Air – Talkie Walkie (Album Review)

Released in 2004, Air's third studio album, Talkie Walkie, is a captivating sonic journey that beautifully combines dreamy melodies, lush instrumentation, and ethereal vocals. As you listen to this sonic masterpiece, you’ll be left in awe of the atmospheric soundscapes the French electronic duo were able to achieve. 

While it is questionable as to how memorable the cover art design is, for 10,000 Hz Legend does a better job in that regard, it's the music that will ultimately make you sit up and take notice. Talkie Walkie was released on vinyl nonetheless and the larger canvas size would certainly present the album artwork nicely, but you’ll find yourself looking at your speakers, wondering just how that incredible sonic presentation is emanating from them as the album plays.

Listening to the lossless Apple Music stream, a non-Apple Digital Master and direct counterpart of the CD release, I’m instantly struck by the recording, mix, and mastering for CD quality rarely sounds this impressive. It’s so good that I can say with a clear conscience that Hi-Res Lossless audio would yield no additional benefit. Some may disagree, of course, but the purity in the recording is delivered in bucketloads with this particular lossless stream.

Venus is an enchanting opening track that sets the tone for the album with core piano chords, an addictive rhythm, and ethereal vocals all dynamically layered to envelop the listener. 

Cherry Blossom Girl is a standout track that combines catchy pop sensibilities with Air's trademark ethereal sound. Think of the overlapping harmonies commonly associated with the Bee Gees.

Run shifts the musicality to the eerie side of the sonic spectrum. It isn't a bad song but the eeriness of the track results in mental confusion, thereby preventing ultimate relaxation at this point in the album.

Universal Traveler offers listeners a spacious enveloping soundstage. However, the harmonious lyrics are repeated ad nauseam and that aspect alone can diminish the sonic impact of Universal Traveller. In fact, this is one song that I feel would be stronger sans lyrics as it would offer a much more relaxed presentation. 

Mike Mills is a delightful instrumental piece that showcases Air's intricate melodies and lush arrangements. 

Surfing On A Rocket is a killer tune, and arguably the best song from Talkie Walkie, with an upbeat and vibrant style that will see you move involuntarily to the rhythm. While the lyrical content is repetitive and somewhat similar to Universal Traveler, Lisa Papineau’s vocal delivery is so compelling that you won’t mind for this is one song that could easily be listened to on repeat, indefinitely.

Another Day will capture your attention in a mesmerising dreamlike haze. It’s an incredible experience and one that needs to be heard in order to be fully appreciated for there are times when the English language is incapable of describing such beauty. 

Alpha Beta Gaga has an upbeat tempo that will hook you from the very first moments of the tune. The playfulness of the song is a result of the whistling melody that will stay with you as you enjoy the rest of your day. If only all earworms could be this enjoyable!

Biological shifts the fluidity of the album, again, and while it isn’t out-of-place with regard to the overall thematic style of the album, I’m not entirely sure it’s positioned in the correct sequencing for it is vastly different to Alpha Beta Gaga. Also, the distorted bounce beat can be rather distracting when listening on headphones; not so much, however, when listening via speakers.

Alone In Kyoto is a mesmerising tune that closes the album out beautifully. With its absence of lyrics, the song evokes emotions of solitude, contemplation, and longing, leaving a lasting impression that encourages repeat listens to not only the song but also the album. 

Overall, Talkie Walkie is an incredible sonic journey that just about any music lover will appreciate as the album is both introspective and accessible. The seamless fusion of electronic and organic elements, coupled with its dreamy melodies and ethereal vocals, make it a standout in Air's impressive discography and is one of the best albums released in 2004. 

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Kenny Rogers – Life Is Like A Song (Album Review)

Kenny Rogers' Life Is Like A Song is a testament to the timeless charm and enduring talent of one of country music's most beloved artists. Released in 2023, this album showcases Rogers' rich and distinctive voice, heartfelt storytelling, and ability to touch listeners' hearts with his emotive delivery.

