Fleetwood Mac – Rumours (Album Review)

Some albums stand as towering achievements, timeless in their appeal and enduring in their impact. Fleetwood Mac's 1977 release, Rumours, is undoubtedly one of those albums. It's an iconic record that transcends the boundaries of time, genre, and taste, weaving a tale of love, heartbreak, and resilience that resonates with listeners across generations. This incredible release showcases the collective genius of Fleetwood Mac, a band that has left an indelible mark on the music industry while continuing to captivate audiences with their irresistible blend of rock, pop, and folk influences.

Of course, Fleetwood Mac has undergone several facets throughout their illustrious career. Some may be surprised to know that Rumours is, in fact, their twelfth studio release. Yet, talk to anyone about Fleetwood Mac and all you’ll likely hear is a discussion relating to how incredible Rumours is. While it is, and I acknowledge that it’s my favourite Fleetwood Mac album, I also appreciate that it wasn’t Peter Green’s Fleetwood Mac by this stage. Fleetwood Mac’s lineup would also change, throughout the following decades, so as much as the band is synonymous with Rumours, it is but one studio album from a diverse selection of 18 album releases. None of this should be seen as casting judgement on any of Fleetwood Mac's lineups, but you may find something subjectively wondrous should you take the time to listen to their entire discography. 

As has already been established, Rumours is one of the greatest albums ever recorded, but it has been remastered too many times. When albums achieve the level of success that Rumours has, it’s not uncommon for the music industry to reissue and remaster the release ad nauseam, for it isn’t good enough to let the original masterpiece sit untouched. It can be a blessing or a curse, depending on your perspective, but one thing is certain, there are too many editions of Rumours. Seriously, Discogs, at the time of this publication, has some 694 different versions. Which one does one get? It’s a simple question, with a complicated answer that is so highly subjective that you’ll come across varying perspectives should you delve into further research online. 

The truth is, I’ve heard multiple versions of this landmark release, over the years, that range from terrible to mind-blowing. Due to a series of circumstances, that I won’t bore you with, I’m currently without a physical release of this masterpiece and it pains me to say that the lossless Apple Music streamed edition just isn’t up to the highest standards. Frustratingly, Rumours was available as an Apple Digital Master, derived from the 2001 remastering, and while memory is fallible, as it pertains to sonic recollection, I do seem to recall it sounded fantastic. Perhaps not as good as other audiophile-based releases, but lovely nonetheless. 

Disappointingly, it has been removed from Apple Music and while the version that remains is adequate, it isn’t quite as spectacular as one would hope. There is, of course, no point in complaining about this, but it is a real-world example of the risks associated with relying on a streaming service for one’s music collection. That said, if you’re still interested, as I am, in the Apple Digital Master, you can still purchase the 2001 remaster on iTunes. If you still prefer streaming and no longer wish to own the music you love, the 2001 remaster is still streaming on Qobuz; but for how much longer, nobody knows. Although, it appears that the removal of the 2001 remaster, from Apple Music, was more about adding the Dolby Atmos mix, which is based on the 2004 remaster (a non-Apple Digital Master). 

At this stage, I’d just love for a singular version to exist that is the definitive release; one that matches the original artistic intent. We won’t get it, of course, as that is not how the music industry is run, but fans shouldn’t have to tolerate average-quality releases, nor should they have to spend their time, energy, and money, trying to figure out which of the over 600 editions would yield the greatest level of enjoyment. 

Second Hand News isn’t the greatest song on the album, nor is it amongst Fleetwood Mac’s greatest recordings, yet something is compelling about Second Hand News, that I can’t quite put my finger on. Despite that, Rumours wouldn’t be the same album without it.

Dreams has an incredible introduction and likely would have been a stronger opener for the album. That aside, Stevie Nick’s haunting vocal is beyond reproach and perfectly suited to the style of the song, thereby ensuring her harmonious vocal intertwines well with the backing vocals. Dreams, also, is amongst my favourite songs from a drum perspective. Mick Fleetwood is a master musician and while his precision timing here may be akin to a click track for many, his delivery is the definition of perfection from my perspective. John McVie’s bass tracking is similarly masterful and, in many ways, Dreams is the enduring classic we all know and love because of the collaborative efforts of all band members. 

