Black Eyed Peas – MASTERS OF THE SUN VOL. 1 (Album Review)

For many fans, the Black Eyed Peas may seem incomplete without Fergie, but MASTERS OF THE SUN VOL. 1 proved that the trio of will.i.am, all.de.ap, and Taboo is still as relevant as ever. Truth be told, the styling the trio has aimed for returns us to old-school Black Eyed Peas; albeit with a more sophisticated musical style. If you’re expecting the pop-styled dance music that has been their cornerstone since Elephunk, however, you’re likely to be disappointed.

MASTERS OF THE SUN VOL. 1 sees the trio focus on political issues that pertain to gun violence, police brutality, race relations, and social media ramifications. While I don’t generally enjoy music for its lyrical meaning, preferring to enjoy the human vocal as another instrumental element in the mix, some songs are so important that they warrant closer lyrical interpretation. That aspect alone is a superpower of the Black Eyed Peas for you can jive with the music, oblivious to meaning, or thoroughly engross yourself in the music and lyrical messaging; the choice is yours. Either way, there’s no wrong way to listen to MASTERS OF THE SUN VOL. 1.

MASTERS OF THE SUN VOL. 1 is an album experience first and foremost, but it is missing a few songs that were released as promotional singles. Street Livin’ is a brilliant song and one that commands empathy within the listener. Get It is a great little tune but is different enough from the other songs featured on MASTERS OF THE SUN VOL. 1 that it simply wouldn’t have been a good fit, unlike Street Livin’, had it been included on the album. 

What is a good fit, however, is the album artwork. While the appreciation of art is as subjective as music is, the Black Eyed Peas never disappoint with their chosen cover art designs. Similarly, the Lossless Apple Music stream is simply stunning and has been mastered perfectly for the Black Eyed Peas’ style. There are no glaring aspects that will detract from the experience for the mix and soundstage are perfectly presented, ensuring that no aspect is concealed. Even with heavier bass-driven tracks, you won’t find muddiness creeping into the music, unless you add EQ’d bass, as the album thumps just as the best Hip-Hop/Rap albums do. It really is quite spectacular to listen to for not all music is made, in the modern era, with such perfection. 

BACK 2 HIPHOP (feat. Nas) is a fantastic start to the album. The song emphasises the return to their authentic hip-hop roots and explores the theme of rekindling the essence of the genre. Like all good opening songs, it sets the tone of the album from the outset. Yes, this isn’t a song that you’ll likely rap along to, but I dare you to sit still while listening to BACK 2 HIPHOP as it’s impossible to not connect with the rhythm.

YES or NO flows seamlessly from BACK 2 HIPHOP and while I don’t go for lyrical interpretation or meaning, as I’ve suggested earlier, YES or NO is vocally brilliant. A great song, yes, although the sampling is a little pedestrian despite being perfectly suited to the song. Additionally, the short vocal calculation rhythm at the end is brilliant. 

GET READY is one of the greatest songs on MASTERS OF THE SUN VOL. 1. I’d also class it as one of the greatest songs that the Black Eyed Peas has ever recorded and the inclusion of Lauren Evans pulls the song together. Yes, I love The Jacksons’ sample from Destiny of That’s What You Get (For Being Polite). Plus, the jazzy Joe Henderson Black Narcissus sample is also a superb addition and further ensures that GET READY is an absolute masterpiece.

4EVER (feat. Esthero) is smooth and melodic, but the introduction is a little underwhelming. While I’ve suggested how strong the mix is, and I stand by that assessment, I find that some of the instrumental elements and vocals, on this song, are too distant in the soundstage. It’s clearly intended to be that way, meaning that I don’t consider it a fault, but it’s an interesting choice nonetheless. 4EVER isn’t fundamentally bad, but it isn’t a tune that you’ll be seeking out on its own, most likely due to the chosen composition. 

CONSTANT Pt.1 Pt.2 (feat. Slick Rick) is a great track with a fluid transition from 4EVER. Given it’s a two-part song, I can’t help but wonder if 4EVER couldn’t have been shortened and merged into CONSTANT Pt.1 Pt.2 because it would work well sonically. Nevertheless, CONSTANT Pt.1 Pt.2 is a fantastic tune.

