. 

Musically Shadow Dancing is simply a fun album to listen to and sometimes that is all you need. Yes, the disco-era elements are present but with a touch of pop and soft rock, Shadow Dancing is an album firmly planted in the 70s that will interest all music lovers. Part of the appeal is due to the production of the album, undertaken by the production trio Gibb-Galuten-Richardson (Barry Gibb, Albhy Galuten, and Karl Richardson). While they were only active for approximately 9 years, the trio produced not only all of Andy Gibb’s albums but would also go on to produce Barbra Streisand’s highly regarded and successful album Guilty in 1980.

Sonically, the Lossless Apple Music stream is exquisite. Yes, it is essentially the mastering from the long-out-of-print CD release, but this is a perfect example of if it isn’t broken, don’t fix it. Far too often the music industry reissues and remasters music to varied levels of success. It is with joy that I can mention that Shadow Dancing has never been remastered, to my knowledge at any rate, and I truly hope it stays that way. 

Yes, I’d love to see the album reissued on a physical medium, for it has been absent for decades, but a remastering need not apply. A proper CD release would be lovely for the 2013 Japanese re-issue is the only one that I’m aware of that fully replicates the original artwork. The early 90s reissues on Spectrum were atrocious and should be avoided on principle alone. At least, in the modern era, we have access to this classic recording via streaming or digital download stores such as iTunes and the good news is it’s sonically impressive. It’s just a shame the liner notes aren’t included.

Shadow Dancing was the ideal lead single and while it obviously has Bee Gees vibes, as the trio joins Andy with regards to writing this song, it very well could have been a song taken straight from Spirits Having Flown. Subsequently, and needless to say, it’s a masterpiece!

If you’re interested in cover versions, may I suggest you check out the Dee Gees’ recording for The Foo Fighters performance, with Taylor Hawkins on lead vocal, is an incredible homage to this original. 

Why is a little more run-of-the-mill when compared to Shadow Dancing, but that often happens when you have an album that opens with such a strong lead track. As with Shadow Dancing, Barry's falsetto vocals can be heard throughout, but is this detrimental or complementary? To be completely honest, I find myself torn on this issue for as exceptional as Andy is, the inclusion of Barry here, and throughout the album, does amplify the recordings; even if it does take the spotlight away from Andy.

Fool For A Night is a hidden gem. Yes, it’s quirky but something is alluring about this particular song that makes me feel it should be considered a standard recording for artists to cover in the decades to come. It just has that laid-back feel that works well within the context of the Great American Songbook. 

An Everlasting Love is a great track and the mix and overall arrangement certainly stand out. Granted, An Everlasting Love has a dated sound, but it harks back to the era and therefore hasn’t truly aged. While An Everlasting Love would have been unlikely to have ever set the charts on fire, for it was never released as a single at any rate, it’s songs such as this that make the album experience so enduring.

(Our Love) Don’t Throw It All Away is one of the most beautiful songs ever recorded. Stunning doesn’t come close to describing the sonic brilliance heard here. Most casual fans of the Bee Gees would have heard this before as it was recorded during the Saturday Night Fever recording sessions but not released until 1979 on the Bee Gees’ compilation Greatest. Andy’s version, as heard on Shadow Dancing, would subsequently be the first time the music-loving public would be exposed to this song and his is an admirable performance. 

As to which version I prefer, I really can’t choose as they’re both complementary to each other. That said, I do appreciate the additional orchestral elements in the Bee Gees’ recording and the additional vocal layering adds a little more polish that is missing from Andy’s version. That said, I’d go as far as saying that I prefer Andy’s vocal, on this particular song, to Barry’s. Both are enjoyable and worth listening to and when I hear either, I never ponder if the other is better, except for at this moment when I’m actively listening in order to pen my thoughts. 

The Bee Gees would also perform the song live, as a tribute to Andy, throughout the One Night Only tour; a recording of which can be heard on the associated live album. While many will lament the use of backing tracks in live performances, this is one instance where it is perfectly suitable for it wasn’t only the Bee Gees that performed this song live as Andy was present, via a backing track, as photos and video of him were shown on the stage screen. It’s a beautiful homage to their brother, who passed away in 1988, and the Bee Gees performed the song masterfully. 

Despite a long legacy, with Barry Gibb in particular, Barbra Streisand’s rendition from Guilty Pleasures isn’t the greatest as the song simply isn’t suited to her vocal style. It likely wouldn’t have been a bad recording if Andy or the Bee Gees hadn’t recorded the song first, but it simply doesn’t work when superior recordings exist.  

One More Look At The Night is really dated to the era and reminds me of soundtracks from 70s television shows and films, but it’s a great album-only tune! 

Melody is the best song on the album, period! Melody should have been released as a single for it’s simply magnificent and I’ve no doubt that it would have reached the top of the charts.  

I Go For You has a great mix and is a solid tune. Don Felder’s guitar tracking on this song is thoroughly appreciated as it amplifies an otherwise average song.

Good Feeling is a slow build but you get that good feeling, pun most certainly intended, as soon as the chorus enters into the song structure. It isn’t a stand-out tune, by any means, but it is perfectly positioned within the album’s linear flow. 

Waiting For You is a lovely song to close the album on and much like Good Feeling, it would never have been single-worthy material but every song doesn’t need to be a hit to offer an appreciative album experience.

From start to finish, Shadow Dancing is an exceptional release that had it been an album released by the Bee Gees, it would have been an absolute chart topper similar to that of Spirits Having Flown. Of course, it’s never too late and streaming services allow us to enjoy this classic album and there is, therefore, always a chance that Shadow Dancing could still reach the success and recognition it deserves.