Elton John – Self-Titled (Album Review)

Elton John has no shortage of classic albums that can be seen as both revolutionary and standing the test of time, but this self-titled second album sees John return to the studio with an even more polished production than was heard on his debut Empty Sky. 

Released in 1970, Elton John marked the beginning of a legendary career that would not only change John’s life but would have a profound influence on the popular music landscape for decades to come. With his masterful piano playing, gorgeous lyrics, and melodic style, Elton John remains an album experience through and through. While popular songs such as Your Song and Border Song are worthy singles in their own right, the sequencing of Elton John is utterly perfect.

Interestingly, Elton John was never intended to be a career-launching album for it was merely supposed to present a polished overview of the music from John and (Bernie) Taupin for other musicians to select from and record for themselves. I think I can speak for all of us when I say that I’m glad that intent failed for it is unimaginable to consider the musical landscape sans Elton John’s contributions.

While John and Taupin, along with the band are to be revered for the music that comprises the Elton John album, Gus Dudgeon, the album’s producer, was arguably a visionary creative and was so influential in that role that he would go on to produce many of John’s most respected classic era albums including Goodbye Yellow Brick Road.

Visually striking, this self-titled debut is a perfect accompaniment for the larger vinyl canvas. What has always confused me, however, is the fact that the rear album artwork presents the names and standing photographs of the contributing musicians to this master recording. Yet, there isn’t a single song from the album listed on the rear sleeve. Instead, you’ve got to venture into the gatefold for such information, along with lyrics and additional liner notes. It’s a bit of an oddity as one naturally turns the album cover over when perusing them to see if a song stands out from the list thereby compelling the purchasing or playing of the album. The CD counterparts don’t replicate this aspect, thankfully, but the 2017 vinyl reissue that I’m fortunate to own, replicates the original artwork. Regardless of that aspect, it’s a beautiful reproduction with a slightly textured cover that ensures damage will be minimal for Elton John is one of those albums that you can’t help but to continually play. 

While some vinyl collectors don't play their records, or will place the album artwork on a Now Playing stand, I prefer to hold the artwork and when I drop the needle on the record, I’m blown away. The musical reproduction of this release is said to have been remastered from the original analogue tapes and based merely on the sonic presentation that emanates from my speakers, I don’t doubt it. The only problem is the inconvenience of the format, for when the digital counterparts sound as good as they do. In the modern convenience era, it certainly takes a determined mind to commit to a vinyl playback ritual. 

Recorded, mixed, and mastered with kid gloves best describes the sonic wonder that you’ll experience when listening to this album, regardless of format or delivery method. While the vinyl reissue is thoroughly engaging, so too are the Apple Digital Master stereo and Dolby Atmos streams from Apple Music. While I prefer the stereo mix, that is likely due to hearing this album in that way for decades. Nevertheless, the Atmos mix is additive in that it has been delicately crafted and offers a fuller, and more immersive, presentation than the stereo mix permits. Some instrumental elements are more noticeable, having been freed from the refines of two-channel audio, but the only downside I’ve noticed is that the width of the soundstage is a little shallower than the stereo mix. That may sound strange given the surrounding nature of the Dolby Atmos format, but the stereo panning in the two-channel original mix seems to have a greater distance to the left and right than the Atmos stream does. Regardless, both are thoroughly enjoyable I will say that the Atmos stream is one of the best implementations of this technology that I’ve had the pleasure of hearing.

While most of the digital reissues for Elton John, post-1995, have included three bonus tracks, they’re superfluous to the flow of the album. I have subsequently chosen to omit them from this review and as such you’ll find a shared Apple Music playlist below that presents the album with its original 10-song structure. Of course, while I may be less than enamoured with the bonus material, you may appreciate it. Hence, you can check out the 13-track edition by clicking here. If you’re interested in delving even further into this release and the Elton John era, the 2008 Deluxe Edition features additional demos as well as BBC session recordings.  

Your Song is one of John’s most enduring tunes. The love song theme will pull at the heartstrings while the musical aspects of the song continue to progressively build, eventually culminating in one of the most beautiful songs ever written and recorded. 

I Need You To Turn To is an incredible pop ballad. When I hear music this pure, I can’t help but wonder if John, Taupin, the musicians, and the production team were aware of just how incredible the music was at the time when they were creating it. 

