Billy Squier – Don’t Say No (Album Review)

Released in 1981, Don’t Say No features ten tracks of hard-hitting rock music with catchy riffs and powerful vocals that ultimately became Squier's breakout success, following his solid solo debut The Tale Of Tape. Spawning several hit singles and earning him critical acclaim, Don’t Say No is a quintessential example of the 80s hard rock sound, featuring heavy guitar riffs, synthesizers, and anthemic choruses. It’s 80s to the core, but the high production values ensure that it not only remains a highlight of the era, but still holds up today.

The artwork, however, hasn’t aged so well and is arguably one of the most uninspiring pieces of album artwork that I’ve ever seen. While it doesn’t qualify for a position on The Worst (And Most Disturbing) Album Covers Of All Time, it equally doesn’t compel me to pick up the album from the visual standpoint alone. Let’s just say, at times like this, I’m glad we listen with our ears and not our eyes.

Listening to Don’t Say No, via Apple Music, is subsequently pleasing. There’s clarity, fullness, and a vibe that will keep you coming back for more. That said, at times I feel there is a veil over the recording and that it truly doesn’t come alive. Of course, that could just be an opinion based on wanting to pick up the extremely well-received vinyl reissue from Intervention Records but until I get a chance to pick up the vinyl version, this Hi-Res Lossless Apple Digital Master is the perfect counterpart; even if the aforementioned reissue is artist approved.

Unfortunately, one common limitation of streaming is that we don’t know if Squier signed off on the release or not. While that normally wouldn’t be an issue, Squier did approve the vinyl reissue and it would be interesting to know what involvement he had in the 2010 remastering from which I believe the stream on Apple Music is derived. Nevertheless, it’s the music we’re after, isn’t it? Please join me as we explore the incredible songs that make up this landmark 1981 release.

In The Dark starts off slowly but it isn’t long before it turns into a high-energy rocker with a driving beat and a blistering guitar solo that sets the tone for what's to come.

The Stroke is likely Squier's most well-known song, with its instantly recognisable riff and catchy chorus. Rock music doesn’t get much better than this, does it?

If you’re interested in the crossing of musical streams, Eminem sampled the tune on his 2013 song Berzerk. It isn’t the greatest Eminem tune, by any standards, but it’s great to hear Squier’s killer riff extended beyond his recording. In fact, it isn’t the only time Eminem was inspired by Squier for he also sampled the next song on the album, My Kind Of Lover, on his 2014 song Shady XV.

My Kinda Lover is a fantastic mid-tempo rocker with a chorus that will compel you to sing along.

You Know What I Like is the first non-standout album tune but its driving rhythm and Squier’s corresponding vocal delivery ensure that it is vital to the overall album experience.

Too Daze Gone is a mondegreen waiting to happen; I love it! Too Daze Gone is one of the greatest songs from Don’t Say No. You’ve likely never heard it outside of the album structure but it should have been a hit; if for no other reason than its wittiness. Of course, if you’re like me, you’ll also be drawn to the addictively good funky basslines, memorable guitar riffs, and piano playing.

Lonely Is The Night is simply magnificent. How this wasn’t released as a single is beyond me for it has that Led Zeppelin feel that just screams chart-topper. Of course, it sounds like Zeppelin because the styling is very similar to that of Nobody's Fault But Mine from their 1976 release, Presence.

Nobody's Fault But Mine wasn’t an original Led Zeppelin tune, however, just a re-arrangement and new interpretation for the core of the song was originally written and recorded by Blind Willie Johnson in 1927. The original was so compelling that it’s had numerous interpretations, with varying styles, throughout the years and while Lonely Is The Night wouldn’t be considered a direct descendent, the spirit of the original Blind Willie Johnson tune lives on through this tune as much as it does via the other recordings that have been made.

Whadda You Want From Me is a fast-paced rocker with a killer guitar riff and a catchy chorus. What more could a rock and roll lover ask for?

Nobody Knows slows the tempo down with an acoustic-styled number containing a beautiful guitar element and a stunning vocal presentation. Nobody Knows is also perfectly positioned within the album structure for it gives the senses a reflective break before leading into the final two tunes.

I Need You is a funky power ballad with a heartfelt melody and vocal presentation that will see you singing along. What a great tune!

Don’t Say No is a substandard closer as it doesn’t always compel me to listen to the album again or further explore Squier’s back catalogue of music. While I don’t feel that the song should have been omitted, I would suggest that a re-sequencing would have been best to ensure greater synergy.

From start to finish, Don’t Say No will interest those of you who adore infectious melodies and hard-hitting rock tunes that have stood the test of time. It’s a must-listen and even if you’re not a fan of Squier’s, yet, you’re bound to find something to enjoy on this 80s masterpiece.

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John Farnham – Whispering Jack (Album Review)

Farnsy, as he is lovingly known to Australian audiences, is an icon of the pop music industry. Despite that, many international readers will likely be unfamiliar with his music as international sales of his records, and a lack of touring, guaranteed him a position as Australia’s preeminent musical entertainer. 

Released in 1986, Whispering Jack became a classic Australian pop rock album that showcased Farnham’s impressive vocal capabilities via a series of timeless tunes. A commercial success, reaching number one on the Australian charts for 25 weeks, and becoming the highest-selling album in Australia, Whispering Jack has gone on to sell more than 1.68 million copies, as of 2006. That may not seem a lot by international standards, but this represents superstardom for an Australian artist where the population of the country is just over 25 million (16 million, at the time of the album’s release).