Given this emotional presentation, one can’t help but reflect on Rogers’ life. As such, posthumous albums are usually amongst my least favourite records as there’s sadness amongst appreciation and admiration. Naturally, the question of how soon is too soon comes up and in the case of Rogers, it has been a few years since the world lost this incredible musician. The time is therefore appropriate but one must also question the motives of such a release. Sadly, the music industry and artist estates have a bad habit of going through the archives and releasing any and everything they can get their hands on, all the while repacking it several times to take advantage of the most dedicated fans. 

Thankfully, Life Is Like A Song doesn’t feel like a release done purely for financial gain. It’s so incredible that it is as if Rogers himself signed off on this release. If anything, it pays tribute to both the man and the musician, in the best way possible; by the sharing of a new selection of music that had been, until this album, previously unreleased. Yes, there are a couple of songs that were previously issued, but Life Is Like A Song is primarily an album of new studio recordings. 

What makes Life Is Like A Song so compelling is the impeccable song selection and sequencing. I shouldn’t be surprised, however, as Rogers’ wife Wanda served as one of the Executive Producers, thereby, ensuring her husband, of over two decades, was beautifully remembered. The only bump in the road is attributed to the final bonus song on the Deluxe Edition; At Last. It’s a lovely song, but it doesn’t flow well and is a poor closing track, on this particular edition. That said, The core 10-track release closes masterfully on Goodbye. Although, the first bonus track, Say Hello To Heaven, on the Deluxe Edition is also an incredible closing moment. Regardless, vinyl enthusiasts will likely be content with the 10-track album structure; particularly with that incredible album artwork.  

Delving even deeper into this release, you’ll find the mix and mastering to be superb. While I’ve only, thus far, experienced the album via Apple Music, the lossless stereo stream, an Apple Digital Master, is mind-blowing. When a digital stream sounds this impressive, it makes one wonder if they need to attain the physical counterpart; other than for the thrill of ownership and the retention of a physical product. As it pertains to the Dolby Atmos stream, also on Apple Music, the soundstage is expansive but the result sounds a little hollow when compared directly to the stereo mix. I put this down to the likelihood that these songs were never recorded with surround sound in mind and as is often the case, simulated surround lacks the true nuances that one would experience with a production that was intended to offer a discrete mix from the get-go. Subsequently, I much prefer the stereo mix as it simply sounds right.

Love Is A Drug sets the tone for the journey ahead and is a perfect country-styled tune that blends seamlessly with Rogers’ legacy. His vocal prowess and the soaring melodies are expertly crafted meaning that Love Is A Drug is a standout tune. 

I Wish It Would Rain is a stunning mid-tempo ballad that showcases Rogers' storytelling capabilities. 

Am I Too Late (with Kim Keyes) is a vocal masterpiece that brings Rogers and Keyes into the room with you. The musicality is subtle, but for a song like this, that is all that’s required for the harmonious intertwining vocals will leave you in awe. 

Tell Me That You Love Me (with Dolly Parton) is a fantastic toe-tapper and one of the greatest songs on the record. Parton is once again a perfect collaborator and while Rogers’ recordings with other female vocalists should not be overlooked, Rogers and Parton had a vocal chemistry that transcends the humble duet. 

Straight Into Love (with Jamie O’Neal) is, however, even more impressive than Tell Me That You Love Me with its instantly captivating melodic hooks. Granted, the shift in tempo plays a role here but Straight Into Love is simply magnificent nonetheless and O’Neal’s inclusion here is one to be held in high regard for her vocal capabilities are simply stunning. 

Wonderful Tonight is, as I’ve suggested before, one of the most magnificent ballads ever recorded. While it is Eric Clapton’s song first and foremost, and many exceptional interpretations of this classic song have been recorded, this Kenny Rogers recording is one of the greatest as it pays homage to the original, not drifting too far from the song’s origins, while simultaneously sounding fresh and becoming an essential tune in Rogers’ extensive catalogue of music. 

Catchin' Grasshoppers is a musical marvel with a beautiful opening that leads into Rogers’ vocal that soars above the musical bed with emotional depth and passion. 

