Tom Jones - Praise And Blame (Album Review)

The legendary Welshman, known for his powerful voice and charismatic stage presence, took a bold and unexpected turn with his 38th studio release, Praise & Blame, from 2010. Departing from his usual mainstream sound, Jones embraces the genres of gospel, blues, and roots music to deliver a collection of soulful and introspective songs. With his gritty vocals and heartfelt delivery, Jones showcased that his artistic versatility knew no bounds.

Of course, Jones isn’t the only notable element here for Praise & Blame is a stunningly beautiful recording that has been mixed and mastered with respect. The entire production team and players on this release deserve acknowledgement for all aspects complement Jones' vocals perfectly by adding layers of richness to his captivating vocal performance.

While the music is extraordinarily good, however, the artwork is absolutely horrid. I get it, it shows a place of worship, but the chosen design elements and the photograph itself, aren’t exactly compelling. Seriously, if you saw that on display at your local record store, you’d give it a miss, wouldn’t you?

In my mind, all Tom Jones albums should feature Jones on the cover and while Jones may have wanted the songs to speak for themselves, I feel the artwork on this particular album takes away from the incredible musical experience you’ll have when listening to the record. Nevertheless, we listen with our ears and not our eyes so join me as I take a look at the selection of songs that make up Praise & Blame.

Please note that the shared Apple Music stream below is a playlist I created as the Apple Music edition features the bonus track Burning Hell (Ethan John's Wood Room Version). Regular readers will note my penchant for the original sequencing of albums and as such that is why I’ve chosen to present the album in this manner.

What Good Am I? opens the album with a haunting and introspective track. Jones’ weathered vocals add a layer of vulnerability to the song that works exceptionally well with the monotone rhythm thereby making it a standout tune.

Lord Help picks up the tempo with a blues-meets-gospel song that leaves a lasting impression. I do, however, feel that Jones’ vocals are a little too concealed in the mix but that need not be a detrimental factor as Lord Help is quite the toe-tapper.

Did Trouble Me focuses on Jones’ soulful delivery for the sparse instrumentation, on this song, is a feature that ensures Did Trouble Me remains a poignant and thought-provoking tune.

Strange Things is lively with an upbeat tempo set to the background of a roots musical style. It isn’t, however, the greatest song on the album and part of that conclusion is due to Jones’ vocal delivery as he’s over-performing on this track.

Burning Hell is raw and gritty blues-based rock and roll. Needless to say, I love it! Jones' passionate vocals ensure Burning Hell is an emotionally charged and memorable song and is, without a doubt, one of Jones' greatest recordings.

If I Give My Soul is another exceptional example of the rather stripped-down style of Praise & Blame. It’s this musical technique that ensures Jones’ vocal remains central in the mix while simultaneously intensifying the emotional impact of the songs’ lyrics.

Don’t Knock is a lively and infectious gospel-influenced track. Jones' spirited vocals, and the energetic instrumentation, create an atmosphere that’s hard to resist.

Nobody’s Fault But Mine is incredible! This bluesy rendition showcases Jones' vocal prowess and ability to infuse a song with soulful intensity for few vocalists have such control over their octave range.

Didn’t It Rain with its lively gospel-infused sound, is a toe-tapping track that exudes joy and celebration. Jones' energetic vocals and the vibrant instrumentation create a lively and infectious atmosphere, leaving listeners wanting more.

Ain’t No Grave embraces a rootsy and spiritual vibe that is thoroughly enjoyable. Jones' powerful vocal once again shines through ensuring that Ain’t No Grave is one of the best songs from Praise & Blame.

Run On creates a rousing conclusion to the album that embodies the spirit of traditional gospel music, featuring an energetic and foot-stomping rhythm, with a touch of blues-based rock. Listeners are left with a lasting impression that is both energised and uplifting and Ride On, by default, becomes the quintessential closing track that encourages repeat listens of the album.

While some longtime fans of Jones' earlier hits may find Praise & Blame to be a departure from his familiar style, it is a testament to his evolution as an artist as this album is a standout in his discography, proving that even after decades in the music industry, he can still captivate and surprise his audience. Whether it's the introspective and haunting tracks or the uplifting and celebratory ones, Jones' expressive vocals and the rawness of the arrangements make for a captivating and emotionally charged listening experience from start to finish.