Never Going Back Again is an acoustic gem with Lindsey Buckingham not only providing an incredible vocal performance, but his fingerpicking is taut and amongst some of the greatest guitar work I’ve ever had the pleasure of hearing.

Don’t Stop is a piece of sensational writing from Christine McVie. I’ve never been convinced, however, with Buckingham’s vocal on this tune. It’s not that it’s bad, and his guitar work is sensational, it’s just that the mix isn’t particularly solid. Buckingham’s vocal, subsequently, sounds as if he’s recording his vocals from another building, aside from the studio the song was recorded in. That said, Don’t Stop is a solid pop-rock tune.

Go Your Own Way needs no introduction, for you’ve been living under a rock if you’ve never heard this song. It’s sensational, one of Lindsay Buckingham’s best, and is a perfect tune to accompany life’s ups and downs. 

Songbird is a tender ballad that showcases Christine McVie's extraordinary vocal talents. It's a moment of vulnerability on an otherwise emotionally charged album; a true masterpiece in every sense of the word.

The Chain is a killer tune that mixes rock and pop elements with a touch of country and is somewhat reminiscent of the sound the Eagles’ achieved on Desperado. However, The Chain is more than that correlation for its unmistakable bassline, harmonies, and anthemic chorus have made it a rock staple; one of the greatest ever recorded. 

You Make Loving Fun is a great toe-tapping head-bopper and one that you should most certainly play as loud as you can. Rhythmically magical with a gorgeous vocal, and a killer guitar solo, You Make Loving Fun is one of the best songs off Rumours and another by McVie; arguably Fleetwood Mac’s greatest songwriter and songstress.

I Don’t Want To Know is a short but sweet burst of energy. Its brisk tempo and catchy hooks ensure it’s perfectly suited to Rumours despite being an album-only tune.  

Oh Daddy is Fleetwood Mac 101. There is no other song that I identify more with the band than this one. It's career-defining and as much as I praise Christine McVie’s vocal contributions, Stevie Nicks’ vocal style was the correct choice for this classic track.

Gold Dust Woman is a haunting closing tune with Nicks’ ethereal vocal that leaves a lasting impression while simultaneously encouraging you to spin the album again.

Even Fleetwood Mac, themselves, could never replicate the success of Rumours and it’s highly unlikely that humanity, certainly in our lifetimes, will ever see such an era-defining album again. That isn’t to suggest it can’t be done, but Rumours was akin to lightning in a bottle and is not only one of the greatest albums ever recorded, but one that is a highlight of the 70s and will continue to stand the test of time as it is more than just an album; it’s a cultural remnant.  

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ABBA – ABBA: The Album (Album Review)

Released in 1977, ABBA’s fifth studio album, The Album, stands as one of the Swedish pop group’s most iconic and enduring records. Filled with infectious melodies, harmonious vocals, and a blend of disco and pop influences, The Album was destined for classic status due, primarily to its masterful collection of songs, but also its production qualities.  

The Album was, ultimately, perfectly positioned between Arrival and Voulez-Vous as ABBA was riding a wave of international success, thanks to a string of chart-topping hits including Dancing Queen, Fernando, and Mamma Mia. The Album while still whimsical in places, showcased a further musical evolution with a more mature and diverse sound that incorporated elements beyond the confines of the traditional pop style ABBA was known for. Songs like Eagle introduced a cinematic and symphonic quality to their repertoire, while tracks like Take A Chance On Me and The Name Of The Game continued to embrace the disco trend that was sweeping the globe. This versatility not only allowed ABBA to appeal to a broad audience, transcending genre boundaries and resonating with fans of all ages, but is also the very reason why their music is enduring.

Speaking of being timeless, the production qualities for The Album ensured that the record not only sounded modern for the time, but in a miracle that I can’t fully explain, certainly not well, The Album doesn’t appear to have aged at all. Similarly, the cover art, designed by Rune Söderqvist, is exquisite, timeless, and is amongst the very best of ABBA’s career. The entire production is so high that this album really could have been released in the modern era and no one would be the wiser. That said, the various masterings of The Album have left some, myself included, perturbed. Thankfully, I feel that I’ve now got two versions of the album that I can appreciate. The 2020 vinyl reissue, from The Studio Albums boxset, is enjoyable, but I much prefer the sonic qualities of the Apple Digital Master, streamed from Apple Music. 