Whispering Jack is known as Farnham’s breakout album, but it certainly wasn’t his first outing as a performer for it’s his twelfth studio album. Previously, Farnham had been a pop teen idol, billed as Johnny Farnham, the Justin Bieber of his day, and lead singer of the Little River Band in the early 80s, but he never quite reach household name status until the release of Whispering Jack.

Farnham’s history and the way Whispering Jack came about is legendary and it would be a perfect candidate for defining the meaning of the “Little Aussie Battler”. On that note, it's important to acknowledge that Glenn Wheatley, a former bass guitarist for The Masters Apprentices, was responsible for primarily funding the recording of Whispering Jack and without his support, this exceptional recording would never have seen the light of day.

Wheatley's support ensured the Australian music-loving public would also experience the equally exceptional Age Of Reason (1988) and Chain Reaction (1990) with his latter albums being solid but not career-defining. Nevertheless, the one thing that always captured my attention was Farnham’s unique vocal style as his timbre is immediately identifiable. Similarly, the lyrics he’s singing are pronounced so eloquently that there’s rarely a need to refer to the liner notes for guidance on Farnham-themed karaoke nights as there isn’t a mondegreen to be heard. 

Sonically, the lossless Apple Music stream, of the non-remastered, non-anniversary, edition of Whispering Jack sounds superb. The remastered version is simply too loud and becomes fatiguing to listen to despite the nice boost in the low mid-range. Of course, if you adjust your EQ settings you can achieve similar results without brickwalling the entire recording.

Before we take a look at the songs that make up this classic Australian album, I must comment on how striking the album artwork is. It’s clean, minimalist, 80s (yet not tacky), and is instantly recognisable from a distance. Few artists ever have artwork that is so highly polished that it matches the recording contained within, but this is certainly one of them. 

Pressure Down is an upbeat pop-rock anthem that sets the tone for the rest of the album. Farnham's powerful vocals and the catchy guitar riffs make this track an instant classic. While it will take you back to the 80s, with a pop-synth sound that was revolutionary at the time, it interestingly doesn’t feel that distant from modern pop music; further validating its longevity of relevance. 

Interestingly, you may notice a few seconds at the beginning of the song that, when listening on speakers, is seemingly void of anything. However, when listening via headphones, especially with high gain on and at ear bleeding levels (not recommended–please protect your hearing), it’s possible to hear the whispering element. 

Initially, I had thought that the spoken word was ‘a restructure of subject or language.’ Of course, Google is our friend and as such directed me to Jane Gazzo’s Herald Sun column. Gazzo details the spoken words as actually being ‘there is no restriction on subject or language.’ Yes, there is an interesting and somewhat humorous story behind this revelation, but I implore you to read Gazzo’s piece for the full story. Gazzo has also recently published John Farnham: The Untold Story. I’ve yet to read it, hence this isn’t an endorsement, but I’m looking forward to checking it out when I have time.

You’re The Voice is perhaps one of the most iconic and emotionally moving songs ever written and recorded and is arguably more relevant today than it was upon its release. It’s inspirational and puts humanity into perspective with simple yet clearly defined lyrics.

The inclusion of the bagpipes and a guitar solo in the chorus is nothing short of pop/rock gold for this is one power ballad that will captivate and guide you throughout the entire recording.

Farnham’s vocals on You’re the Voice are simply incredible and nothing short of world-class. Very few performers can sing with such raw honesty and I truly believe Farnham has never sung another song with such passion and conviction. Of course, it isn’t just Farnham, his musicians, and the production team that need to be acknowledged for this masterpiece as Chris Thompson, Andy Quanta, Keith Reid, and Maggie Ryder all deserve credit for writing such an incredibly beautiful song. ; one that has become an unofficial national anthem for Australia.

One Step Away has never really resonated with me. Perhaps it’s because it follows one of the greatest songs ever recorded, but it just feels out of place in the album’s sequencing. It’s fair to say that One Step Away is no one’s favourite track, for it’s a B-side at best, but Whispering Jack wouldn’t be the same without it. 

Reasons is a song I love because it was my first introduction to the whiplash sound in music. Yes, this synthetic sound was available before a hundred whiplash apps made it to your smartphone and into the zeitgeist. Additionally, the beat is addictive, as is the catchy guitar riff, memorable chorus, and atmospheric backing. It’s rather complex, with many elements to listen to, yet the soundstage never feels crowded. Reasons is what pop rock music is all about and you will definitely want to turn the volume up to 11.

Going, Going, Gone has an introduction that I feel detracts from the song and the flow of the album. Additionally, while the song may appeal to some, it isn’t a personal favourite. That said, it grows on you and over the years I’ve come to appreciate it as a solid addition to the album.

No One Comes Close has a bass guitar intro that’s simply magnificent (thank you, Roger McLachlan) as it forms the overall tempo of the tune. I mention this because I feel the bass guitar remains one of the most underrated instruments in music reproduction and creation and I love when it’s more prominent in a mix. While No One Comes Close doesn’t break any new ground, it’s a hidden gem, is thoroughly enjoyable, and ticks all the relevant boxes for what an upbeat pop-rock tune should sound like.

Love To Shine is a more experimental track that features a funky bassline and electronic elements to form the basis of a song that you just won’t be able to stop yourself from singing along to. Farnham's vocals are once again on point, as he delivers the song's lyrics with passion and energy, and while it was never released as a single, it probably should have been for I dare say it would have done well. 

Trouble is one of those truly unique tunes that are difficult to articulate. That said, it’s thoroughly enjoyable and I consider it to be one of the strongest songs from Whispering Jack for it is the epitome of the era from which it came. 