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Foreigner – 4 (Album Review)

Few albums are quite as cohesive and memorable as Foreigner’s 1981 release 4. With its collection of iconic tracks, 4 propelled Foreigner to even greater heights of success, solidifying their status as one of the most prominent rock acts of the era. Packed with infectious melodies, powerful vocals, and expertly crafted songs, 4 showcases the band's ability to create timeless anthems that continue to resonate with audiences to this day.

As for the titling of albums, more often than not they’re associated with an individual song, but with 4, Foreigner is not only referencing the fact that it was their fourth studio album but it also marked a reduced musician lineup where the band only consisted of Lou Gramm, Mick Jones, Rick Wills, and Dennis Elliot. Sometimes less is more!

While the music is beyond reproach, let’s be honest and say that the album artwork is a little underwhelming; although coming on the heels of Head Games, a quite controversial piece of cover art, one can understand the need for a more subdued piece of visual art. That said, the Apple Music animated artwork adds a level of detail that couldn’t be achieved outside of the digital domain, but it still doesn’t match the mastery of the music, does it?

Turning our attention to the sonic qualities of the recording, streamed via Apple Music, it’s perplexing! As with all of Foreigner’s albums on Apple Music, they’re presented in CD Quality lossless and 4 is derived from the 2002 remaster. Now, there’s nothing fundamentally wrong with that until you realise that this classic album has been reissued and remastered various times with a focus on Hi-Res Lossless presentations, via SACD and DVD-Audio as well as associated surround sound mixes found on those formats. With Apple’s expansion into Hi-Res Lossless and Spacial Audio mixes, it’s surprising that we’re still only given access to the CD equivalent from 2002, especially considering the SACD/DVD-A is well-regarded. Plus, why update the album artwork but not the available versions? I have no answer, clearly, but it’s an aberration that is mildly irritating. Of course, Hi-Res Lossless sources aren’t always a guarantee of quality, but the CD Quality stream sounds a little anaemic. A boost to the bass in the EQ settings somewhat helps, but that tends to muddy the sound presentation more than improve it. Hopefully, fans of Foreigner, and specifically 4, won’t have to wait too long before a higher-quality stream is made available, but until then we can still enjoy this timeless classic for it’s a solid facsimile to the CD counterpart.

While the stream offers the Expanded Version and regular readers will note my penchant for listening to an album in its original sequencing, sans bonus material, the Apple Music stream that I’ll share with you will be in the form of a Playlist as that allows me to share just the core songs of this landmark release.

Night Life kicks things off with a burst of energy that sets the tone for the entire album. The catchy hooks, and killer power chords, combined with Lou Gramm’s sensational vocals are what rock and roll dreams are made of.

Juke Box Hero with its instantly recognisable guitar riff is not only a fan favourite but is one of Foreigner’s most well-known songs outside of their core fan base. For me, at least, it’s that bass-driven introduction with Gramm’s vocal being a little more distant in the mix, before exploding, that is truly remarkable. There’s little doubt in my mind that Juke Box Hero is a textbook-perfect song; one that creates a powerful listening experience that will leave you craving more.

Break It Up slows the tempo initially but it quickly builds to a rocking melodic tune with ballad-styled intentions that’s captivating.

Waiting For A Girl Like You is, arguably, the most romantic power ballad of all time. If the atmospheric musical bed doesn’t grab you, the silky smooth vocals will. Absolutely stunning!

Luanne injects a dose of energy into the album and perfectly embodies the spirit of 80s rock. The upbeat tempo, infectious guitar riffs, and Gramm's electrifying vocals create an irresistible party anthem; even though it has achieved little fanfare outside of the album structure.

Urgent is a masterpiece! If you haven’t already, turn the volume up. The interplay between Mick Jones' guitar and the saxophone solos adds a layer of intrigue, making Urgent a standout on 4 and one of the very best songs that Foreigner ever recorded. Gramm’s vocal is superb here, as it is throughout the entire album, but it’s this presentation, in particular, that makes me think Urgent would have been the perfect song for John Farnham to cover as their vocal styles are complementary to each other.