DOPENESS (feat. CL) has a killer rhythm that combines hip-hop and pop elements, with a catchy chorus, that ensures your body keeps moving involuntarily. 

ALL AROUND THE WORLD (feat. Phife Dawg, Ali Shaheed Muhammad & Posdnuos) continues the masterful flow of the album and while ALL AROUND THE WORLD may not be a standout tune, it again validates the importance of the album experience for the Black Eyed Peas have done far more than just slap together a series of random songs and call it an album. 

NEW WAVE is magnificent. I suggest you turn the volume up and become immersed in the soundstage. 

VIBRATIONS Pt.1 Pt.2 has a great vibe. 

WINGS (feat. Nicole Scherzinger) is a flawless song and Scherzinger’s vocal is a perfect addition to the tune. 

RING THE ALARM Pt.1 Pt.2 Pt.3 is, jazzy, hypnotic, and nothing short of perfection.

BIG LOVE has a pertinent message that needs to be heard by all. While not as important as the focus on the messages of unity, love, and the impact of gun violence, BIG LOVE is a perfect closing tune that compels you to listen to the album again. Given its topical subject, it’s also one of those songs that will reside in your mind, thereby allowing you to reflect on the song’s message long after you’ve heard it. 

MASTERS OF THE SUN VOL. 1 wasn’t just a return to form, it is one of the most compelling and socially conscious albums the Black Eyed Peas have ever released. Pivoting back to their hip-hop roots, while addressing pressing social issues, was a masterful use of their platform and is a testament to their musical versatility. If you're a fan of Hip-Hop and appreciate socially aware themes, this album is worth a listen. Even if lyrical interpretation isn’t your thing, and you just want a killer Hip-Hop/Rap release, MASTERS OF THE SUN VOL. 1 won’t disappoint as it’s a musical marvel.  

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Michael Jackson – Thriller (Album Review)

Iconic best describes Thriller, but is it Michael Jackson’s greatest album? 

From a sales perspective and the ability to capture the zeitgeist; absolutely! However, the more I reflect on the album, the more I find that it isn’t as cohesive as the masterpiece that is Off The Wall. It also isn’t as energetic as Bad and while Dangerous rounds out his most successful solo era releases, and is a little too lengthy, it too is a stronger album. 

Don’t get me wrong, dear reader, Thriller is an exceptional release, but once you get past the fanfare and key singles that came from the album, the album-only songs don’t necessarily ensure that Thriller is a fluid album experience from start to finish. Nevertheless, one thing is indisputable and that is that Thriller forever changed the world of music upon its release in 1982. 

As a game-changing cultural phenomenon, Thriller continues to captivate audiences, transcending generations, to this day and remains one of the greatest releases from 1982. Of course, it wasn’t just the music that made Thriller so successful, for it arrived hot on the heels of the MTV era and Jackson took thorough advantage of this new platform ensuring that his music videos were every bit the visual spectacle counterpart to his audible wonders.

In many respects, had it not been for the emerging music video revolution and the Motown 25: Yesterday, Today, Forever television special, where Jackson performed Billie Jean and debuted the moonwalk, one must question if Thriller, Jackson’s sixth solo studio album, would have been the cultural landmark it turned out to be.

Album artwork, certainly in the 80s, played a key role in attracting an audience and while Thriller was successful for a multitude of reasons, the iconic cover art would have been stunning when seen on the shelves of your local record store. It isn’t far-fetched to suggest that the artwork alone could have sold the album for it has a unique quality that allows it to stand out from the crowd. With a level of visual sophistication, you immediately get a sense that what you’re about to hear is something very special. While we shouldn’t judge a book, or a record, by its cover, it is often true that compelling artwork mimics intriguing music and in this case, Thriller doesn’t disappoint. 

However, with over 700 different versions of Thriller, modern collectors face an incredible challenge in finding an edition that best suits their tastes. The good news is that due to its high production, most fans will be content to listen to any version of the album. There are, of course, reasons why one may wish to own multiple copies of Thriller but I find myself content with not only the Hi-Res Lossless Apple Music stream, an Apple Digital Master, but with my 2009 Music On Vinyl (MOV) reissue edition that I’m fortunate to own. Yes, I could track down the various versions, many of which are highly regarded, but I increasingly find myself tiring of such endeavours as it becomes more about finding perfection than simply appreciating the music I love. 