A Touch Of Paradise is, in my opinion, a sonic masterpiece. It’s incredibly soothing but also encourages you to turn the volume up and sing along to a simply gorgeous chorus. Farnham has sung many incredible ballads throughout his career, he’s a master of the craft, but there is something special going on here for A Touch Of Paradise, not unlike his performance on You’re The Voice, further showcases what a spectacular vocalist he is. 

No one could possibly outperform Farnham on this tune and even the original recorded by Mondo Rock, on their 1982 album Nuovo Mondo, is substandard by comparison. That’s not to suggest that Mondo Rock’s version is flawed, for it’s not and had Farnham never covered the song, I’d be singing the praises of the Mondo Rock recording as it’s got a blues-based rock styling that is thoroughly enjoyable. 

Let Me Out is the perfect song to close Whispering Jack on. Its edginess is its core appeal for the song is rooted in the pop rock 80s style that includes a little bit of everything, including a killer guitar solo, backing vocals, and some really believable synthetic horns that add to a jazzy feel not unlike Robert Palmer’s Addicted To Love. What’s not to like?

Overall, Whispering Jack is a classic Australian pop-rock album that showcases John Farnham's impressive vocal prowess. From the upbeat anthems to the poignant ballads, each track on the album is a standout in its own right, and the record as a whole remains a beloved Australian classic. If only all music could be this good!

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Peter Cetera – Peter Cetera (Self-Titled Album Review)

Released in 1981, Peter Cetera's self-titled solo debut album was a musical departure from the legendary band Chicago, where he served as lead vocalist and bassist. Yet, with a greater focus on rock elements, this release showcases just what an incredible talent as a musician, vocalist, and songwriter Cetera really is.

Co-produced with Jim Boyer (renowned for his work with Billy Joel), Peter Cetera is one of the best albums that, unless you’re a die-hard fan, you’ve likely missed. Yes, dear reader, this is a hidden gem that shouldn’t be ignored and while it was a failure from a sales perspective, success at the cash register has never been a hallmark of quality as it pertains to the creative arts.

It truly amazes me how this album flew below the radar. The album artwork alone is stunning and was released when vinyl records were still the dominant music format. I don’t know about you, but I would have been captivated by the cover art alone if I had seen it on display at a local record store.

While I would love to say that musicians don’t need record labels, and their marketing teams, this is one example where the support just wasn’t given for the album’s release and sales were subsequently absent. There’s no doubt, however, that Warner Bros. Records knew that this self-titled release had the potential to be a breakout album for Cetera. Perhaps if Chicago, as well as Cetera, hadn’t just been dumped from Columbia Records, Warner (their new label) may well have been interested in focusing on something other than Chicago’s 1982 release Chicago 16.

While it is easy to vilify record labels, Cetera’s solo success would indeed have been a concern for Warner, as few artists can maintain simultaneous solo and band careers. The downside to their decision to not push the album resulted in one of the greatest albums from 1981 going largely unnoticed for decades. It is with that thought that I’m so incredibly grateful that we have access to streaming services for it allows us to seek out these hidden gems and share them with other music-loving individuals, such as yourself.

Livin’ In The Limelight is a killer tune that has a catchy and upbeat rhythm with one of the very best driving basslines and guitar riffs you’re ever likely to hear in all of recorded music history. It’s a masterpiece!

I Can Feel It continues the rocking groove, with a slightly slower tempo, that allows Cetera’s impressive vocal reach to take center stage. It’s a fantastic tune and while not as strong as Livin’ In The Limelight, it’s thoroughly enjoyable and the guitar solo, while subtle within the mix, adds to the overall feel of the tune.

How Many Times has an incredibly funky bassline and catchy chorus. It’s simply fantastic and is one of the best songs Cetera ever recorded; including those with Chicago. Some may disagree, but How Many Times showcases Cetera's versatility as a musician, particularly as a vocalist, and is one of the greatest hidden gems just waiting for music lovers to find.

Holy Moly has an upbeat Boz Scaggs' feel to the tune; magnificent!

Mona Mona is a stunning jazz-inspired song. All elements are utterly perfect and Cetera’s lyrical pace is spot-on for his style of vocal delivery. However, the most noteworthy element is Gary Herbig's saxophone playing for it takes the tune to masterpiece status.

On The Line is a perfect mid-tempo tune with yet another incredible vocal performance from Cetera and a memorable guitar solo from Josh Leo. It may be an album tune, but it’s songs like On The Line that make this self-titled release so compelling.

Not Afraid To Cry is a solid album track. It's not a standout, but every song need not be extraordinary to ensure an album is thoroughly enjoyable.

Evil Eye is a funky, country guitar-driven track with a catchy chorus. What’s not to like? Cetera’s ability to fuse different genres seamlessly never ceases to amaze me.

Practical Man transitions extremely quickly from Evil Eye, perhaps a little too quickly as you could mistake Practical Man for a continuation, a second part if you will, of the previous song. Intentional or otherwise, Practical Man is another solid album tune with some memorable musical hooks and more of Cetera’s unique and pleasurable singing.

Ivy Coloured Walls is a perfect closer. While not the strongest song, although I love the chorus and the guitar solo, it does compel me to listen to the album again and further enjoy Cetera’s extensive catalogue of solo recordings as well as those with Chicago.

Overall, Peter Cetera's self-titled debut solo album is a rocking release that not only played to the era, but showcased Cetera’s incredible musical talents. With a little less production, compared to Chicago’s releases, Cetera took center stage as he explored new musical directions. It remains a shame that the album didn’t garner more recognition for it is severely underrated. Nevertheless, this self-titled album is a timeless classic that can now be fully appreciated in the modern era by music lovers the world over.