Blasphemy, I hear vinyl fans saying, but there’s a key difference between the two editions; beyond the fact that one is digital while the other is analogue (albeit digitally remastered and then pressed to vinyl). The vinyl counterpart, by comparison, simply has too much bass that results in a muddier low end. Seriously, I never thought I’d be complaining about too much bass when it came to ABBA’s music as that is normally a shortfall of prior masters, but it is off-putting enough to note. The Apple Music stream, however, is cleaner with just the right amount of bass. It simply sounds right, clear and crisp (without being fatiguing). As much as it pains me to admit it, given the price I paid for the box set, the stream is my go-to edition for this classic album.

Eagle is majestic! Featuring soaring vocal harmonies and a lush orchestral arrangement, Eagle is a song that will capture your soul from the very first note to the last. While it may not have set the charts on fire when released as a single, it’s one of their greatest recordings and in many ways could be considered their magnum opus.

Take A Chance On Me is an irresistible pop gem. The catchy chorus and dynamic vocal interchange between Agnetha and Frida ensure that it has remained a standout in ABBA’s exceptional catalogue of music.

One Man, One Woman is a beautiful melancholic ballad that is sure to pull at the heartstrings. Frida’s lead vocals are superb, as is the unique musical accompaniment. However, One Man, One Woman is a song that, depending on the mastering of the album you’re currently listening to, can be a little too shrill to the senses. Nevertheless, the aforementioned vinyl release and the Apple Digital Master don’t suffer from this aspect in the same way that the 2001 remasters do. 

The Name Of The Game blends pop and disco elements seamlessly creating a unique structure. Moving from a slow introspective beginning to a catchy, more upbeat chorus, The Name Of The Game will keep you engaged throughout as it ebbs and flows.

Move On is underrated, but most likely because it plays akin to a tune that would have ideally been suited to ABBA’s earlier career releases. Even with that in mind, Move On showcases ABBA’s continuous evolution to compose incredible music and is a lovely addition to ABBA: The Album. 

Hole In Your Soul is a spirited energy-packed tune with a rock-inspired sonic presentation. With an infectious rhythm, and incredible lyrical harmonies, Hole In Your Soul will grab your attention and not let go until the very end. That said, the vocal pitch can be a little high and nagging on the senses. It’s particularly noticeable on certain remasters, as previously mentioned, but is restrained via the Apple Music stream. 

Thank You For The Music has become an anthem for music lovers worldwide; despite being one of the corniest songs ever recorded in all of music history. The truth is, we all love it and we know we do. So let’s not hide our appreciation for this song; let’s sing out loud Thank You For The Music!

I Wonder (Departure) is a beautiful tune and is one of ABBA’s most coveted hidden gems. Simply stunning!

I'm A Marionette shifts the album’s musical style, but it seamlessly flows from I Wonder (Departure). With a more upbeat presentation, I'm A Marionette is a thrilling theatrical tune that further showcases ABBA’s willingness to experiment with different styles, thereby ensuring that their catalogue of music not only evolved throughout the years but remained fresh and relevant to music lovers across various eras. 

From start to finish, ABBA’s The Album is a masterful collection of tunes that demonstrate the group's ability to craft diverse yet cohesive music. From the soaring heights of Eagle to the introspective moments of One Man, One Woman and the infectious pop sensibilities of Take a Chance on Me, every song on this album showcases ABBA's talent and enduring appeal. It's no wonder that The Album remains a cherished classic in the world of pop music, captivating generations of fans with its timeless melodies and heartfelt lyrics.

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Elton John – The One (Album Review)

Released in 1992, The One is Elton John’s twenty-third studio album and while his classic era was well behind him, and this release is not quite as polished as Sleeping With The Past, there’s something for fans to appreciate when listening to this album; if you give it time to grow on you, that is!

Arriving during a period of personal and professional rejuvenation, for John, The One was a return to form for the master musician. With his trademark piano-driven rock and pop sound that features heartfelt lyrics, the music contained within did, and continues to, resonate with listeners throughout the world. As eluded to earlier, The One isn’t an album that is likely to immediately connect with your soul. You feel as if something is missing, yet can’t quite put your finger on it. However, the more you listen to the album, the more the songs meld into a piece of audible art and The One subsequently becomes one of John’s greatest releases.