As to which edition I prefer, both have their unique qualities. The Apple Music stream is exquisite and if you haven’t got a physical copy, the stream is likely all you will ever need; it’s that good! However, the vinyl reissue is musically fluid with exceptional dynamics and plenty of bass punch. It’s a lovely all-rounder. The only flaw that I can speak of is that there is a little too much sibilance throughout Side 2 of the record. The sibilance becomes less apparent when playing on my smaller, less revealing system, but it’s something that some of you may find distracting. That said, Jackson does have a small lisp in his vocals anyway, but it’s an issue here as it is amplified a little. Additionally, there are some minor musical elements that sound too distant in the mix on the vinyl reissue, whereas they are much clearer on the streaming counterpart. Again, these issues are not major, and most music lovers won’t even notice them, but if you choose to pick up the vinyl reissue from 2009 as I have, knowledge of this may help you make an informed decision. 

Before taking a look at the songs that make up Thriller, I wanted to take a moment to acknowledge the 2008 reissue and its series of remixes with various artists. Yes, it was officially sanctioned, but I don’t classify it as being true to the Thriller album experience. Subsequently, this review will focus on the core nine tracks that make up the original release of the album. The subsequent bonus material that was on the 2008 reissue remains readily available for those of you who are interested. The 2001 Special Edition is a little more uncommon and truthfully, I never appreciated the bonus songs, and interviews, tacked onto the backend of the album. It really should have been released as a separate disc, but alas, that is one edition that I’ll never experience the Fear Of Missing Out (FOMO) over. Finally, the Dolby Atmos mix on Apple Music is adequate. At this stage, I’ve been listening to Thriller in stereo for over four decades and the surround mix offers me nothing new. In my mind, Thriller should always be a stereo-only release.

Wanna Be Startin' Somethin’ is a superb funk-styled opening track that is a fantastic complementary counterpart, in Jackson’s catalogue, to Don’t Stop Till You Get Enough. With a dynamic rhythm and mix to match, Jackson’s vocal delivery is as catchy as the infectious melody. If you’re sitting still while listening to this song, you’re listening wrong as your body wants to move involuntarily to one of the greatest album openers of all time. 

Baby Be Mine offers a smooth disco-styled flow that slows the tempo somewhat. It should by all metrics be a jolt to the senses, especially following the album’s energetic opener, but the sequenced flow ensures that Baby Be Mine is not distracting in its chosen position.

The Girl Is Mine (with Paul McCartney) is playful and a little gimmicky, yet that is similar to the style these two master musicians had utilised previously with Say Say Say. Still, the interplay between these two legends is simply wonderful and while The Girl Is Mine is far from my favourite Thriller era tune; Thriller simply wouldn’t be the same without this light-hearted pop song. 

Thriller is a synthetic disco-funk masterpiece that is eerie, captivating, and a true musical marvel. The spooky atmosphere, incorporating Vincent Price’s unique voice-over, ensures that Thriller is not only the perfect title track but a song that remains part of the social consciousness to this day. In fact, Thriller doesn’t sound dated at all; thanks to the exceptional production. That aspect alone is surprising, especially considering 80s-era sound effects were applied to the mix, but good music will always stand the test of time and Thriller is timeless. 

Beat It is arguably the heaviest rock and roll song the King Of Pop ever recorded and is so good that I also consider it to be one of the greatest rock and roll songs of the 80s; an unlikely candidate, yes, but it’s right up there with the best of the best. Of course, it doesn’t hurt having the one and only Eddie Van Halen performing one of the greatest guitar solos ever recorded. Add Jackson’s dynamic vocal presentation, and the song’s anti-violence message, and you’re left with a song that can only be described as an anthemic rocker.

Billie Jean is dance meets funk with a touch of soul and R&B. Much like the other landmark songs on this release, as soon as you hear the first note, you know it's a Michael Jackson song. The captivating bassline and infectious rhythm further ensure Billie Jean will remain an earworm long after the album has concluded.

Human Nature is a soothing ballad that shifts the tone for the rest of the album. While it’s a lovely tune in its own right, and a perfect song for the album, I find that it’s one that I rarely seek out on its own. It isn’t that I dislike it, anything but, it just isn’t a standout when a record, such as Thriller, has so many other exceptional songs.