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George Michael – Symphonica (Live Album Review)

Released in 2014, George Michael’s Symphonica is a fluid masterpiece that melds exceptional live performances, captured between 2011-12, with studio mastery thereby ensuring the music and Michael’s vocal talents take centre stage with few distracting elements. With a collection of well-known covers, and a half dozen original songs thrown into the mix, Symphonica will captivate you from the very first note. 

Some may lament the studio manipulation, but most live albums are created similarly. Truthfully, I prefer the additional spit and polish for live performances can be hit and miss and that’s a core reason why I’m not a fan of attending concerts. It’s a case of once-bitten, twice shy, and I prefer higher production values when live recordings are released. 

Yes, dear reader, I’m one of those music lovers who doesn’t have a problem with artists using backing tracks at a concert if that’s what it takes to put on a good show. Is it pure and organic, no, but isn’t it better to have every note presented accurately than to have a substandard experience? I believe so!

The only aspect that I wish they had worked on a little more would have been the reduction of sibilance in Michael’s vocals. Michael’s vocal has always had a tad of sibilance, so I look upon it as artistic expression at this stage, but on a couple of the songs, it’s quite pronounced and temporarily takes you out of an otherwise relaxed experience.

Concerning the selection of songs, I find it incredible that Michael’s own works mix so perfectly with the classics of yesteryear. Seriously, it’s a seamless transition between tunes and goes to show just how incredibly talented Michael was as not only a vocalist but as a songwriter. 

While I was fortunate to have owned the stunning HFPA (High Fidelity Pure Audio) Blu-ray release, following a culling of formats, I now find myself limited to the streaming offerings and I have mixed feelings. The DTS-HD Master Audio 24-bit/96kHz edition of the album, from the Blu-ray, was as close to having a private audience with George Michael as I was ever going to get and while I have few regrets about downsizing my collection; this is one of them. 

The Dolby Atmos stream, via Apple Music, is admirable but it just doesn’t have the same presence as was heard on the physical counterpart. Interestingly, despite the Blu-ray format being capable, no surround mix was presented, yet, to my ears, it still had a greater presence. For many music fans, this won’t be an issue. For us audiophile-focused music lovers, however, it’s a substantial element for we strive to attain the best possible release. Nevertheless, I may have to try and seek out a vinyl edition, or hope for a reissue, as they’re incredibly hard to come by and go for insane prices on Discogs.

Symphonica is one release certainly worth owning but, as is often the case, it isn’t only a matter of sonic perfection for there are numerous releases of Symphonica, with different track listings, which makes choosing a definitive copy much more difficult.

For instance, the Blu-ray contained 17 songs, with the closer being You’ve Changed, as did the highly sought-after vinyl release, but the CD counterpart was abridged to 14 songs. The three songs removed were Roxanne, Going To A Town, and You Have Been Loved; all are exceptional performances and worthy of inclusion. Yes, incorporating these tracks would have gone beyond the limits of a single CD, but it would have been wonderful to have greater cohesion between versions by limiting the tracks, across all releases, to the finite runtime of the CD format.

Naturally, as a lifelong music lover, this should come as no surprise for it’s a constant problem within the music industry and a practice that I wish they would abolish for it would be far simpler if each version was the same so that fans don’t experience decision fatigue concerning which version we should pick up or listen to. Or worse still, feel compelled to pick up every edition; most likely the reason this is standard practice across the industry for the record labels’ ultimate aim is to make money and what better way to do that than by targeting the most dedicated of fans. 

Nevertheless, you might suggest that given the Dolby Atmos mix is enjoyable, that this is the version I should enjoy going forward. I thought so too until I realised that the Atmos Mix and its stereo counterpart, both Apple Digital Masters, only contain the 14 songs from the CD release.

Confusing matters further, a lossless 15-track edition is also available via Apple Music (a non-Apple Digital Master). Where did that come from? Seriously, can’t we just have a definitive edition? This 15-song version adds I Remember You as the final track on the album. Interestingly the Deluxe Edition (also not certified as an Apple Digital Master) tacks I Remember You to the backend of the album.

It’s an absolute mess, isn’t it? 

Still, for this review, I’m going to stick with the Deluxe Edition in its entirety, as all songs are featured, but while I consider the first 17 songs to be nothing short of perfection, I intend to remove I Remember You from my digital library for I feel it detracts from the highly polished production values heard throughout the rest of the album.

However, there’s a problem. Not a big one, but it needs to be addressed. The Deluxe Edition is not an Apple Digital Master. Few Deluxe Editions, by any artist, are and it simply makes no sense to me whatsoever. If the label goes to the trouble of remastering a release for the Apple Digital Master program, then why are the more complete editions omitted from this process? Surely it would be worth doing for those of us who appreciate the expanded offerings of Deluxe Editions.

Common sense, clearly, isn’t very common when it comes to what record labels do and how they manage their catalogs. I’m sure they’ve got their reasons for these discrepancies, but from a music lover’s perspective, I simply can’t comprehend why they make things so challenging. 

I’m sure by now you’re wondering why it matters if the Deluxe Edition is an Apple Digital Master or not. Well, dear reader, it’s an issue for two reasons. The first is that for those who enjoy surround mixes, they should be able to get the complete series of recordings in Dolby Atmos. Secondly, and this applies more to me, I find that the Apple Digital Master of Symphonica is less shrill, more rounded, and therefore a little more enjoyable when directly compared to the non-Apple Digital Master. Despite that, given I want the same 17-track experience that the Blu-ray and vinyl counterparts allow for, I’m left with no choice but to go with the slightly less appealing and sonically compromised Deluxe Edition. Of course, if I had not compared releases, I likely wouldn’t know what I’m missing out on so that perspective needs to be taken into account.