As with most of John’s reissues, the digital counterparts come with additional songs. I’m certainly not a fan of that approach and prefer to listen to and appreciate the music in its original sequencing. While I have listened to both bonus tracks, Suit Of Wolves and Fat Boys And Ugly Girls, I feel neither adds value to The One and as a result, I’ve chosen to share with you a playlist of The One that omits that bonus material.

Simple Life is a beautiful opener and while it may hark back to the sound signature of the era, it isn't dated and still sounds fresh. John’s vocals are, as is usually the case, filled with warmth and sincerity, but the entire composition of the song is nothing short of perfection; perhaps a tad long, but perfect nonetheless.

The One shifts the tonality somewhat, but as the title track, this is one of John’s most magical ballads. His vocals perfectly combine with the song’s lush orchestration to add depth and intensity. The One is, without a doubt, one of the standout tracks from not only this record, but John’s entire career.

Sweat It Out is a little more upbeat with a vibrant and captivating style. What’s more interesting, however, is the sonic elements placed within the mix. Such additions have the possibility of becoming too complex, but each musical aspect was included to enhance the music rather than detract from the song itself; a rarity, certainly!

Runaway Train (feat. Eric Clapton) is one of the greatest songs John and Clapton have ever recorded, in their respective careers. Yes, it is that good!

Whitewash Country shifts the style somewhat and initially, it’s as if John were recording another country music-inspired tune before the pop-rock elements kick in. Any song following Runaway Train was always going to be challenged, but as an album-only tune, Whitewash Country is solid. It was never destined to be a standout, but it flows well enough within the album’s linear structure.

The North is a beautiful song and a hidden gem that has never achieved the recognition it deserved.

When A Woman Doesn't Want You may be an album-only tune, but it’s stunning as John’s vocals are filled with raw emotion that combine with the song’s soulful and catchy melody.

Emily starts well, but John’s vocalising of the verses is a little off. It’s not the worst song he’s ever recorded, but I doubt anyone would seek Emily out on its own, outside of listening to the album as it just isn’t noteworthy.

On Dark Street has a rock-infused sound, with a catchy chorus, that will see you toe-tapping and head-bopping throughout.

Understanding Women has a killer synth introduction with witty lyrics and a bouncy melody that would have been a hit had it been released in the mid-80s.

The Last Song is one of the greatest closing tunes I’ve ever had the pleasure of hearing. It’s also one of John’s most beautiful vocal performances for it leaves you wanting more, thereby making it a fitting conclusion to a magnificent album.

The One is a remarkable addition to Elton John's extensive discography where he successfully balances introspective and emotional ballads with more upbeat and rock-oriented tunes. His signature piano-driven sound and heartfelt lyrics are on full display throughout, and his vocal performances are nothing short of outstanding. The One, ultimately, captures a mature and reflective John, making it a must-listen for both longtime fans and newcomers alike.

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Guns N' Roses – Use Your Illusion I (Album Review)

Released in 1991, Use Your Illusion I stands as a landmark release in the annals of rock music history as it is the first instalment of the Use Your Illusion albums; one of the greatest release schedules the world has ever seen.

Use Your Illusion I was also a pivotal moment for Guns N’ Roses as the sprawling and ambitious work showcases the band’s musical prowess, lyrical depth, and unbridled energy. Of course, the very same statement could be said about Use Your Illusion II; an album that leans more towards a melodic style, featuring ballads and experimental tunes, which further showcases Guns N’ Roses’ versatility. As to which I prefer, or consider the better of the two albums, I find that difficult to answer as together they’re a collective masterpiece. That said, while I thoroughly appreciate both, I know for certain that I listen to Use Your Illusion I far more often than I do it’s sister album.

Speaking of preferences, I’m not a fan of the 2022 remaster. It isn’t that I find the remaster to be fundamentally bad, but I’m dead against the new orchestration elements on November Rain. It’s blasphemous and is not an accurate representation of Use Your Illusion I. Perhaps I’d be less judgemental had this modification been included as a separate offering, but as it pertains to physical releases, the album in its original mode is no longer available meaning that the original is somewhat lost to history. A shame, certainly, but someone with some common sense has permitted the original album to remain available on the iTunes Store and Apple Music. Subsequently, this original release will be the focus of this review, for classic albums should never be replaced with rerecorded or remixed versions. It’s bad enough that they remaster them when the need often isn’t there. Honestly, I never recall putting Use Your Illusion I on and pondering if it needed a remaster. It was perfect the way it was and that is the way that I choose to enjoy it henceforth.