P.Y.T. (Pretty Young Thing) is so bad it’s good. It really is the embodiment of 80s pop with a touch of disco that our senses thoroughly enjoy, for it’s impossible not to dance along to this classic tune. 

The Lady In My Life is a simply gorgeous song to close the album on as Jackson’s tender vocal reaches right into your soul, encouraging you to spin the record again.

Thriller is ultimately a testament to Michael Jackson's versatility and ability to create music that resonates with a broad audience. While I don't rank it as his greatest release, and feel it is overrated, it is successful because it’s extraordinarily good. From energetic dance tracks to soulful ballads, Thriller offers a diverse range of musical experiences that will stay with you well after the album has ended, thereby making it an exceptional release in the world of music and one of the best albums released in the 80s.

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John Denver – Seasons Of The Heart (Album Review)

In 1982, John Denver released Seasons Of The Heart, a beautiful collection of songs that exemplify his signature folk-pop sound and heartfelt songwriting. As a masterful storyteller, Denver takes music lovers on an audible journey that resonates deeply with themes of love, nature, and the human spirit. This record stands as a testament to his remarkable ability to create songs that capture the essence of the ever-changing seasons of life.

Receiving only modest success at the time of release, Seasons Of The Heart is a hidden gem within Denver’s extensive catalogue of music. Of course, sales success is a poor judgement of quality and there’s little doubt that this album was overlooked at the time as I consider it to be one of the greatest albums released in 1982. Regardless of where you would subjectively rate this release, one thing is for certain, it’s a masterpiece! 

While it hasn’t been reissued, via any physical format, since the last official CD release in 1986, the Lossless Apple Digital Master is spectacular. It’s so good that while I may lament the absence of a physical reissue for Seasons Of The Heart, I can say with complete honesty that from a sonic perspective, we’re not missing anything. This is one, of many examples, whereby the stream is more than good enough and is so impressive that even if a physical release was available, I’m not sure it would warrant a purchase. Although, I adore the album artwork and would love to have that on the larger vinyl canvas. 

Seasons Of The Heart is a glorious opening tune and an ideal title track. Featuring introspective lyrics and Denver's unmistakable warm vocals, Seasons Of The Heart will draw you in from the very first note as it sets the tone for the entire album.

Opposite Tables is a lovely hidden gem that not only plays into Denver’s style but incorporates nostalgic memories of the greatest recordings of yesteryear with a catchy chorus and toe-tapping rhythm that will captivate you. 

Relatively Speaking has a lighter upbeat tune that is simply delightful. While all of the songs on Seasons Of The Heart are exceptional in their own right, when listening to the album’s intended sequencing, you’ll notice a cohesion that ensures the album experience is alive and well.

Dreams is simply gorgeous. The song's melody is infectious, and its lyrics resonate with the dreamer in us all. If you’re after a relaxing tune, you can’t go wrong with this one for the musical backing tells a story all by itself, sans lyrics. 

Nothing But A Breeze reminds me fondly of John Fogerty and as much as I would love to hear him cover Nothing But A Breeze, Denver performs it so perfectly that even Fogerty, with his musical prowess, would be unlikely to add anything of substance to this classic country rock masterpiece. 

What One Man Can Do slows the tempo for what can only be described as a beautiful ballad. It’s not only one of the best songs from the album, it is one of the greatest songs Denver ever recorded.

Shanghai Breezes continues the beautiful musical experience. If there is a criticism to be made, however, it’s that the drum rhythm has an audible crunching. It may have been intentional, but it’s ultimately distracting.

Islands is John Denver 101 with its magnificent sweeping musical backing and Denver’s otherworldly vocal presentation.

Heart To Heart is one of my favourite songs of all time. Yes, it’s corny and cliché and is very much a song of its era, but that chorus is one that I could listen to on repeat indefinitely as it’s exceptional.  

Perhaps Love is the solo counterpart to the original duet with Plácido Domingo. While both versions have a place in the annals of music history, I must admit that I prefer this solo interpretation as it simply sounds right.

Children Of The Universe closes the album beautifully for Denver is once again front and centre with an introspective piece that is layered onto a lovely musical bed. 

Seasons Of The Heart, ultimately, showcases John Denver's musical and emotional depth like no other album from his extensive discography. His soulful vocals, meaningful lyrics, and masterful guitar work make this album timeless; one that you’ll find yourself coming back to time and time again. 