Through, a George Michael original from Patience, is a beautiful song to open the album with and it’s as if it should have always included an orchestra for this live performance trumps the original recording. The strummed introduction, intermingled with vocals and subtle symphonic elements, sets the tone for the entire album and subsequent performances. 

My Baby Just Cares For Me is upbeat and jazzy and would do any jazz club in New Orleans proud. The horn section in this song is perfectly balanced and I appreciate this as sometimes the brashness of brass instruments can overpower a song. 

A Different Corner slows things down a little with gorgeous vocals and acoustic guitar and bass strumming. It’s a simple and uncomplicated rhythm, but one that highlights Michael’s extraordinary vocal capabilities. Dating back to the mid-80s and the final Wham! release, Music From The Edge Of Heaven, the live performance of A Different Corner captures the soul of the studio recording and is the perfect counterpart to that 1986 release.

Praying For Time was originally released as the lead single on Michael’s second solo album Listen Without Prejudice Vol. 1 and is one of his greatest and most memorable tunes. While the original studio recording is marvellous, in its own right, this live performance takes the song to another level entirely; magnificent!

Let Her Down Easy is a song I adore. It was originally written and recorded masterfully by Terence Trent D’Arby (Sananda Maitreya) on the album Symphony Or Damn. The song is just so soothing, especially as it’s presented in a lullaby style, and Michael performed it beautifully.

The First Time Ever I Saw Your Face is an absolute classic and this live recording represents one of the very best interpretations of the song I have ever had the pleasure of hearing. 

Feeling Good is epic! George Michael performs this tune masterfully. That said, I still consider Nina Simone’s version to be the pinnacle recording of this classic song.

John And Elvis Are Dead is a lovely live recording of Michael’s tune; first heard on Patience. While I never considered John And Elvis Are Dead to be a standout song, although it’s a wonderful studio recording, this live performance changes that perspective for it flows so incredibly well within the live album structure that I couldn’t imagine Symphonica without it. Plus, it’s a little more relaxed than the studio release meaning that it can be fully appreciated in a relaxed setting when listening to Symphonica.

Roxanne will appeal to any fan of The Police for this live recording is a beautiful interpretation of their original tune from their 1978 release, Outlandos d’Amour. As solid as the original is, the jazz-influenced live recording by George Michael is exceptional and amplifies the song beyond The Police’s version. 

One More Try was originally released on Michael’s highly successful debut solo album Faith and it’s a George Michael classic that remains as fresh today as the day it was written and recorded. This live rendition honours the original studio release perfectly and the addition of the symphonic orchestra is complementary and therefore takes nothing away from the original. 

Going To A Town is one of the most beautiful songs ever written and is one of the greatest songs Michael has ever sung for it’s simply stunning and is perfectly suited to Michael’s vocal style. To say that I’m blown away would be an understatement, but if you’re as impressed by this recording as I am, then I suggest you check out Rufus Wainwright’s original from Release The Stars. 

Cowboys And Angels is another George Michael original from Listen Without Prejudice Vol. 1. It’s a nice classical meets jazz-styled tune, but it’s the worst song on Symphonica for Michael’s vocal sibilance is far too prominent. Thankfully, the sibilance isn’t a detracting element on the original studio recording, so the song can still be thoroughly enjoyed via that release. 

Idol is an underrated Elton John and Bernie Taupin collaboration from John’s 1976 album Blue Moves. This live recording, however, is one of those examples where an artist records a lesser-known cover, makes it their own, and that recording then becomes the standard to which all others are compared.

Brother Can You Spare A Dime is an American Classic and one that George Michael recorded and previously released on Songs From The Last Century. As good as Michael’s studio recording is from 1999, this live interpretation is about as good as it gets. The orchestral elements are off the charts and are not that far removed from Michael’s original interpretation, while Michael’s velvety smooth vocal ensures that Brother Can You Spare A Dime will remain in the social consciousness for decades to come.

You Have Been Loved was originally featured on Michael’s album Older and this live recording doesn’t break any new ground but it remains a lovely ballad with some exceptional jazz drumming and beautiful symphonic elements. That said, this is one case where I prefer the original recording to the live rendition. 

Wild Is The Wind has been recorded by some of the greatest musicians the world has ever known, but it really doesn’t matter which version you listen to as Wild Is The Wind is simply gorgeous. That said, Michael’s interpretation is one of, if not the, greatest ever recorded. 

You’ve Changed is what I consider to be the perfect closer and, again, I feel the label got the sequencing right when they closed the HFPA Blu-ray Audio version and vinyl releases with this beautiful jazz number as it is reflective and also compels me to listen to the album again.

I Remember You isn’t the strongest closer as it’s rawer, from a production and recording standpoint, than the rest of the songs featured on Symphonica. I also find the harp to be distracting, along with the audience, and subsequently, while I Remember You is included in this review, I remain convinced that the right decision, for me, is to omit it from my digital library, thereby allowing You’ve Changed to close the album out pleasantly.

Overall, sans I Remember You, Symphonica is a powerful and emotionally charged album that showcases George Michael's vocal range and songwriting talent, as well as the beauty and power of a symphony orchestra. Whether you're a fan of George Michael or simply a lover of beautiful music, this live album is worth a listen; you may even add it to your collection, for it is truly remarkable.

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The Cold Stares – Voices (Album Review)

The blues with a healthy dose of rock and roll has never sounded so good. 

Released on the 10th of March 2023, Voices is the sixth studio album from the American rock band The Cold Stares and will stun those of you who appreciate blues-based rock and roll for the Indiana based rockers have recorded a modern masterpiece.  