That's Love To Me is a beautiful ballad combining Rogers' signature country sound with a touch of pop and easy listening. The infectious melodies and sing-along chorus make it an instant earworm but it is Rogers' charismatic delivery that will resonate with listeners. 

I Will Wait For You has a cinematic and relaxed feel to it. While it isn’t a standout tune, it’s lovely nonetheless. 

Goodbye pulls at the heartstrings, naturally, but what a gorgeous song to close the core album on. Rogers has never sounded so good and performs the Lionel Richie classic masterfully. His gravelly vocal presentation on Goodbye is simply magnificent. The control he has over his range, on this particular song, is incredible and it wouldn’t be far-fetched to suggest that it’s one of his most powerful performances.

Say Hello To Heaven (Bonus Track) is touching, emotional, and moving. It’s a difficult song to listen to, however, for you feel the anguish of the song’s meaning. Despite being a masterpiece, I’d be lying if I said that it isn’t an emotional rollercoaster ride of a song. One that deserves to be listened to, certainly, but one that you simultaneously wish you hadn’t heard. 

At Last (Bonus Track), as I alluded to earlier, simply isn’t the strongest song to close the album with. That doesn’t mean that Rogers’ rendition of this classic tune is flawed, for it isn’t, it’s just a little too upbeat following Goodbye and Say Hello To Heaven. Nevertheless, this won’t prevent me from spinning the album again for it’s an instant classic and is one of the best records released in 2023. 

While Life Is Like A Song undoubtedly stands as a testament to Rogers' remarkable career, it also serves as an important reminder of his profound musical legacy. Rogers' ability to tell stories through his songs and evoke genuine emotions is showcased at its finest on this album and if there is a greater gift to Rogers’ fans, following his death, I know of none.

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Kavinsky – Reborn (Album Review)

Released in 2022, Reborn is the second studio release from Kavinsky; an electronic musician with a knack for crafting mesmerising sonic experiences. If you haven’t heard of Kavinsky, you wouldn’t be alone for it’s been a considerable break between albums with his first studio release, OutRun, hitting the music scene in 2013. Yes, it may be suggested that his first studio release was Nightcall, from 2012, but at 35 minutes in length, it walks the thin line between being an album or an EP with Kavinsky choosing the latter. Nevertheless, Reborn is true to its namesake for Kavinsky’s music has never sounded better. 

Naturally, music isn’t just about the composition of notes that creates pleasant soundscapes for the artwork for Reborn is extraordinarily good. If there is one album that deserves to be presented on the larger vinyl canvas, this is that album. 

Similarly, if the quality of the recording, mix, and mastering weren’t up to scratch, then Reborn wouldn’t be as compelling as it is. The lossless Apple Music stream, an Apple Digital Master, is stunning. You’ll be enveloped in the soundstage from the very first moment of the album to the last. While I suggest that this is one album everyone should own on vinyl, for the artwork alone, when a digital stream is this good, one needs to question if such attainment is necessary. 

Pulsar opens the album with not only a pulsating sound signature but one that will reach into your soul for the rhythmic beats mimics that of a pulse. Subsequently, it has to be heard to be fully appreciated and while many people listen to music via headphones, Pulsar is one song that I feel is best experienced via speakers as your body senses every element that would otherwise be missed if only experienced via your ears.

Reborn (feat. Romuald) flows beautifully and showcases an album experience more than merely a collection of songs haphazardly sequenced. As solid as Romuald’s inclusion here is, however, I can’t help but feel that this song would have been stronger sans lyrics. Still, it’s thoroughly enjoyable and that opinion is but a minor quibble. 

Renegade (feat. Cautious Clay) is a killer tune and is one of the best songs on the album and one that will stand the test of time. It all comes down to the infusion of rhythm and vocals that are mixed perfectly to create a song that is a modern equivalent of what one may expect from an artist such as Stevie Wonder. 

Trigger is bold, epic, and immersive and you’ll find yourself involuntarily moving along with the musical moments as the song shifts its rhythm throughout.