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Glenn Frey – After Hours (Album Review)

Glenn Frey's After Hours, released in 2012, offers a delightful departure from his rock 'n' roll roots with the Eagles. Delving into the Great American Songbook, Frey delivers a collection of timeless classics with his signature charm and musical finesse that fans, and newcomers alike, will find endearing.

Sadly, After Hours would be Frey’s final studio album, but in many respects, I couldn’t imagine a more fitting closing chapter for After Hours is reflective, beautiful, and offers a level of maturity that even at the height of Frey’s career, he never quite reached for the music he recorded for this album required the soulful tones of a mature musician. Even those who were not as enamoured with Frey’s Eagles’ recordings, instead preferring his solo works, will find After Hours to be considerably different but the shift in style simply sounds right. It is as if it were always meant to be and while dissimilar to his more commercial works, I’ve no doubt that fans will find something to love about After Hours for it is not that far removed from his other recordings and these interpretations are so lovely that you simply shouldn’t overlook this masterpiece.

While many will note the spit and polish applied to all of the Eagles’ output, it is fair to say that Frey’s 80s releases weren’t necessarily of the same sonic calibre. Granted, they were 80s rock releases that had the specific sonic cues of the era, but in After Hours we don’t need to be concerned for it was recorded, mixed, and mastered beautifully. The Lossless Apple Music stream, an Apple Digital Master, is exquisite and is simply a pleasure to listen to. While I’ve been fortunate to have heard the vinyl release, which was stunning by the way, the Apple Music stream is in every way its complementary counterpart. Yes, the vinyl release was a little smoother, for that is the nature of the format, but the emotive element rings through as true on both releases.

While the music is undoubtedly impressive, the same can’t be said for the cover art. It works for the style of music, and invokes the nighttime street view associated with countless jazz clubs, but is somewhat lacklustre for an artist of Frey’s calibre. That said, most of Frey’s solo works had average cover art designs, if we’re to be completely honest, so I really shouldn’t be as surprised as I am by the simple design of After Hours. That said, it’s all about the music, so let’s take a look at the songs that make up After Hours.

For Sentimental Reasons opens the album with a warm and inviting rendition of this classic song. Frey's smooth vocals immediately set the tone, drawing listeners into a world of nostalgic melodies and heartfelt sentiment.

My Buddy is campy, but I love it! That drumming is off-the-charts good, and the fullness of all backing musical elements will immerse you in the music while Frey remains front and centre. The performance and subsequent recording of My Buddy is done so well that you’d swear you were in the studio with the band.

Route 66 is lively and full of energy. Yes, Route 66 is one of the greatest songs to have ever been composed and this interpretation is no exception. It isn’t fundamentally different and doesn’t necessarily take the tune in new directions, but it also doesn’t detract from the classic renditions we all know and love. It is this similarity that is the song’s strength for fundamentally changing a classic such as this would be met with exasperation.

The Shadow Of Your Smile is a lovely song that further showcases Frey’s vocal versatility as he adds a touch of sophistication to this recording.

Here’s To Life is one of the most beautiful songs on the album. Frey manages to capture the essence of the song’s lyrics, reflecting on life’s ups and downs, masterfully. As much as I adore Frey’s rendition, however, I can’t help but wonder just how exceptional this tune would have sounded had George Michael recorded it for his spectacular Symphonica release. Nevertheless, Frey’s moving and contemplative performance is flawless and is one of the greatest vocal recordings of his career.

It’s Too Soon To Know is a poignant ballad, and Frey's vocal delivery is, as is the case throughout After Hours, sincere and touching.

Caroline, No is a standout recording of this Beach Boys classic. Frey adds his own style to the song while preserving its melancholic beauty, making it a fresh and captivating interpretation.

The Look Of Love oozes with sensuality and sophistication, but nobody does it better than Diana Krall.

I’m Getting Old Before My Time is a lovely tune, even if not a standout on the album. While it flows well within the album’s structure, it is unlikely you’ll be compelled to seek out I’m Getting Old Before My Time on its own.

Same Girl is stunning! Frey’s vocal prowess shines through and the song quickly becomes a hidden gem of his illustrious career. Filled with nostalgia and warmth, it’s an audible pleasure to be able to sit back and listen to this master musician at work.