I’m Gonna Win is a motivating listen that exudes confidence and determination. With its driving rhythm and powerful vocals, Foreigner's ability to infuse positivity and strength into their music shines through, making this track a perfect addition to any playlist that requires a little attitude-driven motivation.

Woman In Black is one of my all-time favourite Foreigner tunes. The guitar work is extraordinary but it’s the rhythm that gets so deep into your soul that you’ll quickly find yourself immersed in one of the greatest songs ever recorded.

Girl On The Moon has a hypnotic and relaxed feel to it. It’s a perfect album-only tune with tight musical elements and beautiful vocals. 4 really is one album that plays like a greatest hits release for there isn’t a bad song to be heard and it’s Foreigner at their very best.

Don’t Let Go closes the album on a high note with an infectious chorus and melodic hooks that will encourage you to spin this exceptional record again.

From the moment you tap play, 4 takes listeners on a captivating journey, blending powerful rock anthems with heartfelt ballads and infectious pop sensibilities. With chart-topping hits like Juke Box Hero and Waiting for a Girl Like You, Foreigner has solidified their place in music history with one of the greatest albums ever recorded. A true masterpiece in every sense of the word.

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Rick Price - Heaven Knows (Album Review)

When I think of the very best that the Australian music industry has to offer, Rick Price and his debut album, Heaven Knows, are always at the top of my list. In a time when Australian music was flourishing with artists like John Farnham, Jimmy Barnes, and Diesel, Rick Price held his own and carved a niche for himself with this highly acclaimed debut from 1992.

With its heartfelt lyrics, soaring melodies, and polished production, Heaven Knows remains a timeless, and somewhat hidden, classic. Unfortunately, it has been out of print for decades and as much as I’d love to see it reissued on a physical format, it’s unlikely to happen. Never say never, of course, but this is yet another example whereby streaming and digital download stores reign supreme with regard to out-of-print music being readily available for new audiences to enjoy.

Speaking of the digital offerings, Heaven Knows is presented in lossless CD Quality on Apple Music and I really couldn’t be happier for it’s a superbly recorded, mixed, and mastered album. While The Essential Rick Price contains many of the landmark tunes from Heaven Knows, the mastering is too hot meaning that while there’s greater punch and forwardness to the songs you know and love, it becomes fatiguing to listen to. Yes, some albums sound better when the dynamic range is compressed, but that is not the case here.

What’s Wrong With That Girl? has an addictive rhythm with stunningly beautiful guitar work. Add Price's incredible vocal and you’ll be captivated from the very first note.

Not A Day Goes By continues to enthral with its poignant lyrics and Price's heartfelt delivery. The soaring chorus and infectious hooks make it an instant earworm; although, I would have liked the chorus to be sung in a lower register as it can become a little jarring on the senses. Regardless, Not A Day Goes By is a trademark Rick Price tune and is one that is thoroughly enjoyable.

A House Divided picks up the tempo with an excellent pop-rock tune that will see you singing along throughout the chorus. It’s perfectly suited to Price's style but I’d also love to see a country music artist reimagine A House Divided for there’s a touch of country within the song that I feel could be explored further.

Walk Away Renee is a fantastic cover of The Left Banke's original 1966 recording. With Price's knack for crafting catchy melodies, backed by rich arrangements that perfectly complement his soulful vocals, Walk Away Renee has never sounded better.

Heaven Knows is simply magnificent. Price's smooth vocals effortlessly glide over a lush musical arrangement, blending elements of pop, rock, and soul that create an instant connection with the listener.

Church On Fire is the first track on the album that doesn't immediately excite me and is a poor follow-up to Heaven Knows. It does, however, become more palatable as the song builds towards the chorus, but it isn’t likely to be anyone’s favourite song. Yes, it is sequenced poorly within the album structure, but I really don’t feel Church On Fire would have fit anywhere else on the album and I’d go as far as saying that it should have been omitted.

Life Without You is an enjoyable song with a touch of country, folk, and pop that fits perfectly with the overall style of the album and Price’s vocal presentation. It’s an album-only tune, for sure, but it’s songs such as Life Without You that make the album experience all that much more cohesive.

Foolin’ Myself has a killer guitar intro and is a solid pop-rock tune with a catchy chorus that will keep you on the hook.