Recorded, mixed, and mastered with kid gloves, Voices is one of the best albums you’re likely to hear in 2023 and is, without a doubt, one of the finest blues-based rock releases this reviewer has ever had the pleasure of hearing. There’s no extraneous musical interplay for every aspect is perfectly considered and even though the original lineup, up until this release, was presented as a duo with Chris Tapp (guitar/vocals) and Brian Mullins (drums) handling all musical aspects, the inclusion of bassist Bryce Klueh has added yet another dimension to their already exceptional blues-based rock style and sound signature. 

Voices is subsequently their greatest creative endeavour and while I wouldn’t have ever thought that the band needed a dedicated bassist, based on the fullness of their previous releases, the addition only further amplifies their music.  

Sonically, the Lossless Apple Music Stream is absolutely stunning. You’ll get that classic blues meets country meets rock vibe and you’ll find yourself constantly wanting to turn the volume up for music, especially in the modern era, is rarely produced so well. Yes, it’s a little louder than what may be considered ideal, but not obnoxiously so as the loudness is designed to merely bring it in line with other modern music mastering levels but at no time does that detract from the wondrous enveloping soundstage.

Adding to the sound of the record is the appealing cover art design. I don’t know about you, dear reader, but I love it when artists create modern record covers that hark back to those of yesteryear, particularly from the vinyl era. Granted, it doesn’t work for all styles of music, but it works for Voices and while I’ve yet to pick up a copy on vinyl, this is one album that would stand out on the larger canvas. 

Nothing But The Blues, from the very first note, sets the tone for the entire album; a fantastic opener!

Come For Me has a little Eric Clapton influence, particularly from his classic cover of Cocaine. That correlation, intentional or otherwise, is a compliment, for the groove and guitar licks of both songs are infectious.

The Joy shifts the tone a little and for a moment I was taken back to the 90s as Soundgarden and Stone Temple Pilots were ringing in my ears due to the level of distortion used on The Joy. Joyous is one way, albeit a lazy way, to describe The Joy for its internal shifts are thoroughly enjoyable and that guitar solo is off the charts. 

Lights Out picks up the tempo and has a greater focus on rock elements throughout. It’s like Led Zeppelin meets Deep Purple with a blues twist. Magnificent!

Got No Right is a fun little tune with a correlation that could be made to The Doors’ Roadhouse Blues. As much as I enjoy it, however, I feel it could have had a bolder focus on the guitar as it could have been a standout track had a grinding guitar element been added to this mix. Yes, I acknowledge the short solo, but it deserved more prominence throughout. While Got No Right wasn’t ever going to be a standout song on Voices, as an album track, it works perfectly in the chosen sequencing. 

Sorry I Was Late is a sonic masterpiece and is the best song from Voices. Music such as this reminds me why I’m so passionate about music for it makes you stop, listen, and become captivated by the tale that is being presented audibly. Sorry I Was Late is one of those songs that has to be heard firsthand for there really isn’t an adequate word, or series of words, that can describe the feeling one gets from listening to such an exceptional song. 

Voices is a great toe-tapping head-bopping title track. Unlike Got No Right, Voices has the bolder guitar element that I wish the aforementioned track had. Subsequently, if you’re not grooving along to this tune, you’re listening wrong. 

Waiting For The Rain Again flows perfectly from Voices and has a killer guitar lick. Sometimes that is all that’s required for music to speak to you and while I’m not a music lover particularly focused on listening to and interpreting lyrics, instead choosing to listen to vocals as an instrument in the mix, it’s songs like this that have the perfect mix of all elements that allow me to intersperse the occasional lyric into my own thought process. 

Sinnerman has a great low-fi sound that amplifies the song to heights that would have been missing without it. I am, however, glad that it was used as a technique and not applied to the entire album for its more monotonous tone works exceptionally well here, but would likely have detracted from the album experience should it have been overused. This is one aspect that allows me to appreciate The Cold Stares even more in that they’re not afraid to use a recording style but to use it sparingly and only to amplify the music.  

Throw That Stone is akin to Sorry I Was Late in that it is sonically and musically impressive. I’d comment further, but it’s time to sit back and simply enjoy the song. 

It’s Heavy picks up the tempo with a rocking tune. I love these shifts and the chosen sequencing was done brilliantly as the flow, and space between songs, don’t cause a jolt to the senses meaning that you can go from the more mellow, Throw That Stone, to the much weightier, It’s Heavy, and not skip a beat. 

Thinking About Leaving Again is more of the same, you know, the good stuff! Despite diversity throughout, it could be said that much of The Cold Stares’ music seamlessly blends so well because it is so similar to the rest of the music within their catalogue. I wouldn’t fundamentally disagree for knowing what to expect offers a level of assurance that is arguably more important than an artistic tangent.  

The Ghost is a beautiful closer. It slows the tempo down to a contemplative pace while simultaneously encouraging repeat listens of the album. However, it is that slow and continuous build that is the highlight here for you get a sense that the song could go into a blues-rock number but, instead, it remains very low-key and delicately ends without additional fanfare; perfect!

From start to finish you’re not going to find a tighter blues-based rock and roll album to sink yourself into. Yes, there are numerous classic albums that could be referenced, but The Cold Stares have written and recorded such an incredible album that I truly believe it is a landmark release and one that already has classic album status written all over it. You may disagree, and that’s your prerogative, but Voices is not only one of the very best albums from 2023, but one of the best albums ever recorded in all of music history; it’s that good!  