After Hours is the only original composition, on this release, and it’s a lovely way to close the album. Writing with Jack Tempchin, the result is incredible as After Hours doesn’t feel out of place with the other standards featured on this record. That’s no easy task, even if you are as skilled as these gentlemen. Standards are standards for a reason and After Hours is a modern-day offering that encapsulates the overall mood of the album.

After Hours is a delightful journey through the classics of American music. Frey’s smooth, soulful vocals and heartfelt interpretations breathe new life into these timeless songs. The album is a testament to Frey's musical maturity and versatility, proving that his talent transcends rock music. After Hours really is Frey at his very best. Yes, his Eagles work is beyond reproach, but After Hours is his greatest solo release and one that should not be overlooked.

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Slash - Self-Titled (Album Review)

Released in 2010, Slash is the legendary Guns N' Roses guitarist's long-awaited debut solo album. Featuring a star-studded lineup of guest vocalists and musicians, this self-titled album showcases Slash's exceptional guitar skills and his ability to craft a diverse collection of rock songs.

Slash is so synonymous with rock and roll that it would have been easy for him to release a run-of-the-mill Slash & Friends release. However, he didn’t disappoint on this record as he was active in writing and co-writing the entire album. Perhaps this is where other artists have come unstuck as they tend to simply re-record their classics, or record tunes that were never worthy of release, with their friends, resulting in a less-than-stellar release. The result is that Slash is an album experience first and foremost and is arguably his greatest musical achievement outside of Guns N’ Roses. 

Part of the album experience is the artwork and Slash’s self-titled album is magnificent in that regard. Although, I do still feel that the artwork for Slash’s Snakepit It’s Five O’Clock Somewhere is superior. Regardless, Slash’s output has often been adorned with incredible cover art; well, that is until recently as the last great cover art he was associated with was Apocalyptic Love. 

Of course, there’s more to the album experience than the visual element for it must sound compelling in order to garner the attention of music lovers. While this album has been mastered loud, it works well for the hard rock genre. Yes, I’d like a little more breathing room as the drums can sound a little concealed and rather than a shimmer in the cymbals, we’re often met with hideous crunching as the album has been recorded well into the redline. Nevertheless, it rocks and while you won’t necessarily want to turn the volume up to ear-bleeding levels, it can rock loud enough to drive your neighbours insane. That all said, a remaster would likely yield better results, or better yet another vinyl pressing, for the limitations of the analogue format permit a greater dynamic range in order to play correctly. Plus, who doesn’t want that killer artwork on a larger canvas? 

The lossless Apple Music stream, a direct counterpart to the CD release, is subsequently adequate and will appease most fans. The only difference is the stream includes the bonus track Paradise City (feat. Cypress Hill & Fergie); a great interpretation, certainly, but one that I feel isn’t worthy of inclusion here. As a result, I’m sharing a playlist of the album with this track omitted. 

Ghost (feat. Ian Astbury) kicks the album off with a haunting and bluesy number. Ian Astbury's gritty, yet smooth, vocals are the perfect accompaniment to the backing musical performance; a performance that is off-the-charts good.   

Crucify The Dead (feat. Ozzy Osbourne) transitions seamlessly from Ghost and quickly becomes a hard-hitting rock anthem that is a match made in heaven with Slash's riffing and Ozzy's iconic vocal delivery. It’s one of the best songs from the album, but more importantly, it’s one of the best performances in their careers, for both musicians created a masterpiece. 

Beautiful Dangerous (feat. Fergie) is one of the greatest, and most unexpected, rock and roll recordings of all time. Most of us know Fergie from the Black Eyed Peas and while her contribution to that band was extraordinary, and her subsequent solo career has been admirable, she takes her skills as a vocalist to another level on this song. Truth be told, Fergie should be fronting a rock and roll band full-time for she’s got the sultry vocal chops to pull it off.  

Back From Cali (feat. Myles Kennedy) is the first of two masterful Myles Kennedy additions to Slash. As you listen to this song, you’ll be left with little doubt as to why Slash and Kennedy have formed a long-term collaborative partnership for they complement each other perfectly on this melodic rock track. 