Forever Me And You is a beautifully crafted ballad that showcases Price's ability to tug at the heartstrings. Price's impeccable vocal control knows few limits meaning that Forever Me And You, much like the rest of the album, is exceptional!

Fragile is a beautiful closing track that permits reflection while also encouraging listeners to play the album again.

Price’s ability to seamlessly blend different genres and deliver heartfelt performances has always set him apart from his contemporaries. The album's production is polished and timeless, allowing it to transcend the era it was released in. Hence, if you're a fan of heartfelt ballads, infectious melodies, and soulful performances, this album is an absolute must-listen; not just for fans of the Australian music scene but for music lovers worldwide.

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Generation X – Kiss Me Deadly (Album Review)

Released in 1981, Kiss Me Deadly by Generation X (Gen X) stands as a monument to the band's contribution to the punk rock and new wave movements of the late 1970s and early 1980s. Fronted by the charismatic Billy Idol, Gen X brought a unique blend of energy, attitude, and musicality to the table, and this album perfectly captures the essence of their sound.

At the time of its release, Kiss Me Deadly found itself firmly entrenched within the punk zeitgeist, albeit with a touch of new wave influence. Yet, perplexingly, Kiss Me Deadly was a commercial failure. During the time many punk bands were beginning to explore different musical territories and Gen X managed to strike a delicate balance between their punk roots and a more melodic, pop-oriented sound; one that ultimately brought punk to the masses as this fusion made the album accessible to a wider audience without sacrificing the rebellious spirit that defined the genre.

Despite being out-of-print since its last physical release on CD in 2005, Apple Music et al, along with digital stores such as iTunes and Quobuz, still have the Deluxe Edition of this classic genre-defining album available. While many will lament the lack of availability of a physical release, it’s wonderful to know that Kiss Me Deadly is still available without the need to seek out a secondhand copy. As such, for this review, we’ll be focusing on the core 10 tracks that were originally released, for the bonus inclusions are B-sides and a couple of live recordings. There’s nothing wrong with that, of course, but as regular readers would note, I’m very focused on the original album experience and feel that you should get to know the album well before venturing into bonus material. Subsequently, the Apple Music stream that I’ll share with you below will be in the form of a Playlist as that allows me to share just the core songs that make up this exceptional album.

Speaking of Apple Music, Kiss Me Deadly is delivered as a CD-quality lossless stream and it’s a rocker. The dynamic range is exceptional and while there are a couple of minor tweaks I’d make to the midrange, simply to fill it out a little more, that can be achieved by tweaking the EQ settings. Other than that, this is one stream that I’m sure you’re bound to enjoy, especially as you find yourself turning the volume up for this is not reproduced with fatiguing brick walling in mind but a dynamic range that harks back to the pre-loudness wars.

Dancing With Myself is the perfect opener for Kiss Me Deadly. While not hardcore punk, per se, Dancing With Myself would go on to become one of Gen X's most recognisable hits. Its driving rhythm and catchy hooks encapsulate the energy and youthful exuberance that defined punk rock.

Billy Idol would remix Dancing By Myself in 1981 for his solo EP release Don’t Stop. While it was still billed as a Gen X tune, I can’t pick my preferred mix for both are thoroughly enjoyable with Idol’s remix being more radio-friendly.

Untouchables shifts the musical direction somewhat as the tempo is reduced. Interestingly, the sonic quality of this particular recording is considerably different to Dancing With Myself. While I’m not sure if that was intentional or an element of the mix and mastering process, the more mellow approach makes Untouchables a thoroughly enjoyable tune as it is far from fatiguing to listen to.

Similar to Dancing With Myself, Untouchables was also redone by Idol for his debut EP, but in this case, I most definitely prefer the original Gen X recording for it’s simply a better rocker and isn’t overproduced.

Happy People has eclectic musical elements that are to die for and that driving bass track is heavenly. It’s a fantastic song; one of their best!

Heaven’s Inside is a great tune that flows perfectly from Happy People. While it isn’t necessarily going to be everyone’s favourite, I find myself captivated by the guitar work for its unassuming, yet it becomes my most appreciated element of this song.

Triumph is a captivating and emotionally charged composition that reminds listeners of the diversity Gen X was aiming for as the new wave elements are present, but more importantly, Triumph is arguably the greatest example of post-punk on the album.