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Bob Marley & The Wailers – Legend: The Best of Bob Marley & The Wailers (Compilation Album Review)

While Bob Marley’s catalogue is full of songs, many not featured on this release, that are worthy of inclusion on a best of compilation, Legend: The Best of Bob Marley & The Wailers is true to its namesake as this masterful collection showcases Marley's immense talent as a songwriter and performer, as well as his revolutionary message of love, unity, and social justice. It’s also accurate to say that Legend is one of the greatest and most influential albums in the history of reggae music as each track is a classic of the genre in its own right. 

Originally released in 1984, various editions of this compilation have been released with varied track listings across different versions. However, since 2002, the core reissues have remained largely the same, beside Legend: Remixed from 2013, so unless you’re a completist that is after each release of a particular album, you’ll experience the same cohesive edition that most of us have come to love regardless of which version you decide to listen to. 

As it pertains to the sonic quality of the Hi-Res Lossless Apple Music stream, an Apple Digital Master, it’s solid. Yes, I acknowledge that’s a little nondescript but the essence of the music is admirably presented, yet it doesn’t necessarily knock my socks off. There aren’t any issues with the stream, but there simultaneously isn’t much to celebrate either. I had been fortunate to have owned the visually stunning 30th Anniversary Edition tri-color double vinyl release, and while that version was a little more smooth and relaxed, it suffered from inner groove distortion that detracted from the entire experience.

There is, however, one aspect that is notable with regard to the streamed offering and that is the inclusion of the Dolby Atmos version alongside the stereo mix on Apple Music. Due to the nature of surround mixes, when done well, they should envelop you in the music and potentially have a fuller sound than the stereo mix. While that doesn’t always happen, that isn’t the case with this particular release for when listening to Legend via Dolby Atmos it is more immersive than the stereo counterpart. 

It isn’t perfect, however, as the bass is a little too prominent thereby resulting in a muddier low end. It’s so close to perfect and if it were not for that aspect, I’d be championing the Atmos mix. Subsequently, the standard Hi-Res Lossless stereo mix on Apple Music remains my preferred version. Of course, that isn't to say that that will be your preferred edition, so I encourage you to listen to both and see which you enjoy for your preferences may, and likely will be, different to my own. 

Is This Love was a fantastic choice for the first track of the compilation as it highlights the key sound signature that we recognise as belonging to the reggae genre. It has a simple yet intricate beat that when combined with the vocals and overall tonality will get your body moving.  

No Woman, No Cry (Live At The Lyceum, London, 1975) is a lovely song, but I do question if the inclusion of a live recording, on a compilation, was the best decision. Yes, it’s a fantastic performance but in my mind compilation albums are best served when the album or single edit is utilised. Thankfully the live audience component isn’t too distracting, but I still feel it would have been best had this particular tune remained on the Bob Marley & The Wailers Live! album. 

Counter to the above perspective, I do acknowledge that the original studio recording isn’t as strong, from a performance standpoint, as the live recording. Perhaps it is best to say, upon further reflection, that I’m glad we have both editions even if neither is 100% perfect; a shame considering it’s such a magnificent tune.

Could You Be Loved has an incredibly addictive beat and I dare you to remain still while this song is playing. Yes, that could be said about all reggae music, as the genre encourages uninhibited movements, but I have also heard many reggae artists that don’t have the same resounding effect that Marley & The Wailers did. I truly believe it was Marley’s inclusion of rock and roll elements that assisted in their unique sound signature.  

Three Little Birds is a sonic shift and is a little more melodic, in direct comparison to Could You Be Loved, but I love it. Three Little Birds is one of those sing-a-long style songs that have such a positive chorus that I’ve no doubt many parents have sung the chorus to their children over the years.

Buffalo Soldier follows perfectly from the pace of Three Little Birds. While I acknowledge that this is a compilation album, and therefore not always as fluid as studio releases, I find that the song selection and sequencing on this release are perfect.

Get Up, Stand Up is certainly motivational, from a societal perspective, but I find that I’m conflicted with regard to the tempo of the song as I feel it’s too slow. Regardless, it’s an incredible song.

Stir It Up has a smooth, groovy, mid-tempo rhythm, that is utterly intoxicating.

Easy Skanking is exquisite. The tempo is perfect, as are the backing vocals. There are times when backing vocals become a distraction, but in this case, they work so well that I couldn’t imagine the song without them.

One Love / People Get Ready is another of Marley’s simple, yet complex and feel-good songs that deliver a powerful message of unity and love for all people, regardless of race, religion, or background.

I Shot The Sheriff is one of the greatest songs Marley & The Wailers ever recorded. The small shift between the verse and the chorus is particularly appealing as the halt suggests the song will prematurely end, yet it keeps you on the hook. However, unlike Easy Skanking, I’m not convinced the backing vocals are necessary throughout the chorus. Yes, the song wouldn’t be the same without them, but the higher pitch causes distraction due to the contrast with Marley’s more mellow vocal presentation.   

Waiting In Vain is a lovely ballad, but isn’t a song that I’d seek out on its own. That’s a shame when I think about it, as it’s an exceptional tune and a highlight of Marley’s career. It just isn’t as memorable as many of the other songs featured on Legend. 

Redemption Song is about as acoustic as Marley gets. That isn’t a bad thing as both the guitar twang and vocal delivery are simply gorgeous. 

Satisfy My Soul is a pleasing, and thoroughly enjoyable, love song with a smooth reggae groove.

Exodus is energetic and the brass instrumentation is off-the-charts. The mix has been compiled with delicate hands and the horns, thankfully, don't overtake the song. Exodus is a textbook example of every musical element being perfectly positioned in the mix. Magnificent!

Jamming is a joyful, upbeat tune with a catchy melody. Sometimes that is all that’s needed.