Goodbye (feat. Sébastien Tellier) slows the tempo somewhat, but because of the instrumental nature of Trigger, and the slow build of Goodbye, it isn’t as disrupting to the senses as one may initially imagine. Tellier’s vocal is incredible and sits in perfect phase with the accompanying musical bed. Goodbye is, subsequently, the most beautiful song to be heard on Reborn; one that will see your soul relax as you listen to the music. Although, that ending is simply too abrupt.

Plasma (feat. Morgan Phalen) picks up the tempo and will compel you to get on your feet. Plasma, however, isn’t the strongest song on the album and while there are elements that I thoroughly appreciate, the song as a complete piece of audible art is just not quite as strong as I feel it could have been. It’s as if it needed a little more oomph with a reduction of a decibel or two on the vocal track in order to really come alive. 

Cameo (feat. Kareen Lomax) is a solid toe-tapper but is a low point within the album. Don’t get me wrong, that isn’t to suggest Cameo is bad, but when you have a collection of songs as exceptional as those heard on Reborn even a solid tune will be lacklustre by comparison. That said, when looking at the album as a whole, Cameo sits perfectly and flows seamlessly. 

Zenith (feat. Prudence & Morgan Phalen) shifts to a more reflective jazzy rhythm and while I normally dislike overly processed vocals, they’re taken right to the edge of what I consider acceptable and Zenith subsequently sounds fantastic. 

Vigilante (feat. Morgan Phalen) is an example of organised chaos. Yes, one should cancel the other out, yet the disjointed nature sits in perfect harmony. While Vigilante won’t appeal to everyone, and it’s difficult to dance to as the mind struggles to find the core rhythm, it’s intriguing nonetheless. 

Zombie (feat. Morgan Phalen) gets the body moving to the rhythm. Sometimes that is all that is needed, for not every song requires extended commentary, it just has to be emotive. 

Outsider returns us to an instrumental musical landscape for the remainder of the album and as much as I appreciate lyrics within electronic music, as I listen to Outsider, I can’t help but wish that Kavinsky had also released a version that was purely instrumental as Outsider and all the instrumental-based tunes heard on Reborn are where the French electronic musician’s skills are strongest.

Horizon is a beautiful closer that compels me to play the album again. While I’m not convinced the electronic nonsensical vocal-styled musical element was required, Horizon is one of those reflective songs that also ensure that if this is the last album you listen to today, you’ll be left in a thoroughly relaxed musical state. 

Whether you’re a hardcore electronic fan, or not, Kavinsky mesmerizes listeners with his signature sound. Each track is notable on its own, but when listened to as a whole, Reborn takes you on an immersive journey; one that needs to be experienced firsthand to be fully appreciated. While each listener will interpret the album subjectively, there is little doubt in my mind that Reborn is one of the best albums released in 2022.  

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Midnight Oil - Blue Sky Mining (Album Review)

Following a masterpiece is no easy task as subsequent albums will always be compared. That said, can Blue Sky Mining match the performance captured on Diesel And Dust?

Yes, and no! 

Few would argue that both albums are exceptional in their own right, with Blue Sky Mining winning, amongst other awards, the Best Album of 1990 by the Australian Record Industry Association (ARIA). While I do consider Diesel And Dust to be the stronger of the two, both were released during Midnight Oil’s creative peak; that is until the release of RESIST in 2022. 

While the previous paragraph never quite answered if Blue Sky Mining matched the performance of Diesel And Dust, I will say that it was Blue Sky Mining that would introduce me to one of the greatest rock bands Australia has ever produced. 

I know, I still haven’t answered the proposed question, have I? 

Perhaps it is best to say that the two cannot be separated or compared for whenever I think of Midnight Oil, I class both records as exceptional examples of what Midnight Oil is musically and what they stand for. 

Known for their politically charged lyrics and energetic performances, Midnight Oil continued their powerful musical journey with this album and while the mastering isn’t quite as lush as that heard on Diesel And Dust, it is thoroughly enjoyable and allows one to turn the volume up without experiencing fatigue. That aspect is particularly interesting as the original releases of the album were significantly more dynamic but the brick walling applied here certainly doesn’t detract from the emotive energy of the recording. Dare I say, it enhances it for compression is not always a bad thing.