Revenge is so relaxing. Such an emotional response may seem out of place when looking at the album as a whole, but it just goes to show that musical skill can go beyond one’s core genre for Revenge is a beautiful tune.

Stars Look Down has a killer rhythm and while it’s a rather nondescript album tune, Kiss Me Deadly wouldn’t be the same without it. The only criticism I have is related to the chorus for it’s got that coming-of-age teen-styled film soundtrack element that we all once loved but now loathe as we’ve matured. Nevertheless, it’s still a good song.

What Do You Want is Punk 101, what’s not to like?

Poison is one of my favourite songs from Kiss Me Deadly as the pulsating bassline, catchy hooks, and infectious chorus create an irresistible edginess. Idol's snarling vocals are of particular note here, for his raw emotion ensures Poison won’t be easily forgotten.

Oh Mother is, as Dancing With Myself was, a perfect bookend for the record. It encourages me to play the album again as well as turning my attention to other recordings from Gen X and Billy Idol.

Kiss Me Deadly is a cohesive album that embodies the spirit of its time. Gen X successfully blended punk and new wave elements, creating a sound that resonated with fans of both genres. The album's strength lies in its ability to balance aggression with melody, providing listeners with an accessible entry point into punk rock without compromising its rebellious nature.

Ultimately, Kiss Me Deadly remains a testament to the musical prowess of Gen X. With Billy Idol's distinctive vocals and the band's knack for crafting infectious melodies, Gen X solidified their place in music history with this release; an album that is most certainly one of the very best releases from 1981.

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Andrea Bocelli – Cinema (Album Review)

Every now and then an album comes along that is the pinnacle of perfection. Cinema is one such release that blew my mind the first time I heard it. While I’m keenly aware of Bocelli’s work, having been a fan since his 1994 pop/classical crossover Romanza, I wasn’t entirely prepared for the quality of Cinema. There is little doubt regarding Bocelli’s exceptional talent, but I feel that some releases, such as Passione, from 2013, failed to showcase his true talent. Despite that, the song selection, sequencing, recording, mix, and mastering on Cinema is exquisite. As you listen you’ll no doubt come to realise, as I have, that the songs not only bring out the best in Bocelli but that many of these interpretations surpass their original compositions.

While classical purists may lament yet another classical crossover from Bocelli, I truly believe that this is where his true talent resides for he takes listeners on a captivating journey through iconic movie soundtracks, masterfully infusing his signature operatic style with the emotion and grandeur associated with the silver screen.

Sonically, Cinema is stunning and it should be with the calibre of Bocelli and those who worked with him behind the scenes; some of the most decorated and respected people in the entire industry. That said, nothing truly prepares you for the sonic journey you’re about to undertake, so without further ado, join me as I delve into the selection of music Andrea Bocelli chose to cover on Cinema.

Maria (From "West Side Story”) opens the album with a stunning rendition of this timeless classic that is perfectly suited to Bocelli’s tenor vocal range.

La Chanson De Lara (From "Dr. Zhivago”) is a hauntingly beautiful tune filled with the passion and depth that only Bocelli could deliver. His ability to convey raw emotion through his voice is truly remarkable, as he brings the heart-wrenching signature tune from Doctor Zhivago to life through song.

Moon River (From "Breakfast at Tiffany’s”) always reminds me of Frank Sinatra, for I prefer his recording of this classic tune, but Bocelli's tender interpretation of this beloved ballad is nothing short of mesmerising.

E Pit Ti Penso (From "Once Upon a Time in America”) is a magnificent duet with Ariana Grande that showcases Bocelli's versatility and ability to harmonise flawlessly with other artists. Their voices blend beautifully, creating a poignant and captivating performance.

Be My Love (From "The Toast of New Orleans”) will leave you captivated for Bocelli’s heartfelt interpretation captures the romantic essence of the song via his rich and resonant vocal style.

The Music of the Night (From "The Phantom of the Opera”) is one of the most recognisable pieces of music the world has ever known and I’ve always considered Michael Crawford’s interpretation to be the one to beat. That said, I’m extremely impressed with Bocelli’s rendition as his operatic foundation truly shines through in this powerful rendition.