Right Next Door To Hell kicks the album off with a relentless burst of energy, but as the album opener, I’ve never been convinced that it was the right choice. It’s certainly no Welcome To The Jungle, is it?

Dust N' Bones is an incredible, severely underrated, tune but it’s great to hear Izzy Stradlin sharing vocal duties with Rose as they complement each other perfectly.

Live And Let Die is an incredible cover. Guns N’ Roses performed it admirably and put their own spin on this Paul McCartney and Wings classic. I’d even go as far as suggesting that this edition bests the original recording, partially due to the pop-rock styling that isn’t ideal for the song. That said, if you listen to the live recording from Wings Over America, you may have a different opinion for it’s a great performance that is more in line with the Guns N’ Roses interpretation.

Don't Cry is simply stunning and is not only one of the album’s standout ballads, but it's one of the very best songs that Guns N’ Roses ever recorded. The same, unfortunately, can’t be said for the alternate lyrics version found on Use Your Illusion II.

Perfect Crime returns the album to its hard rock roots with a fast-paced rocker that showcases the band’s raw energy. The only problem is it, like Right Next Door To Hell, isn’t perfectly positioned. Perhaps if the opening track was resequenced closer to Perfect Crime, these album-only tracks would have flowed more convincingly.

You Ain't The First is a hidden gem. Its slower, semi-acoustic-styled presentation, is simply fantastic and presents a perfect interlude before Bad Obsession kicks things up a notch.

Bad Obsession is one of the greatest songs off the album, but it’s that killer blues-infused groove, along with the unique introduction, that will ultimately captivate you.

Back Off Bitch is incredible with killer riffs, a rebellious spirit, and Axl Rose’s ferocious vocals. It’s, without a doubt, one of the best songs from the Use Your Illusion recording sessions.

Double Talkin' Jive is gritty with rapid-fire lyrics and a compelling rhythm that will immediately capture your attention. As with Dust N' Bones, Stradlin’s lead vocals on this tune are superb and while Rose is generally the lead vocalist of Guns N’ Roses, I can’t help but wonder what Guns N’ Roses would have sounded like had Stradlin been the sole lead singer as he’s got a vocal drawl that simply sounds right for their blues-based rock and roll sound. Nevertheless, there are songs that only Rose could have recorded so this may well be a case of appreciating both musicians for their unique qualities.

November Rain is Guns N’ Roses’ magnum opus. It’s arguably the greatest ballad in all of rock and roll history. From the piano-driven intro, to Slash’s iconic guitar solo, to Rose’s emotive vocals, November Rain is a timeless epic.

The Garden, featuring Alice Cooper, is a dark and brooding tune that is utterly brilliant with both Rose and Cooper complementing each other. The Garden is, most certainly, a hidden gem and had it been released as a single, there’s no doubt that it would have gone to the top of the charts.

Garden Of Eden could have been an incredible straight-up rock and roll tune, but the overproduced nature of the song, particularly regarding the synthesised elements, resulted in a lacklustre recording.

Don't Damn Me is full of brute energy, with an incredible riff, and is amongst the greatest music Guns N’ Roses has ever recorded.

Bad Apples isn’t a bad apple, pun intended, but it isn’t a standout either. It is, however, a perfect album-only tune.

Dead Horse is raw, with a killer rhythm, that melds perfectly with Rose’s impressive vocal prowess. It’s a hidden rock and roll gem.

Coma is a sonic masterpiece and the perfect closer to Use Your Illusion I. The rollercoaster intensity will keep you captivated throughout this 10-minute epic while also leaving a lasting impression that will compel you to play the album again or proceed to Use Your Illusion II.

Use Your Illusion I is nothing if not a hard rock masterpiece, brimming with passion and creativity; the likes of which we’re unlikely to see again. While many may reject that statement, this is an album that encapsulated Guns N’ Roses’ multifaceted talents, from hard-hitting rock anthems to soulful ballads, the first instalment of the Use Your Illusion albums has a little bit of everything. The result is that Use Your Illusion I has become an enduring classic that continues to resonate with listeners decades after its release.