Take Me To The Pilot is an upbeat, piano-driven tune that complements John’s vocal styling. With its infectious hooks and melodies, Take Me To The Pilot is a standout even if its only claim to fame is as a solid album tune for this is one song that is not easily forgotten. 

No Strings On Louise takes a bluesy Rolling Stones’ meets country music twist. One could be forgiven for thinking that The Rolling Stones made an impromptu appearance on this song but as a fan of The Stones, I think it’s wonderful and it’s one of my favourite songs from Elton John; despite its stylistic shift.

First Episode At Hienton is a sonically beautiful tune. Its haunting composition will envelop you in the immersive soundstage throughout, thereby making it one of the most captivating songs from the album.

Sixty Years On has a unique and somewhat pointless introduction. I class it as the sonic equivalent of 2001: A Space Odyssey in that it gets your attention due to the progression of sonic elements rather than the song itself. Nevertheless, once the song starts and the senses start to settle, Sixty Years On becomes a masterstroke in its own right.

Border Song is a gospel-inspired gem. John’s piano, lyrical delivery, and the symphonic backing elements all build to the moment when the choir comes into the mix. It’s a sonic experience that has to be heard firsthand for Border Song will touch your soul in a way that simply cannot be adequately described.  

The Greatest Discovery is one of John’s greatest recordings and as with many of his tunes, it should be heard firsthand for any commentary is going to do nothing more than butcher what can only be considered a musical masterpiece. 

The Cage is New Orleans Jazz meets Rock and Roll with a killer rhythm and groove. 

The King Must Die is grandiose and aligns with John’s persona. As the song builds in intensity, featuring dynamic shifts in tempo, the orchestral arrangements add further majesty, thereby resulting in it being a quintessential closer; one that permits reflection, as well as compelling the listener to play the album again. 

Elton John is a remarkable release that is up there as one of the greatest albums in music history. It laid the foundation for John’s illustrious career and remains a testament to his enduring musical legacy. Most importantly, however, it deserves greater recognition than it often receives. We frequently point to Goodbye Yellow Brick Road as John’s magnum opus, but this self-titled release is equally its peer. If you’ve never heard it, nor given it a chance, you’ll be shocked with regards to just how impressive this release is for it is Elton John to the core and is thoroughly captivating from the very first note to the last. 

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Earth, Wind & Fire – Raise! (Album Review)

Released in 1981, Earth, Wind & Fire’s 11th Studio album, Raise!, delivers the band’s trademark blend of funk, disco, R&B, and soul so well that you’d be mistaken for thinking this is a greatest hits compilation. Filled with infectious and uplifting tunes, Raise! sounds as fresh today as it was when it first hit record stores in the early 80s and is bound to captivate modern audiences, as much as their legacy counterparts, for Raise! is ultimately timeless. 

What is also enduring is Earth, Wind & Fire’s compelling artwork for they rarely disappoint in that regard as their albums are all worthy of presentation via the larger vinyl canvas. It’s disappointing to note that Raise! hasn’t been reissued on vinyl at all, despite some of their other albums seeing a reissue on the format. Given the modern resurgence of vinyl records, it seems like a missed opportunity and it isn’t as if Raise! is one of their lesser-known albums. That all said, the lossless Apple Music stream, an Apple Digital Master, is exquisite in every way imaginable. When streaming sounds this good, it makes one wonder why they should invest in the physical counterpart. 

Let’s Groove opens the album with a dance-floor vibe that sets the tone for the entire record. With an irresistible tempo, catchy melody, and some powerful instrumental elements, Let’s Groove will get you moving. 

Lady Sun continues the upbeat feel but is a little more soul focused than Let’s Groove. Don’t let that deter you, however, for the party has just started. In fact, if you were having a party, Raise! would provide the perfect background music for such an occasion. 

My Love slows the tempo a little but the disco vibes remain ever-present. The band's instrumentation and tight harmonies are nothing short of pure sonic bliss and while My Love may be overlooked as an album-only song, it’s one of the greatest groove meets funk meets disco tunes in Earth, Wind & Fire’s extensive catalogue. 

Evolution Orange is a lush musical experience. That said, it’s a quirky little tune that takes a few listens to fully appreciate. Part of the slow appreciation process is due to Maurice White’s vocal style, on this particular tune, as it differs considerably from the vocal tracking on the rest of the album. Subsequently, while the Apple Digital Master ensures his high notes remain tamed, I can only imagine how fatiguing Evolution Orange could be, especially if the CD, for instance, was mastered with loudness in mind. 