Blue Sky Mine launches the album with a driving rhythm and anthemic sound that perfectly suits Peter Garrett’s vocal style. Although, it is far from the strongest song to be featured on the album and the production is a little dated when compared to modern standards. Nevertheless, from the get-go, Midnight Oil showcase their social consciousness as they deliver their opinion on workers’ rights. 

Stars Of Warburton slows the pace with a solid rhythm. While there is little doubt that Stars Of Warburton isn’t at the top of anyone’s favourite Midnight Oil songs, that chorus is where the magic happens. 

Bedlam Bridge has a somewhat chaotic introduction that’s a little left-of-the-centre, but it’s compelling and draws you into the story and sonic wonderland that is to come. On Bedlam Bridge, Garrett’s vocals are amongst his cleanest ever recorded; unlike his earlier punk-era recordings. As with Stars Of Warburton, the chorus, with its infectious beat and catchy melody ensure that it’s not only memorable but is one of Midnight Oil’s greatest recordings. The only disappointment is the closing moments of the song as I feel the street sounds are distracting. Yes, I acknowledge the segue between Bedlam Bridge and Forgotten Years, but I feel the outro is unnecessary and should have been repositioned to the intro of Forgotten Years. It’s just unfortunate that I also consider the first few seconds of Forgotten Years to be the perfect length.

Forgotten Years is one of Midnight Oil’s most recognisable tunes and there’s little doubt as to why, as the band’s musical prowess, along with Garrett’s powerful vocals, combine with perfect synergy to form an exceptional tune.

Mountains Of Burma is evocative and is amongst Midnight Oil’s finest recordings. 

King Of The Mountain has to be one of the most energetic, infectious, and hard-hitting rock rhythms in rock and roll history. There’s a little Punk, a lot of Rock, and Garrett’s commanding vocals. What more could one ask for? 

River Runs Red slows the tempo considerably and very well could have been a Crowded House tune; that should be seen as a compliment. Sonically, River Runs Red is simply gorgeous. The musical layering is exceptional and is amongst the very best I’ve ever heard. It really is that good!

Shakers And Movers is a solid song, but I would class it as a B-side. However, a B-side for Midnight Oil, particularly at this point in their career, would be a hit for any other band.

One Country is another passionate performance with a powerful message from The Oils. Recorded with an acoustic focus, One Country becomes a contemplative listen that makes you sit up and take notice. It’s simply gorgeous! 

Antarctica is a mesmerising closer. It’s thoughtful songs such as Antarctica that are Midnight Oil’s trademark, but it’s even more important as the final track on an album for you can either play the record again or sit and reflect on the music you’ve just heard. Whatever you decide to do next, one thing is for certain, Antarctica leaves a lasting impression. 

Blue Sky Mining may not have reached the heights of Diesel And Dust, but it’s still one of the greatest albums Midnight Oil ever recorded. The higher production quality is noticeable, and appreciated, but it never sounds overproduced. Granted, fans of their earlier works may disagree, but you can’t please everyone. Nevertheless, with the album's powerful lyrics, energetic performances, and distinctive sound, Blue Sky Mining is a must-own, and listen, for fans and newcomers alike.

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Midnight Oil – Diesel And Dust (Album Review)

Ian McFarlane's Encyclopedia of Australian Rock And Pop references Diesel And Dust as “groundbreaking and one of the greatest Australian albums of all time”. I dare anyone to challenge that claim as Diesel And Dust is the quintessential album Midnight Oil should be remembered for.

John O'Donnell, Toby Creswell, and Craig Mathieson also thought so highly of Diesel And Dust that it was awarded the No.1 Australian album in their book, The 100 Best Australian Albums. They go on to say “in the process of reinventing themselves, Midnight Oil has crafted an album of brilliant, passionate, and intelligent songs that carry a message”.

Following these greats with any additional commentary on Diesel And Dust would be seemingly superfluous, but bear with me as I take a look at the music that makes up Diesel And Dust.