Por Una Cabeza (From "Scent of a Woman”) sees Bocelli deliver the rendition of this tango classic in a passionate and captivating manner whereby his smooth and velvety vocal adds a layer of seduction to the song. That said, it isn’t my favourite track from the album but Cinema wouldn’t be the same without it.

Sorridi Amore Vai (From "Life Is Beautiful”) is a lovely song, but I’ve always wondered how it would sound with a slightly slower tempo. Regardless, as I listen, I remain amazed at the control Bocelli has over his vocal delivery as many artists tend to reach too high and it often sounds forced. It is this self-constraint that makes him one of the best vocalists in the world and ensures that this song is thoroughly enjoyable.

Mi Mancherai (from “Il Postino: The Postman”) is one of the standout tracks selected for Cinema for Bocelli’s emotional performance of this song is deeply moving. His ability to convey longing and sorrow through his voice is truly remarkable and each time this tune comes on, all I can do is close my eyes and appreciate the masterpiece that Bocelli has created. It’s an audible experience that really needs to be heard first-hand to be fully appreciated.

Cheek to Cheek (duet with Veronica Berti) [From "Top Hat”] is a masterful tune and while it has been interpreted innumerable times, I never tire of it. However, as good as the Bocelli/Berti version is, no one does it better than Ella Fitzgerald and Louis Armstrong, for their recording from their 1956 album Ella And Louis is a timeless classic.

Brucia La Terra (From "The Godfather”) delivers a touch of nostalgia with Bocelli’s incredible rendition of this Italian classic. His emotional performance, coupled with the beautifully arranged orchestration, evokes the bittersweet essence of the iconic film.

No Llores Por Mi Argentina (duet with Nicole Scherzinger) [From “Evita”] is filled with passion and intensity and reminds me vividly of Elaine Paige’s exceptional interpretation. It’s a beautiful song and Bocelli pays homage to its lineage as only he could.

Nelle Tue Mani (Now We Are Free) [From “Gladiator”] is the quintessential closer. While the entirety of Cinema is magnificent, this is one interpretation that will bring you to tears for Bocelli’s performance is flawless, moving, and emotionally engaging. We are truly blessed to have access to such incredible music.

No matter how hard I try, mere words can not adequately explain just how incredible this album is. Cinema beautifully highlights the profound connection between music and cinema, demonstrating how the power of melodies can enhance storytelling and evoke a wide range of emotions in audiences. Ultimately, Bocelli's velvety vocal effortlessly transports listeners to the heart of each film's narrative, reminding us of the lasting impact that music has on our cinematic experiences.

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Bruce Cockburn – O Sun O Moon (Album Review)

In the ever-evolving world of music, few artists can boast a career as diverse and influential as Bruce Cockburn. With a legacy spanning over five decades, Cockburn has consistently captivated audiences with his thoughtful lyrics, virtuosic guitar playing, and unique vocal style. His latest album, O Sun O Moon, released in 2023, showcases his enduring talent and serves as a testament to his artistic evolution. Seamlessly blending folk and rock elements, Cockburn's music will continue to resonate with listeners worldwide with this latest release; one of his very best!

While there isn’t much to say about the album artwork, it’s an appealing piece of visual art that plays into the album’s title quite well. I can only imagine how impressive it would look on the larger vinyl canvas and while I aim to pick up a copy, from a sonic perspective I’m smitten with the lossless stream available via Apple Music. As I listen to the record, it becomes clear that Cockburn is in the room with you and every instrumental element has the space to breathe. It really is a well-recorded, mixed, and mastered album.

Of course, sonic quality alone is for nil if the music isn’t exceptionally good and while I don’t always appreciate music for its literal meaning, instead choosing to enjoy the human vocal as another instrument in the mix, join me as I take a look at the songs that make up O Sun O Moon. And, yes, dear reader, you can most certainly enjoy the very best a singer/songwriter has to offer even if, like me, you don’t pay attention to the lyrical stories expressed via the songs.

On A Roll sets the musical tone for the entire album. While the rhythm will infect your soul, it is the catchy chorus that I find myself drawn to as well as the mid-song guitar solo; although I do wish the mix was somewhat different so that the solo could take centre stage for I feel it is too concealed.