Kalimba Tree is a mesmerising musical interlude that could barely be called a song, due to its length, but it’s a perfect introduction to You Are A Winner.

You Are A Winner is infectious. Its sheer energy and positive message, while maintaining the core groove-fused musicality, is a trademark of Earth, Wind & Fire and is a core component that makes Raise!, and their music in general, so compelling. 

I’ve Had Enough will see your body moving involuntarily to the rhythm. Its smooth, laid-back, style, combined with elements of R&B and funk, ensures that I’ve Had Enough is not only magnificent but that it remains another hidden gem. Despite charting satisfactorily when released as a single, it simply doesn’t get the recognition it deserves.

Wanna Be With You initially slows things down, but its funk, disco, and R&B elements show their true colours rather quickly. While the tempo doesn’t reach the pace heard earlier in the album, Wanna Be With You is perfect in its own right while also being thoroughly relaxing. 

The Changing Times, in a similar manner to Wanna Be With You, has an introduction that is somewhat different to the core song and while it’s a style, I find it to be a little distracting. Nevertheless, as the closing track, The Changing Times allows for contemplation as well as compelling listeners to listen to the album again.

Raise! is a testament to Earth, Wind & Fire's incredible artistry and their ability to create timeless music. The album seamlessly blends different genres while maintaining a cohesive and infectious sound throughout. From the energetic and irresistible Let's Groove to the quintessential closer, The Changing Times, each song showcases the band's unmatched musical prowess and their ability to uplift and inspire listeners. Raise! is, subsequently, a must-listen for any fan of the band as well as being a perfect entry point for those who are new to Earth, Wind & Fire.

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Alice Cooper – Constrictor (Album Review)

Released in 1986, Constrictor was Alice Cooper’s first album in three years since the release of the masterpiece that is DaDa. Although, Cooper would likely contest that declaration as part of the reason for the break between album cycles was to deal with his addictions; some of which nearly consumed the shock rocker and influenced his prior releases. Subsequently, Constrictor is a very different album to Cooper’s “blackout” releases (Special Forces [1981], Zipper Catches Skin [1982], and Dada [1983]) as it’s less artsy, thereby returning Cooper’s style to a more traditional hard-hitting rock album with radio-friendly tunes. That aspect alone shouldn’t deter fans, or newcomers, for his artistry has always been diverse, but Constrictor can be seen as a significant turning point in his career; a shift that would ultimately send him back to the top of the charts a few years later with Trash.

Visually, it’s one of Cooper’s more comical album covers and the snake still looks fake. That’s a good thing for it’s not only indicative of the era but also showcases Cooper’s more light-hearted persona. While I’ve yet to own a copy on vinyl, Constrictor is one album that needs a reissue on the format as the larger album artwork would look incredible amongst his other albums. 

On the topic of sonic quality, however, Constrictor is in desperate need of a remaster. It’s 80s rock, raw ,and hollow sounding, resulting in a little too much treble and not enough mid to low-end oomph. Some may suggest that it is perfect the way it is as many classic 80s rock albums have a thinner sound, but I find that I have to apply some EQ to get Constrictor to sound half decent. Granted, it’s not the end of the world, but it would be nice to hear what the master recording sounds like for the CD quality stream is merely adequate. 

Teenage Frankenstein kicks things off with a thunderous roar. Cooper’s distinctive snarl combined with the gritty guitar riffs and a rock-solid rhythm perfectly captures the spirit of the album. 

Give It Up has an infectious chorus and catchy hooks, but it’s the memorable pop-rock styling that is most notable. 

Thrill My Gorilla is an incredible tune. The soaring guitars with a playful tongue-in-cheek lyrical perspective ensure that Cooper’s combination of humour and shock rock remains at the forefront of the music.

Life And Death Of The Party slows the tempo, but it’s one of the greatest songs on the album and is a hidden gem in Cooper’s back catalogue. Additionally, that solo is what air guitar dreams are made of. Brilliant!

Simple Disobedience with its infectious hooks and drilling rhythm injects a dose of energy into the record. It’s one of those songs that has rarely been heard outside of the album and it’s a shame for Simple Disobedience is a stadium-filling tune. 

The World Needs Guts has a driving rhythm, anthemic chorus, and powerful guitar solos that create an empowering atmosphere that encourages listeners to face life's challenges head-on. I love it!