Beds Are Burning is iconic! With its catchy guitar riffs and anthemic chorus there’s little doubt as to why it has remained as revered as it has over the years. Addressing the plight of Australia's Indigenous people and their stolen lands also adds to the emotive element of the tune and while politically-charged lyrics are not everyone’s cup of tea, few would gripe about Midnight Oil’s lyrical direction as the music is off-the-charts good.

Put Down That Weapon is sonically gorgeous. In fact, while the lossless Apple Music stream is from the 2008 remastering sessions, you won’t be disappointed for Put Down That Weapon, in particular, is mastered with kid gloves meaning that the pounding drums and infectious guitar hooks give the song a rebellious edge, while Garrett's vocals convey a sense of urgency and conviction.

Dreamworld shifts the tempo and tone but the driving rhythm section and memorable melodies ensure that Dreamworld remains a captivating listen. That said, Dreamworld is one song that can be a little jarring on the senses, especially when listening repeatedly as it isn’t quite as smooth, from a sonic perspective, as the other songs featured on Diesel And Dust.

Arctic World is an atmospheric marvel and while some may dislike the styling of the song, the evocative nature of Arctic World ensures the listener sits up and takes notice of a song that addresses climate change; an issue that is still plaguing modern society.

Warakurna flows seamlessly from Arctic World with rhythmic perfection. It’s one of my all-time favourite Midnight Oil songs as it blends traditional rock elements with indigenous influences to deliver a song with a poignant message.

The Dead Heart is another sonic standout from an album that defines Midnight Oil. The combination of all musical elements and Garrett's passionate vocals creates an emotionally charged atmosphere that is both captivating and deeply moving from both literal and musical perspectives.

Whoah is sonically beautiful. Close your eyes, relax, and enjoy.

Bullroarer picks up the pace with driving guitar riffs and a rhythmic and infectious chorus that ensure Diesel And Dust is remembered for its high-energy sound as much as it is for its sociopolitical messaging. With a tip of the hat to Midnight Oil’s Punk roots, Bullroarer is a musical masterpiece and one of the best songs they have ever written and recorded. If you haven’t already, turn the volume up to 11.

Sell My Soul is a hidden gem with introspective vocals and a melodic arrangement. While it was never destined to be a standout hit, Diesel And Dust is all the better for Sell My Soul’s inclusion.

Sometimes showcases Midnight Oil’s Punk roots and while there’s absolutely nothing wrong with that, it isn’t the strongest song on the album, particularly with regards to the verses. The chorus, however, is another issue entirely for it’s thoroughly enjoyable and captivating.

Gunbarrel Highway, while not featured on the vinyl and cassette releases of Diesel And Dust, made it to many of the CD editions as a bonus track. While I’m normally dismissive of bonus tracks, Gunbarrel Highway is one exception as it is a perfect closing tune to the album; one that encourages me to play it again.

Midnight Oil’s Diesel And Dust is timeless from both the perspective of sociopolitical issues and musicality. This is one album whereby each track stands on its own but the collective nature of the album experience further amplifies a cohesive musical statement. While some will turn to it for literal meaning, others such as myself will prefer to enjoy the album for its masterful musicality. No matter how you choose to appreciate Diesel And Dust, one thing is for certain, this is one album that you need to have in your collection.

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Quincy Jones – The Dude (Album Review)

Released in 1981, The Dude stands as a timeless masterpiece that incorporates elements of Funk, Jazz, Pop, R&B, and Soul, yet Quincy Jones isn’t the only star here for the lineup of studio musicians chosen is not only extensive but impressive. While you may be most familiar with Jones for his production of classic albums, including Big Band Bossa Nova, Off The Wall, and Thriller, to name a few, his legacy continues well beyond these signature releases as The Dude represent some of his most creative works.

Yes, Jones’ collaborations with Michael Jackson will always be what he is most remembered for, but it’s important to note that The Dude was nominated for an impressive twelve Grammy Awards. It would go on to win three; an extraordinary achievement for an album that not only is so varied but also utilised various musicians and vocalists. And, yes, while Michael Jackson appeared on the title track as a backing vocalist his inclusion on this release is minimal at best.