Orders slows the tempo a little but the gorgeous guitar work throughout is thoroughly pleasing to the senses. Orders is delivered poetically in Cockburn’s chosen style and as with On A Roll, it is Cockburn’s delivery on the microphone that makes Orders so compelling. It’s singer/songwriter gold and makes for a perfect accompaniment when you’re after music that is both bold and relaxing.

Push Comes To Shove sees me turn the volume up. Exquisite comes to mind for the recording and the mix is utterly perfect with a jazz-inspired tune that is one of the best songs from O Sun O Moon and is without a doubt one of Cockburn’s greatest recordings.

Colin Went Down To The Water is one of those songs that will create an earworm; a pleasing one, but I’d be lying if I didn’t say that it isn’t the strongest song on the album. My feeling is that it is a little too repetitive and while I acknowledge that others may love that approach, it has the potential to cause fatigue upon repeat listens.

Into The Now is a lovely song sung in a near-lullaby style. It may not be a standout, but Into The Now ensures that the album structure of O Sun O Moon is one of the very best records released in 2023.

Us All flows beautifully from Into The Now and Cockburn’s beautiful tones float lovely on the musical bed of the song. It’s an outstanding mix!

To Keep The World We Know takes us back to an upbeat tempo, yet there’s little to no jolt to the senses. It will have you toe-tapping and head-bopping; a great tune.

King Of The Bolero is a magnificent song. Truly magnificent! King Of The Bolero is a textbook example of how to write, record, mix, and master a perfect tune. It’s songs like this that prove just how incredibly talented Cockburn is as a musician.

When The Spirit Walks In The Room continues the sonic masterpiece and is one of my favourite songs from O Sun O Moon. Cockburn’s gravelly vocal presentation here is the highlight for he takes every note and intonation right to the edge of his capabilities and holds it so that, as with Us All, his vocal delicately hangs in the air just above the backing musical elements.

Haiku (Instrumental) is a lovely musical interlude.

O Sun By Day O Moon By Night is essentially the inspiration behind the album’s title and it’s a fantastic tune. Yes, to some it may come across as a little preachy, particularly in the chorus, but it’s lovely nonetheless.

When You Arrive isn’t a standout, but it is the perfect closer for O Sun O Moon for it encourages me to play the album again. It also does what all good closers should; it allows one to contemplate the music they’ve just listened to, meaning that it is a perfect way to end a relaxing night of music listening.

Bruce Cockburn's O Sun O Moon is a musical masterpiece that effortlessly blends folk and rock elements to deliver a deeply satisfying listening experience. Each track on the album showcases the artist's immense talent and artistic growth and that isn’t bad considering Cockburn is fast approaching his eighth decade. It just goes to prove that age is but a number for O Sun O Moon is one of the best albums released in 2023 and if it were to be Cockburn’s final album, then it wouldn’t be far-fetched to suggest that this release was a pinnacle moment in his illustrious career.

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Natalie Merchant – Keep Your Courage (Album Review)

Released in 2023, Natalie Merchant’s eighth studio album, Keep Your Courage, once again focuses on introspective lyrics, folk-inspired melodies, and her distinct vocal style. Merchant’s longevity in the industry is a testament to her prowess as a vocalist and performer, but never has she released such a poignant and sonically pleasing album for I dare say that Keep Your Courage is the greatest creative work of her illustrious career.

As regular readers of Subjective Sounds would note, I appreciate the human voice as an instrument in the mix rather than as a storytelling device and while the songs included on Keep Your Courage explore isolation, love, politics, and feminism, which will appeal to those who appreciate dissecting songs for their literal meanings, I remain in awe of Merchant’s vocal reach throughout as they are thoroughly pleasing to the senses.

Turning our attention to the visual senses and one finds the album’s artwork to be truly unique. Merchant normally appears on her cover art design, but the Joan of Arc statue certainly plays into the album’s title as well as much of the lyrical context throughout. The chosen design, with the coloured elements in the lower left-hand corner, is intriguing for I can’t fathom their purpose or meaning, but they simply work. Without them, the album cover would have been a little visually dull in its monochromatic state.

For those of you interested in picking up a physical release, you’ll be pleased to know that these coloured elements are continued throughout the artwork and look simply incredible. Plus, if you’re after a vinyl version, you’ll get a fourth side containing four songs, from Merchant’s previous albums, never before released on vinyl. While the bonus songs may not have been intended to flow in the context of the album structure, it is far more appealing than when an album is presented across three sides and the fourth is either left blank or contains an etching. Thankfully, the vinyl release didn’t truncate the album either; a common practice that can be mildly frustrating.