Trick Bag may channel the spirit of classic rock 'n' roll with a bluesy undertone and groovy rhythm, but it isn’t the strongest song on the album. While the musicality is solid, there’s too much vocal processing that makes Cooper sound as if he’s singing in a silo. 

Crawlin’ is a dark and brooding track with haunting guitars and eerie synths. Cooper's vocal delivery adds a touch of menace but it’s the song's heaviness that ultimately makes it a standout tune on Constrictor.

The Great American Success Story has a catchy melody and is a solid tune, but it’s too campy in the chorus to be notable.

He's Back (The Man Behind the Mask) embodies the essence of '80s glam metal with its driving guitars, synthetic elements, and anthemic chorus. As it was recorded for the Motion Picture, Friday the 13th Part VI: Jason Lives, it perfectly captures the dark and mysterious allure of the film. Yet, it also provides listeners with a perfect album closer; one that allows for reflection as well as encouragement to spin the album again. 

Overall, Constrictor showcases Cooper's ability to adapt to a changing musical landscape while maintaining his signature style. The album strikes a balance between catchy radio-friendly tunes and darker introspective moments. While it may not be considered one of his greatest releases, Constrictor is severely underrated and is a thoroughly enjoyable album that captures a pivotal moment in Cooper’s career.

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ABBA – The Visitors (Album Review)

Released in 1981, The Visitors marked a significant turning point in ABBA's career. After all, it would be their eighth and final studio album before returning with Voyage, some four decades later, in 2021.

While many may disagree, I don’t consider Voyage to be a natural evolution and subsequently don’t consider it to be a follow-up to The Visitors. I much prefer to consider Voyage as an independent album; one that is ABBA at its core, but one that also doesn’t belong in their foundational back catalogue. It’s much the same as my opinion of the Eagles’ Long Road Out Of Eden; an excellent album in its own right, but one that is incapable of following The Long Run. Sometimes the fundamental aspects contributing to the specialness of an artist, or band, are void when decades elapse between releases. We want to be enthralled, but it is also as if our expectations can only be met with disappointment for it’s rarely, if ever, what we had always hoped for.

Subsequently, The Visitors is not only one of the greatest recordings ABBA ever made but it is the quintessential closing chapter and no matter what the Swedes release henceforth, I consider that their classic era ended with The Visitors.

Showcasing a more mature and introspective side to their music, The Visitors is an album that may not immediately appeal to those who appreciate ABBA’s catchy tunes such as Dancing Queen, Gimme! Gimme! Gimme! (A Man After Midnight), or Mamma Mia. It certainly wasn’t up to the same commercial standards as their highly successful mid-career releases, but success at the cash register is rarely an indication of quality and while sales weren’t to ABBA calibre levels, The Visitors was a monstrous sales success by any metric.

One may think that I’m suggesting that there aren’t any great hooks to enjoy when listening to The Visitors. That is certainly not the case, but the lighthearted off-the-cuff pop style, which had previously been an ABBA trademark, was largely omitted for a more serious style; one that I thoroughly appreciate.

This seriousness also extended sonically to The Visitors for it’s a master recording and arguably ABBA’s most sonically pleasing release. While I’m fortunate to own the Studio Albums vinyl boxset; the Apple Music stream, an Apple Digital Master, is the pinnacle digital release for I’ve never heard the album sound better.

Yes, I thoroughly enjoy the aforementioned vinyl reissue for it is smooth with a thoroughly pleasing tonal warmth, while also ensuring that every element is clearly present within its soundstage. However, it isn’t convenient. Vinyl purists likely have their pitchforks at the ready but when an Apple Digital Master release sounds this good, and I can enjoy it anywhere, at any time, there’s something incredibly freeing in acknowledging that reality.

The Apple Digital Master edition is of particular note given that ABBA’s catalogue, including The Visitors, has been remastered numerous times, yielding different results each time. It has understandably left fans and collectors frustrated for the differences are noticeable and not to everyone’s tastes. That said, I feel that the Apple Digital Master solves many of the problems associated with prior masterings and is subsequently the perfect way to listen to and appreciate not only The Visitors but ABBA’s back catalogue.

Speaking of digital releases, all post-1997 editions have been issued with bonus songs. As long-time readers will note, I generally favour the original sequencing of albums. This is, unfortunately, not currently available on Apple Music, so I’ve had to share with you a playlist that replicates the original 9-track album. Of course, you can also appreciate the bonus tracks or the Deluxe Edition by clicking on the previous links if you wish. Interestingly, for those paying attention to such things, the Deluxe Edition is the non-Apple Digital Master release of the album.