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Billy Joel – An Innocent Man (Album Review)

Released in 1983, Billy Joel's An Innocent Man stands as a shining example of music that is timeless. With its catchy melodies, impressive vocal performances, and evocative songwriting, An Innocent Man is a masterclass in nostalgia that continues to captivate listeners for it plays akin to a greatest hits release.

While An Innocent Man, Joel’s ninth studio album, is one of the greatest records from the 80s, the launch window couldn’t have been more disappointing for Joel as Michael Jackson’s Thriller would ultimately win the Grammy for Album Of The Year over An Innocent Man. While Jackson's Thriller is a landmark release, one I thoroughly enjoy, I'd argue that An Innocent Man is a stronger album that has stood the test of time far better than Thriller which is starting to sound a little dated to the era. An Innocent Man likely avoided being stuck in the past as Joel formulated the tunes with a touch of the, arguably timeless, 50s and 60s musical styles. The continuous lighthearted Be-bop, Soul, and R&B styling is addictive, well suited to Joel, and ensures that the album sounds as fresh today as when it was initially released.

Of course, great songs are for nil if the production, mix, and mastering qualities are substandard. Thankfully, An Innocent Man, via the Apple Music stream, is quite enjoyable. The soundstage is well-defined and each element within the mix is given room to breathe. That said, there’s a nagging aspect about the stream, that is coincidentally an Apple Digital Master, in that it could be fuller for it sounds a little anaemic in places. It isn’t a major issue and a slight adjustment to EQ settings can rectify that shortcoming, but it’s something you should be aware of. That said, if you’re like me and don’t have a physical edition of this classic record, it will provide you with hours of pleasure until you can attain a subjectively better release.   

Easy Money has a sensational beat – thank you, Liberty DeVito! It’s a fun little tune to start the album with, but the chorus isn't compelling as I find the downbeat shift to be a distractive element.

An Innocent Man slows the tempo, but the transition from Easy Money never sounds out-of-place. When listening to this song, you begin to comprehend what an incredible vocalist Joel is. His vocal control is simply amazing as he takes every note right to the edge of his capabilities and never falters. The result is that An Innocent Man is one of the album’s standout tunes and is, subsequently, the perfect title track.

The Longest Time is a beloved A cappella gem and is one of the greatest sing-a-long songs of all time with its harmonious melodies, doo-wop styling, and charming lyrics. 

This Night really opens up throughout the chorus. Yes, the whole song is wonderful, but as a Ludwig van Beethoven fan, I appreciate how Joel merged his vision, and a touch of the 1950s, with that of Beethoven’s. The result is a true masterpiece in every sense of the word.

Tell Her About It is a catchy and energetic track with an upbeat tempo that will have you toe-tapping and head-bopping from the very first note in much the same way as one would when listening to the music from Motown’s golden era.

Uptown Girl is, undoubtedly, one of the album’s greatest hits for it’s infectious upbeat pop-rock rhythm, catchy melody, and playful lyrics, ooze charisma.

Careless Talk is a little out-of-place following Uptown Girl but as a song on it’s own, outside of the album’s sequencing, Careless Talk is a solid track. It’s your classic album-only tune, and was never going to set the charts on fire, but that doesn’t prevent Joel from delivering another soulful performance. 

Christie Lee is a fantastic rock song that places Joel’s piano playing front and centre, along with a compelling saxophone element that ensures Christie Lee is not only dynamic but a fun addition to the record. While not necessarily the strongest song on the album, if you’re like me you’ll be reaching for the volume knob for this is one tune that sounds best at rock and roll levels. 

Leave A Tender Moment Alone is a beautiful ballad showcasing Joel’s songwriting prowess and ability to create tender melodies that tug at the heartstrings. 

Keeping The Faith is an extraordinary tune to close the album on for it blends elements of pop and rock with a touch of gospel, resulting in a truly memorable musical experience. 

An Innocent Man is a testament to Billy Joel's musical genius and his ability to pay homage to the past while creating something modern and enduring. The album's diverse range of styles and heartfelt performances make it a timeless classic, in Joel's illustrious career. and is a must-listen for anyone who appreciates the magic of '50s and '60s pop music with an 80s twist that only Billy Joel could deliver.