Promise (feat. Chris Cornell) is sensational! I’ve adored Cornell’s vocals ever since I first heard Soundgarden’s Superunknown and Promise only intensifies my admiration of the late, great frontman. It may be a little more melancholic than you’d otherwise expect, but Promise allowed both Cornell and Slash to display their musical prowess. 

By The Sword (feat. Andrew Stockdale) is a bluesy masterpiece with Stockdale's unique vocal delivery complementing Slash's commanding guitar work.

Gotten (feat. Adam Levine) adds a pop-rock flavour to the album with this acoustic-driven ballad and Levine’s smooth vocals. It may be a departure from the album’s heavier tunes, but don’t let that deter you as it’s simply stunning.

Doctor Alibi (feat. Lemmy Kilmeister) is hard and fast with an addictive rhythm; a fitting song for Kilmeister’s distinctive growl. 

Watch This Dave (feat. Dave Grohl & Duff McKagan) is the only instrumental track on the album and while Grohl and McKagan are legends, it’s lacklustre and nothing more than filler. Given Grohl’s history as frontman for the Foo Fighters, one would have thought that a killer rock and roll tune, with him on lead vocals and Duff on backing vocals, would have been the perfect combination. As it never happened, it can only be considered a missed opportunity.

I Hold On (feat. Kid Rock) brings a little southern rock to Slash but as much as I enjoy, almost everything, that Kid Rock releases, I Hold On could have been a heavier tune, one that I feel would have been more fitting to this collaboration. Nevertheless, I appreciate it for what it is and it’s a solid rock tune that’s perfect to toe-tap along to.

Nothing To Say (feat. M. Shadows) is characterised by aggressive riffs and powerful vocals. It’s a match made in heaven for it’s reminiscent of the style on Avenged Sevenfold’s Self-Titled 2007 release and is, therefore, perfectly suited to Shadows. 

Starlight (feat. Myles Kennedy) is incredible! Not only is it one of the best songs from the album, but you’d be hard-pressed to find a recording, from Kennedy’s entire career, that is better than Starlight, for this melodic and soulful ballad will leave a lasting impression. 

Saint Is A Sinner Too (feat. Rocco DeLuca) has a slower, more reflective quality that adds depth to the album. It’s a lovely song and a hidden gem that will only be known to those of us who listen to the entire album.

We're All Gonna Die (feat. Iggy Pop) is a song that only Iggy Pop could have sung; one filled with raw, high-energy rock. It’s the perfect way to close out the standard edition of Slash.

Slash is an incredible album that has and will continue to stand the test of time. While I’d love to see another multi-artist collaborative release from Slash, sometimes less is more and this is one instance whereby a singular release is all that is needed. From blues-based hard rock to ballads, Slash's iconic guitar playing remains front and centre with each of his guest vocalists bringing a unique element to each track, making it a must-listen for fans of classic and modern rock alike.

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Roxy Music – Avalon (Album Review)

Released in 1982, Avalon is a timeless classic that represents the culmination of Roxy Music's musical journey and is, arguably, their magnum opus. Unbeknown to fans at the time, it would also be their final record; an incredible album to close their illustrious career with. As you listen to Avalon you’ll notice how it effortlessly weaves together elements of art rock, pop, and a synth-driven new wave sound to create a sonic presentation that is nostalgic, when considered via a modern lens, but was ultimately forward-thinking when released in the early 80s. 

Naturally, by this stage, Roxy Music had already cemented their legacy, in the annals of music history, with albums such as Country Life, For Your Pleasure, and their self-titled Roxy Music. Shifting to a more mature and smoother presentation than their earlier releases, Roxy Music not only reinvented themselves but released an album that is nothing short of spectacular and easily accessible to all music lovers; an aspect which has been proven with the continued popularity of this classic album.   

Before even hearing the record, one would have been drawn to the album artwork which is simply stunning. Roxy Music is renowned for eye-catching cover art designs, but I consider Avalon to be their greatest. Not only would it have looked stunning on the larger vinyl canvas, the primary music format in 1982, but one can’t help but get lost in the atmosphere for it is very much a piece of album artwork that is both from this world and simultaneously otherworldly. In that way, it matches the music contained within.