Returning our thoughts to the musical presentation, and associated artwork, the cover art design is also indicative of the maturity the band were presenting via their music. However, knowing what we know now about the marriage breakups of the band members, one can read more into the album artwork than on any other ABBA release for the band members are separated and independent. Intentional, or not, I can’t imagine a better album cover for what was, at the time, to be their final album for it visually reflected their emotional status, their maturity and independence as well as their need to be taken seriously.

The Visitors was an interesting choice to open the album with. The somewhat spacious synthesised introduction will either capture your attention or you’ll wonder if it was at all necessary. I fall into the latter category but once the song passes the first-minute mark, you get a real sense of direction as the music continually builds its melody until the harmony hits with memorable effect. It’s, therefore, simultaneously, ABBA’s weakest and strongest opener. I’ll let you decide as to which you feel it is but suffice to say that it’s worthy of being the album’s title track.

Head Over Heels is an upbeat catchy tune that will appeal to longtime and casual fans alike. Agnetha Fältskog’s lead vocals are utterly perfect with Anni-Frid Lyngstad (Frida) entering the chorus seamlessly, ensuring that their vocal interweaving is as captivating as ever.

When All Is Said And Done is a poignant reminder of the relationship breakdowns within the band. Where The Winner Takes It All grappled with Björn Ulvaeus and Fältskog's divorce, When All Is Said And Done is a direct commentary on the split between Benny Andersson and Frida. While music often deals with relationships, ABBA differs from many others in that they were working with each other to make these exceptional recordings all while their personal lives were unravelling. It takes courage to bare it all in such circumstances and as you listen to Frida’s lead vocal, you can hear the emotion in her voice for such heartache is rarely easy to restrain. When All Is Said And Done is, subsequently, one of her greatest vocal achievements.

Soldiers is powerful and thought-provoking. Containing a blend of rock and pop elements that had not been heard since the release of The Album in 1977, Soldiers showcases a level of versatility that makes for a captivating listen.

I Let The Music Speak is a beautiful and introspective ballad showcasing the songwriting prowess of Ulvaeus and Andersson. The delicate piano arrangements and heartfelt lyrics make it a landmark tune and while it may not be ABBA's most notable song, it is the one that will forever live in the annals of music history.

One Of Us is memorable, due in part to the pensive pop verses and catchy chorus. It’s also one of Fältskog’s greatest vocal recordings and reminds me fondly of her recording style throughout Arrival.

Two For The Price Of One is one of ABBA’s classic quirky tunes, with a little controversial subject matter, but Ulvaeus vocalises it so well that you’ll forget the literal interpretation and be captivated by the hook and harmonious intertwining, all of which is nothing short of musical perfection.

Slipping Through My Fingers is another stunning vocal performance from Fältskog. Yes, I acknowledge that she’s always been my favourite of the four core musicians in ABBA, but when heartfelt lyrics are met with tender vocals, music simply doesn’t get much better than this.

Like An Angel Passing Through My Room is a gorgeous ethereal tune to close the album on and is one of the reasons why I’m less than impressed with the reissues that offer additional tracks. It’s not that the bonus material is bad, but Like An Angel Passing Through My Room is the quintessential closer that allows one to contemplate the music they’ve just heard while also encouraging the listener to play the album again.

With a unique blend of pop, rock, and electronic influences, The Visitors stands as a testament to ABBA's enduring legacy and their ability to evolve with the times. The Visitors is subsequently deeply introspective and musically diverse, showcasing ABBA's ability to create memorable pop songs while tackling deeper themes. The culmination of this makes The Visitors a must-listen for both ABBA fans and those looking to explore the evolution of pop music in the early '80s.

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Herb Alpert & The Tijuana Brass – Going Places (Album Review)

Herb Alpert & The Tijuana Brass mesmerised audiences in the 1960s with their unique fusion of jazz, pop, and Latin music but it is their 1965 release, their fifth studio album, !!Going Places!!, that is ultimately timeless. With a unique mix of jazz, pop, and Latin styles, along with infectious melodies, captivating arrangements, and undeniable charisma, !!Going Places!! continues to delight listeners even decades after its initial release. As much as I adore Alpert’s solo works, particularly Rise, the light-hearted and whimsical style of !!Going Places!! is hard to beat.