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Bob Marley & The Wailers – Exodus (Album Review)

It’s fair to say that for most music lovers, Legend is all they will ever need to fully enjoy the musical marvel that was Bob Marley & The Wailers, but limiting oneself to a compilation means that you’ll miss out on the timeless classic that is their 1977 release, Exodus.

While much of Exodus, five songs in fact, were included on Legend, their ninth studio album encapsulates the essence of reggae music, not just the widespread radio-friendly tunes, thereby further solidifying Marley and Co's status as musical legends within their assigned genre. However, at its core, Exodus is not just an album; it's a journey, a spiritual experience, and a cultural monument. 

As you listen you’ll hear how Exodus expertly combines Marley's signature blend of catchy melodies, profound lyrics, and infectious rhythms to create an album that is both musically exceptional and socially relevant. You won’t be able to prevent being swept away by these incredible tunes for Exodus will fuse with your soul, the way all great music does. 

Turning our attention to the Hi-Res Lossless Apple Music stream, an Apple Digital Master, it’s simply exquisite. While I do not doubt that a well-produced vinyl release would offer the same wow factor, perhaps with slight improvements to the smoothness of the album, when a stream is this enjoyable, one does need to question the need to attain a physical copy; especially if funds are limited.

As it pertains to the Dolby Atmos mix, my thoughts are similar to those I made within the Kaya review for there really isn’t anything notable to mention. It sounds fine. Fuller, certainly, but also muddier in the mid to low-end range of the recording. Some may very well like the tonal quality of the surround version but I’m going to stick with the Hi-Res Lossless stereo mix as it simply sounds right. 

Natural Mystic has an ethereal and mystic atmosphere that not only plays into the song but offers an incredible opening to Exodus. 

So Much Things To Say could be a song about any aspect of life, but this politically charged tune, with its groovy rhythm, will have those, who appreciate literal meaning, captivated throughout. 

Guiltiness is a, somewhat, seamless transition from the sharp ending of So Much Things To Say. While that can be a deterrent, especially if you’re new to the album, the mellow tempo of Guiltiness quickly calms the senses, thereby allowing for thorough enjoyment.

The Heathen is a musical marvel and is one of Marley’s most overlooked tunes. While I don’t often focus on the literal meanings, instead choosing to listen to the human vocal as an instrument within the mix, it’s the entire composition that makes The Heathen a standout on the album and one of the best songs Marley & The Wailers ever recorded.

Exodus is the perfect title track featuring an infectious rhythm and catchy melody. There’s little wonder as to why it is one of Marley’s most recognised and beloved songs as it epitomises not only his unique sound but reggae music itself.  

Jamming is a joyful and upbeat tune that embodies the spirit of unity and togetherness; if only all music could be this pure!

Waiting In Vain is a timeless ballad with beautiful melodic arrangements.  

Turn Your Lights Down Low is a lovely romantic ballad that, while not uncommon to Marley, is a departure from Exodus’ overall thematic core. Regardless, it’s simply beautiful!

Three Little Birds radiates optimism and hope. The simple yet profound lyrics, matched by the laid-back reggae groove, ensure that this is one song you’ll find yourself singing along to. 

One Love / People Get Ready closes the album perfectly with an uplifting anthem that promotes unity and love among all people. Music truly knows no bounds and this universal message will stay with you well after the album has ended, thereby compelling you to play Exodus again for it gets even better the more often you listen to it.

There’s a reason why half the songs from Exodus made it to Legend, for this 1977 release is nothing short of a masterpiece that continues to resonate with audiences across generations and cultural bounds. Its timeless messages of love, hope, and social consciousness continue to inspire and uplift. Bob Marley's genius as a songwriter and performer shines through in every note, making this album an essential part of music history.

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Big Scary – Animal (Album Review)

Released in 2016, Animal is the fourth studio album from Big Scary; a musically dynamic Australian duo that offers a mesmerizing exploration of human emotions and experiences, delivered via a unique blend of indie rock, electronica, and heartfelt lyrics. Each song from Animal contributes to the album’s cohesive narrative, one that asks us to transcend our animal instincts and rise above the animal within, making it a must-listen for anyone seeking an immersive musical experience.