Sonically, the Hi-Res Lossless Apple Music Stream, an Apple Digital Master, is nothing short of perfection. It is, without a doubt, one of the most beautifully recorded, mixed, and mastered albums you’re likely to hear in the modern era. The soundstage is spacious and every musical note is given air to breathe as Merchant’s stunning vocal soars through the backing music in a divine experience that has to be heard to be believed. Masterpiece doesn’t even come close to describing the sonic presentation of Keep Your Courage.

Big Girls (feat. Abena Koomson-Davis) is a beautiful song to open the album on. From the first piano notes, to Merchant’s glorious vocal, the sonic sparseness is the highlight here as it allows the mind to relax and reflect before the other musical elements come into the mix. Big Girls has a little bit of everything. There are the singer/songwriter elements, a jazz influence, as well as a tad of pop to be heard. Stunning describes it, but it’s also an understatement.

Come On, Aphrodite (feat. Abena Koomson-Davis) is easily my favourite song from the album. The seamless transition from Big Girls is utterly perfect and Abena Koomson-Davis’ inclusion here is both complementary to Merchant as well as being a standout element. Without Koomson-Davis’ contribution, Come On, Aphrodite wouldn’t be as impressive as it is for the vocal elements are the strongest aspect of this song with regard to the ebb and flow of the tune.

Sister Tilly is a thoroughly relaxing sonic journey. You’ll find yourself closing your eyes and listening in a captivated manner for music should always sound this good, yet it seldom does. What a beautiful song!

Narcissus flows beautifully from Sister Tilly and it would be fair to say that as far as the sequencing of the album goes, Keep Your Courage is seamless. While it isn’t a standout tune, the more I listen to Keep Your Courage the more I find myself increasingly captivated by Narcissus for Merchant’s vocal prowess, control, and delicacy is an experience in and of itself.

Hunting The Wren shifts the tone to be one of a more melancholy approach than we’ve heard thus far. It’s haunting and will make you sit up and take notice but the boldness of the sonic experience ensures that the senses are heightened when listening to this memorable tune.

Guardian Angel lifts the senses following the tonal shift of Hunting The Wren and while it’s a rather simple composition, it allows Merchant’s delicate vocals to reach every aspect of your soul. Merchant is so clear and present, in the mix, that your speakers will disappear and should you close your eyes, you’d swear she is in the room with you. Plus, the musical interlude around the midway point is nothing short of incredible. Guardian Angel is a true masterpiece in every sense of the word.

Eye Of The Storm isn’t quite the song Guardian Angel is, but its beauty is complementary and it’s songs such as Eye Of The Storm that make Keep Your Courage one of the best albums released in 2023 and one that will remain a landmark recording for Merchant.

Tower Of Babel shifts the tempo. The horn and rhythm work here is off-the-charts good. An incredible tune and one that sees my body moving involuntarily to the groove. My only criticism is that it’s too short. That said, good things come in small packages.

Song Of Himself is more relaxed, compared to Tower Of Babel, but unless you’re listening for it, you’re unlikely to notice the stylistic shift. While there isn’t a bad song to be heard on Keep Your Courage, Song Of Himself is a classic album-only tune that few will seek out but is necessary in order to hold the structure of the album experience together.

The Feast Of Saint Valentine is simply gorgeous. What an incredible closing tune! Initially sparse in its chosen musical style and mix, when the music begins to build, every element becomes crystal clear thereby ensuring that The Feast Of Saint Valentine is a memorable closer that will compel you to play the album again. That is, of course, provided you don’t choose to put this magnificent song on repeat for it’s one of the best tunes from the album and one of the best songs Merchant has ever recorded.

There’s no denying Merchant’s songwriting and vocal abilities for she is a master of the craft. Yet, just when we thought that we had heard the best that she has to offer, Keep Your Courage comes along in 2023 and bests all other creative output from this incredible songstress. While I can’t wait to hear more music from Merchant, if Keep The Courage were to be her final album, then I’d consider her extensive catalogue of music to be complete and that this final recording was the apex of her creativity.

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