Throughout the album, Herb Alpert's talent as a bandleader and arranger shines brightly. His arrangements are meticulously crafted, blending the vibrant sounds of brass and percussion with infectious rhythms. The result is a spirited and cohesive musical experience that is instantly recognisable.

While some will point to the risqué artwork as being a selling point, the music contained within really surpasses the visual attraction. However, I’d be lying if I said that the cover art wasn’t part of the appeal. Subsequently, this may be one of those records that you need to own on vinyl, just for the cover art alone, as it depicts the era and the mischievous nature of the music. Plus, let’s be honest, it’s going to look amazing, on display, in anyone’s record collection.

Vinyl may offer the best way to appreciate the album visually but sonically the Apple Music stream, an Apple Digital Master, is exquisite. Other than the vinyl warmth and fullness, a byproduct of the format, the Apple Music stream is likely to appeal to most music lovers as it’s detailed but not fatiguing with a smoothness and a wonderful sense of depth and separation between musical elements. It’s the real deal but don’t take my word for it, take a listen as we delve into the songs that make !!Going Places!! such a landmark release.

Tijuana Taxi instantly captivates with its lively brass section, catchy melody, and irresistible Latin-infused rhythms. On this tune, and quite frankly via all his recordings, Alpert’s trumpeting takes centre stage, showcasing his virtuosity and ability to infuse warmth and energy into every note.

I’m Getting Sentimental Over You transitions beautifully from Tijuana Taxi. While it’s a little more mellow, by comparison, it is equally addictive and a lovely song to listen to with its intricate melodies and lush orchestration. I’d also go as far as saying that I much prefer this interpretation to the original, or most others, as Alpert et al infused the song with additional life that, upon reflection, was needed.

More And More Amor offers a romantically slowed styling and declaring it a musical masterpiece doesn’t come close to adequately describing More And More Amor. You’ll simply want more (yes, pun intended) as it’s the perfect song to play on repeat with your beloved in your arms as you dance across the room.

Spanish Flea is an iconic and playful tune featuring lively trumpet melodies, infectious rhythms, and an energetic interplay between the brass section. Music doesn’t get much better than this!

Mae is a delightful and breezy instrumental that exudes charm and sophistication.

3rd Man Theme is a captivating and vibrant interpretation of this classic tune. Originally composed by Anton Karas, 3rd Man Theme showcases Alpert's ability to bring new life to familiar melodies and just between us, it is significantly better than the original.

Walk, Don't Run is about as rock and roll as jazz gets. Of course, it wasn’t always that way as the original Johnny Smith recording is rather jazzy, but you can clearly hear how Alpert et al were able to go beyond that early style. The dynamic brass arrangements, spirited percussion, and Alpert's dazzling trumpet create an exhilarating listening experience.

Felicia is another soulful and romantic ballad that highlights Alpert's tender trumpet playing. Add to that the orchestration of The Tijuana Brass and what you’re left with is a truly mesmerising musical experience.

And The Angels Sing showcases Alpert's masterful trumpeting skills while the band's tight arrangements and the interplay between the trumpet and the rest of the ensemble result in a captivating and uplifting performance.

Cinco De Mayo is a vibrant and celebratory instrumental piece that pays homage to Mexican culture and traditions.

A Walk in The Black Forest is one of the best songs from !!Going Places!! as the band, Alpert included, brings their energetic and lively approach to the piece thereby creating an enchanting musical journey.

Zorba The Greek is lively and spirited. The band's lively brass arrangements, rhythmic percussion, and Alpert's passionate trumpet playing transports listeners to the festive and lively atmosphere of Greece. As with many of the covers heard on this album, Zorba The Greek is a stronger song than the original, Zorba’s Dance, by composer Mikis Theodorakis. It’s an incredible closing track and will undoubtedly compel you to listen to the album again.

From start to finish, !!Going Places!! is a joyous celebration of music, filled with irresistible melodies, impeccable musicianship, and a sense of exuberance that is impossible to resist. Whether you're a jazz enthusiast, a lover of Latin music, or simply a fan of great music, this album is a must-listen.

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Rival Sons – Darkfighter (Album Review)

Turn it up loud for Darkfighter with its raw energy and hard rock bluesy sound soars to greatness when you play it at rocking volume levels. Trust me on this, something was missing upon the first listen but as soon as I turned the volume up, the album’s intent and overall presentation became immediately apparent; a clarity that results in Darkfighter being one of the best releases in 2023. 