Of course, before one can get to the music, the album artwork will draw you in as it’s simply stunning; in a non-traditional manner, that is! It’s eye-catching and stays with you while connecting with your soul on a level that only the visual senses can fully comprehend. If nothing else, it is the perfect visual accompaniment for the music that you’re about to experience. 

While such a visual element would be perfectly suited to the larger vinyl canvas, I’ve yet to pick up a copy on that format. A shame, yes, but with limited funds, my wish list is considerably lengthy as it is. Nevertheless, it gives me something to look forward to and until then I can say with certainty that the lossless Apple Music stream is sonically exquisite. 

If you are interested in seeking the album out on vinyl, you’ll notice an immediate difference to the streaming counterpart as the album is separated into Hunting, Lurking, Resting, and Walking themes; each presented on its own side of the double LP. The CD offers a similar breakdown, but due to the continuous nature of the format, it isn’t quite as unique as that of the vinyl release. For example, if you want to listen to just one aspect of the album, you can listen to that single side. This acts in much the same way as Sigur Rós’ () as it presents the album in a randomised, listener-determined, structure. Whether or not you find this aspect fascinating, it’s wonderful to see independent artists experimenting with their craft. 

While part of the artistic intent of Animal was to allow the listener to play the album in a non-linear manner, this review will focus on the sequencing released via Apple Music as that retains the core artistic intent.

Oxygen is a hauntingly beautiful track that sets the tone for the entire record. With its raw drum beat that harks to the core animal status within us all, to the sonically dry electronic rhythm, you’ll be captivated from the very first note.

Organism is diverse and layered, resulting in a song that is larger than the sum of its parts. Every aspect of Organism is perfect and it amazes me that music this good was made by an independent artist. I say that because Organism, and the entire album, sounds better than most big label/artist releases. 

Double Darkness is a little more subdued and introspective with a vocal tracking that is simply sublime. There’s much to love when Double Darkness comes on, and it’s one of the best songs on the album, but I find it’s the correlations I hear to Paul McCartney’s recordings that are the most interesting aspect here.  

Savior Add Vice transitions seamlessly from Double Darkness and while it has a greater rock vibe than the previous track, the distorted guitars and tempo quickly shift the atmosphere to one that is controlled by a sense of urgency. Additionally, I feel the vocal presentation is flawed on this particular song as it tends to get lost in the mix. While I acknowledge that that approach was likely intended, it results in a somewhat lacklustre performance. 

Lone Bird is a killer song with a perfect rhythm and composition. Incredible!

The Endless Story is thoroughly enjoyable. Not only are the musical elements compelling, but the vocal delivery is equally exceptional.

Flutism suits the album but isn't a track that connects with my soul. It isn't inherently bad, but it’s a little over-produced.

Up And Up And Up is incredibly addictive. I dare you to sit still while listening to this track; I can’t do it. 

Breathe Underwater reduces the tempo considerably and it may result in a shock to the senses; if you’re streaming that is. Breathe Underwater is the first song of the Resting element of the album and if you’ve picked up the vinyl release, the time delay, due to flipping sides, will be enough that you wouldn’t notice the shift as much as those of us who are streaming the album do. Nevertheless, Breathe Underwater is a lovely mellow song.

The Opposite Of Us is a beautiful tune that is not only an ideal fit for the album but flows perfectly through the Resting phase of the record. 

Heaven On Earth is atmospherically stunning. I can only imagine how exceptional it would sound on vinyl, for the Apple Music stream is already breathtaking.

Over Matter has a little too much volume and channel variation that I find to be rather distracting. Yes, it’s a technique but even if I could compartmentalise that aspect, the vocal pacing isn’t in harmony with the other songs from the album. The result is that Over Matter can sound like a garbled mess. Ultimately, however, that doesn’t deter me from the album experience but it is a low point in an otherwise exceptional release. 

Lamina has moody tones that are reminiscent of the opening tracks thereby making it an ideal bookend that compels me to listen to Animal again and delve deeper into Big Scary’s growing catalogue of music. 

From start to finish, Animal is a masterful album that showcases the Australian duo's incredible talent for crafting deeply emotional and sonically rich music that is immersive. Animal really is nothing short of a modern indie rock gem and is one of the best albums released in 2016. 

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