Punky Reggae Party (12” Version) closes the compilation with elements of all other tunes that have come before it. It isn’t my favourite song, as I feel the chorus is a little overworked, but it does encourage me to listen to the record again and play more albums from Marley & The Wailers; Kaya, anyone?

As far as compilations go, it doesn’t get much better than Legend: The Best of Bob Marley & The Wailers, for it presents their very best works in such a way that this reggae release is easily accessible, for all music lovers, and keeps the uniqueness of reggae music alive within the social consciousness for newer generations to experience and carry, henceforth, into the future. 

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Leo Sayer – Leo Sayer (Self-Titled Album Review)

Released in 1978, Leo Sayer’s self-titled album, his sixth studio recording, is a timeless classic that showcases the singer’s vocal prowess and musical talents. With its blend of pop, rock, and disco, this album offers a diverse range of musical styles that are guaranteed to captivate listeners from start to finish.

Captivation naturally begins with the album artwork and while it isn’t the most noteworthy, or inspirational, of Sayer’s career, it stands out from the crowd as the minimal design draws your eye directly to the typeface and Sayer’s portrait. In the modern era, it’s easy to overlook album artwork but in 1978, when the predominant music format was the vinyl record, it was often as essential as the music was for sometimes the first encounter of an artist would be the cover design that you’d see each time you visited your local record store. 

Of course, for a record to be considered a classic album, as I consider this, the music and sonic reproduction have to be compelling. In this case, Sayer’s self-titled release is stunning. Presented as a lossless CD counterpart, via Apple Music, some may argue that there is room for improvement given that it isn’t presented as a Hi-Res Lossless Apple Digital Master. I, however, wouldn’t agree with that perspective for whoever undertook the mastering of this release got it right. There are no glaring omissions or elements that I feel need addressing. Subsequently, a remaster simply isn’t required and has the potential to further degrade the quality of the recording by succumbing to loudness demands. Sometimes it is best to leave well enough alone and simply enjoy the music. 

Stormy Weather opens the album with a catchy pop-rock tune that sets the tone for what’s to come. Sayer's soulful vocal shines as he extends every note right to the edge of his range as he sings about life’s ups and downs, accompanied by incredible instrumentation and infectious melodies. 

Dancing The Night Away, an Amazing Rhythm Aces cover, is a fantastic tune and is far superior to the original with its groovy basslines and funky guitar riffs. That’s perhaps one of the greatest aspects of Sayer in that while he’s recorded many covers, he always manages to extract the soul of the song, put his own spin on it, and match, or in this case surpass, the original.

I Can’t Stop Loving You (Though I Try) is a beautiful heartfelt ballad that showcases Sayer’s evocative vocals and is one of the highlights of this self-titled release. 

Phil Collins recorded the song for his 2002 album, Testify, but unless you’re a fan, it isn’t worth your time as it’s a second-rate interpretation at best. While I appreciate artists covering music they enjoy, if they can’t match or beat the original, I’d prefer they refrain from recording it in the first place. 

La Booga Rooga is a cover of Andy Fairweather Low’s 1975 original, an exceptional recording in its own right, but Sayer removes some of the blues elements and replaces them with an addictive up-tempo pop-rock technique that is perfectly suited to his style and the era. As to which is better, well it all comes down to personal taste and while I thoroughly enjoy both renditions, my preferred is Sayers; likely as it was his version I’ve always been more familiar with and the fact that his energetic vocal performance adds to the song’s overall charm, making it a joy to listen to. 

Raining In My Heart is a Buddy Holly cover and just like La Booga Rooga, I appreciate both interpretations, for different reasons. If I’m in the mood for the sound of the 50s, or Buddy Holly in general, then his version is superior. As part of Sayer’s self-titled album, however, Raining In My Heart is a masterful recording that complements Holly’s original while simultaneously ensuring this classic tune has a modernised feel; one with a combination of country-folk and pop-rock styles. Regardless of your preferred version, you simply can’t go wrong with a song as incredible as Raining In My Heart. 

Further to that, may I suggest you also check out the versions by Anne Murray and The Dave Clarke Five for they too are exceptional interpretations.

Something Fine, a Jackson Browne cover, is a beautiful interpretation that is very close to the style of Browne’s original recording. Both are so good that I can’t pick a preferred version. That’s actually a good thing as Sayer’s interpretation takes nothing away from the original. 

Running To My Freedom sounds a little dated, compared to the other songs on this self-titled release, but it’s a lovely classic rock tune with a catchy melody that will appeal to many.

Frankie Lee is a great upbeat song. There’s just enough of a rock edge to be considered a rocking good tune and the instrumentation throughout is the perfect accompaniment to Sayer’s vocal.

Don’t Look Away is another upbeat tune with Sayer’s signature pop-rock-infused styling. The instrumentation on this track is of particular note, with a driving rhythm section, pulsing keyboards, and fiery guitar riffs all coming together to create a rich and dynamic sonic landscape. Without a doubt, Don’t Look Away is a hidden gem and is one of the best songs Sayer ever recorded. 

No Looking Back is a beautifully crafted song that showcases Sayer's considerable talents as both a songwriter and performer. It is somewhat reminiscent, in style, of Elton John’s classic era with its piano and symphonic backing, but more importantly, it closes out the album just as closing tunes should whereby they allow for contemplation as well as compelling the listener to play the album again. 

In conclusion, 1978 was a year that yielded an incredible range of music, from all genres and artists, and Leo Sayer’s self-titled release is no exception for it’s a masterpiece that has stood the test of time and remains to this day a landmark release of the 70s. 

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