Darkfighter will appeal to fans and newcomers alike but Darkfighter is not Feral Roots. Nor is it Hollow Bones. It’s the culmination of all their previous albums meaning that Darkfighter is an evolution; one that is so well done that I can’t help but form correlations to the artistry of Led Zeppelin, Creedence Clearwater Revival, and Bad Company et al. Importantly, however, Rival Sons are anything but a cover band. They’re not even imitators. They have a unique style and while nostalgic, for those of us who appreciate the classic artists of yesteryear, Rival Sons is ensuring that classic-styled rock and roll remains alive in the modern zeitgeist. 

Of course, to reach classic status one can’t simply rely on the music as it’s the overall presentation that results in an album being instantly iconic. Yes, streaming music has spoilt us for we no longer need to consider the album artwork prior to, or while, listening. It’s almost a lost element in music appreciation for album artwork used to be the doorway to finding something new and interesting. Yes, there are numerous examples where the music didn’t live up to the artwork but this release is certainly not one of them as the audible and visual components offer the perfect complementary counterpart to each other. 

Naturally, the music is the most important element and with that in mind, the eight tracks of Darkfighter blend classic rock elements with a modern and addictive twist. The result, as we’ll find out, is a captivating listening experience full of hard-hitting guitar riffs, groovy bass lines, and infectious rhythms with some of the very best vocals you’re likely to hear this century.

Mirrors opens the album epically. The choral-style instrumental opening ensures the senses are warmed up and ready to rock for the classic rock and roll style, with Jay Buchanan’s soaring vocals, will instantly appeal to rockers the world over. On Mirrors you’ll hear a little influence from Led Zeppelin, with a touch of Soundgarden, but don’t let that deter you for it is nothing more than a subjective correlation as Rival Sons are simultaneously peerless; particularly in the modern era.

Nobody Wants To Die is a hard-hitting rocker. While the guitar solo is what air guitar dreams are made of, it is the exceptional bass and drum rhythm throughout that will impress.

Bird In The Hand shifts the tempo, somewhat, but your soul immediately matches the rhythm and the distortion applied throughout Bird In The Hand is perfect. Bird In The Hand may not be the quintessential stadium-filling tune, but I desperately want to hear it in that setting for the jamming live expansion that Rival Sons could bring to the table on this song, I feel, would be nothing short of amazing. 

Bright Light is magnificent and is captivating from the very first note. As the introduction builds and the rest of the band enters the mix, Buchanan’s vocal intertwines perfectly with the overall rhythm ensuring that Bright Light is one of the best songs from the album. It’s also a standout within their growing catalogue, as well as being one of the best songs of, at least, the last decade. Classic rock and roll never died, it just held its breath until Rival Sons arrived on the scene.

Rapture is a modern masterpiece! The electronic distorted guitars, mixed with the acoustic, and the rhythmic background ensure that Buchanan is once again highlighted and his performance is simply incredible. Just listen to how he holds his notes throughout the chorus. What an incredible vocalist!

Guillotine is one of my favourite songs on the album, primarily because of the chorus. Poetic is the best way to describe it and while I don’t normally listen to music for literal interpretation, this one is contemplative and you’ll find yourself singing along as you ponder life. Yes, sonically, Guillotine is all over the place, but that simply adds to the complexities of the song and it works surprisingly well. 

Horses Breath seamlessly transitions from Guillotine but the introduction is too drawn out. If you were to listen to this song on repeat, or via a playlist, the introduction would likely generate frustration. Similarly, the outro, while more succinct, shifts the flow of the song and the sequencing of the record. It’s a shame considering Horses Breath is a standout tune on an otherwise perfect album. 

Darkside is a beautiful closer and is the perfect bookend to Darkfighter. While the musicality is off-the-charts, it really is Buchanan’s vocal performance here, and throughout the entire album, that will compel you to listen to the record on repeat. Even if you don’t, Darkfighter is such an incredible modern rock masterpiece that it will stay with you until you’re ready to experience history again, for this album will stand the test of time and will be highly revered for decades to come. 

Darkfighter successfully combines classic rock influences with a modern touch, resulting in a captivating and diverse collection of songs. The musicianship is top-notch, and Jay Buchanan's vocals are as impressive as  any of the greatest vocalists from the rock and roll genre. Subsequently, fans of rock music, from any era, will find much to enjoy when listening to this modern classic. 

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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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