Regardless, there’s little doubt as to the musical chops of The Dude, but what I find most fascinating is the album’s artwork. The morphing “Dude” creates a visual illusion that matches the shifting styles heard throughout the record and is perfectly set against a simple black frame. It’s one of the best album covers from the era and immediately captures one’s attention. You can imagine just how fascinating it would have been seeing it on the shelf in your local record store in 1981.

Sonically, however, all is not perfect. The lossless Apple Music stream is adequate but to get it to sound its best, you’ll likely be fiddling with your EQ settings. It’s a shame considering the music is, otherwise, incredible. The problem is that in its flat presentation, it’s a little too clinical. The result is a sound that lacks an emotive feel; an aspect that is paramount to this style of music. Despite this, once your preferred EQ settings are dialled in, there’s no doubt that you’ll find it encapsulating. A remastered edition, however, would be welcome, but as music is subjective you, dear reader, may find the core stream to be perfectly acceptable. As for myself, I’ll be thoroughly enjoying this particular release until the streamed version is either updated or until I attain a physical release as the music is that good!

Ai No Corrida (feat. Dune) has an infectious rhythm and is the perfect tune to launch The Dude with. With a mix of jazz, funk, and pop stylings, Ai No Corrida will hook you from the very first note. Ai No Corrida, however, wasn’t first recorded by Jones et al as Chaz Jankel (along with Kenny Young) wrote and recorded it for his self-titled 1980 release, Chas Jankel. Jankel’s version is similar in style but as Jones always does, he hears and subsequently refines a tune so that it is greater than the original song. It’s his gift and while Jankel’s recording is excellent in its own right, it pales in comparison to this version.

The Dude blends funk undertones, captivating jazzy brass sections, and memorable hooks to create an unforgettable musical experience.

Just Once slows the album’s tempo but you won’t mind as James Ingram’s vocals are exceptional on this tender love song. Yes, it is very much a song of the 80s, but don’t let nostalgia influence you for Just Once is as beautiful today as the day it was recorded.

Betcha Wouldn't Hurt Me (Extended Version) will encourage you to turn the volume up, if you haven’t already, as its atmospheric musicality is enveloping. Patti Austin vocalises the song perfectly and with a flawless mix of jazz and funk elements, Betcha Wouldn’t Hurt Me remains a standout tune on The Dude.

Something Special is smooth. Austin, once again, performs vocal duties here; she is truly magnificent! One aspect, however, that may be detracting is the slower tempo as it’s unassuming. Granted, the song flows well within the linear structure of the album, but Something Special isn’t a song that is likely to be anyone’s favourite as there isn’t anything here that is truly memorable.

Razzamatazz, however, will have you coming back for more as the 80s funk rhythm is so infectious that you’ll lose yourself in this tune. It’s arguably Austin’s greatest vocal contribution to The Dude for her addition not only amplifies the groovy musical bed but ensures that those looking to sing along will be in good company, especially throughout the chorus.

One Hundred Ways is a timeless masterpiece. Ingram’s vocal is extraordinary and leaves a lasting impact.

Velas calms the senses for this serene tune takes you on a thoroughly enjoyable musical journey. While it could be argued that it could have been a stronger song, it does set up the album well for the closing burst of energy that is Turn On The Action.

Turn On The Action is the quintessential closer as it brings our attention to the Funk elements that are at the core of The Dude. In doing so, it will remind you of the mastery heard and compels you to listen to the album again.

There is little doubt that The Dude is a testament to the exceptional talent and musical genius of Quincy Jones. With its interweaving styles, impeccable craftsmanship, and infectious grooves, The Dude remains not only a landmark release for Jones but is one of the greatest albums released in 1981.

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Elton John – The Fox (Album Review)

Elton John's 1981 studio album, The Fox, arrived during a transitional period in the singer-songwriter's career. By this point, John had already established himself as one of the most iconic figures in popular music, with a string of hits and critically acclaimed albums under his belt. However, The Fox continued the sonic departure from his classic era, embracing a more experimental and electronic direction that reflected the evolving music landscape of the early 80s.

Naturally, the shifting styles mean that The Fox will not appeal to all Elton John fans, but it’s an album that grows on your the more you listen to it. It, subsequently, stands as a testament to his versatility as an artist and his willingness to embrace new musical styles; a core reason why he remains relevant within the music industry to this day.

The Fox may be considered a unique album on its own, but several songs were originally recorded, during the same sessions, for John’s incredible, and severely underrated, 21 At 33. Subsequently, you may find it interesting to listen to that album first before reaching for The Fox as correlations are most certainly present. No, The Fox, is not merely a collection of previously discarded songs, but it is understandable as to why some may consider this to be the case.

Given the lacklustre commercial success, one can understand why the album has received no attention since the 2003 remastering that remains the gold standard for this release on Apple Music et al. That, however, shouldn’t be seen as a negative aspect for the 2003 remaster is stunning. The dynamic range presented will enthral as every musical element is clearly presented in the soundstage and turning the volume up, or even listening at lower levels, results in an exceptional sonic presentation that is more than anyone could ask for. Is there room for improvement? Perhaps, but there are no glaring issues to note and sometimes it is best to leave well enough alone; a trait the music industry often fails to understand.

Breaking Down The Barriers opens the album with a catchy and energetic melody. The modern 80s sound signature of included synthesizers and electronic elements set the tone for the entire album but as much as they’re present, they don’t detract from the song itself or John’s vocal delivery. Would Breaking Down The Barriers have been a far better song had it been recorded in his classic era style, probably, but it’s enjoyable just the way it is.

Heart In The Right Place features a tight moody rhythm section with some absolutely killer lead guitar licks. John's soulful vocals will also captivate you for it’s a hidden gem from his extensive catalogue. It’s without a doubt one of his best songs from the 80s and the incorporation of blues-based rock, with a touch of funk and some R&B, ensure that Heart In The Right Place is a memorable track.

Just Like Belgium is a solid pop-rock tune that initially makes me think of Bruce Springsteen; due to the musical style presented during the introduction to the song. Nevertheless, it isn’t a standout track, despite being lively and playfully energetic, but it is very 80s so if 80s music is your thing; you’ll love it!

Nobody Wins is one of the album's standout tracks for that tempo will instantly grab you. As with Just Like Belgium, Nobody Wins offers listeners a much-appreciated nostalgic trip down memory lane.

Fascist Faces has a driving soft rock sound signature and while there’s nothing wrong with that, John's processed vocal on this song can be a little off-putting. Additionally, the chorus isn’t overly compelling and all-in-all Fascist Faces just isn’t a great song. It works within the album structure, but it isn’t a song that you’d seek out, outside of the album format. A shame considering this was a songwriting collaboration with the one and only Bernie Taupin.

Carla / Etude / Fanfare / Chloe is a lovely song, or collection of songs, that is truly worthy of being a part of John's back catalogue and reminds me somewhat of Alan Parsons’ recordings. When the 2003 remaster was released, the four songs were combined into a single song and it works for it’s absolutely beautiful from start to finish. It really is one of the greatest pieces of music John has ever recorded.

Heels Of The Wind shifts the tone of the album as it’s an energetic track that showcases John's ability to blend rock and pop elements seamlessly.

Elton’s Song is lovely. While rather controversial at the time of release and while I don’t normally delve too deeply into lyrical meaning, this heartfelt tune, if released today, would be celebrated rather than receiving the same level of pushback and negative press it did in 1981. A lovely song!

The Fox follows Elton's Song nicely and is the quintessential closing tune for it ensures I’ll spin the album again and stay within John’s extensive catalogue of exceptional music. As divisive as his 80s output may have been, The Fox, both the song and the album, are thoroughly enjoyable and are Elton John recordings to the core; albeit with a modern 80s twist.

While it may not be as accessible as his classic era recordings, The Fox, John’s fifteenth studio album, offers a unique listening experience for fans willing to venture into the uncharted territories of Elton John's discography. It's an album that rewards repeat listens for The Fox can be seen as a notable chapter in Elton John's illustrious career, capturing a moment of artistic exploration and evolution while staying true to his artistic vision.

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