Due to Avalon’s success, it has been reissued ad nauseam, which ultimately causes anxiety for fans of the album who wish to seek out the very best reproduction possible. While I’m not suggesting that you throw your arms in the air, in frustration, there are over 200 editions to take into account; a mammoth undertaking for any fan. No, dear reader, you don’t need to track down and listen to every copy, but the amount of research required to find out which edition best suits you is exhausting. It is with that in mind that I must admit the Lossless Apple Music stream sounds incredible. It’s derived from the readily available 1999 CD remastering and while some ardent fans will point to either the SACD edition from 2003 or the vinyl reissue from 2022, when a stream sounds this good it’s a tough sell. Let’s put it this way, when music is recorded, mixed, and mastered as well as Avalon has been, it's bound to sound fantastic, regardless of the delivery method or format. 

More Than This opens the album with a dreamy atmosphere that sets the tone for what is to come. Bryan Ferry’s emotive vocals, combined with the rhythm and shimmering synthesiser-driven soundstage arguably date the song, yet it still sounds fresh and is, subsequently, a timeless classic. It’s classic rock at its very best!

The Space Between flows perfectly from More Than This as the gap between the songs is enough that the style differences don't present as a jolt to the senses. The Space Between adds further musical intrigue to Avalon and while it is an album-only track, it’s one of the best songs Roxy Music ever recorded. Every musical aspect was carefully considered and Andy Mackay’s saxophone playing takes the song to another level entirely and is the real highlight here, that is until you factor in Ferry’s spectacular vocal.

Avalon is the album’s crown jewel and rightful title track for its sensuous and lush, perfectly blending beauty and sophistication. The backing vocals, performed by Fonzi Thornton and Yanick Etienne (in particular) are simply stunning and a key reason why Avalon continues to be enjoyed to this day. 

India is another song that flows seamlessly and to be honest, the entire album is so well-sequenced that as much as you may gravitate to the individual songs we all know and love, Avalon is an album experience first and foremost. No truer is that than when listening to India and appreciating how this beautiful musical interlude segues Avalon to While My Heart Is Still Beating.

While My Heart Is Still Beating is bold and dynamic. It’s a musical journey that is somewhat ethereal as Ferry’s vocals are sung in a manner whereby every lyric is not necessarily well defined, but is present in the mix if you take the time to not only check out the lyrics but listen intently. Songs such as this are a core reason why I consider the human vocal as another instrument in the mix, rather than a storytelling device, for Ferry creates an audible atmosphere that is utterly captivating. 

The Main Thing has an undeniable 80s pop style with its danceable groove and shimmering synths. In many respects, it’s a shame that The Main Thing was never released as a single for the hook draws you in and is, subsequently, not only a highlight of the album but would have been perfect for radio broadcasting during the era in which the album was released. 

Take A Chance With Me is a slow burn. The musical introduction is incredible and you’ll likely hear different elements upon each subsequent listen. Hence, Take A Chance With Me only improves the more you listen to the album. That said, it could also be proposed that the introduction to this song is too long, and unnecessary, as it pertains to the song itself, but given the album feels as if it’s a singular musical experience, I wouldn’t want to change a thing. 

To Turn You On has a pulsating bassline that accompanies this rhythmically engaging song. If there is a low point to be heard on Avalon, however, this is it. Yet, in saying that, To Turn You On does suit the overall style of the album even if it sounds somewhat foreign.  

True To Life is a hidden gem in every sense of the word. The upbeat tempo is addictively good and every musical aspect was carefully considered and perfectly positioned in the mix. Nothing short of a masterpiece would be the perfect way to describe this tune and while I could highlight every band member’s contribution, for they’re all excellent, it would be best if you just listened for yourself for Roxy Music doesn’t get much better than this.

Tara closes the album with a beautifully reflective instrumental piece that maintains the album’s overall aura. The result is that Tara compels me to listen to the album again, for Avalon is one album that I can never listen to just once.  

Subsequently, it doesn’t matter how many times I’ve listened to Avalon, throughout the years, for it continues to impress as a masterful piece of art-rock that isn’t limited by the era it was conceived in. Yet, at the same time, nostalgia plays a role in the modern appreciation of this creative endeavour. Each track on Avalon contributes to its overall excellence, and it remains a must-listen for anyone appreciative of the artistry and allure of Roxy Music and the early 80s rock vibe. 

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Tavares – New Directions (Album Review)

Released in 1982, New Directions is the eleventh studio album by the American R&B and funk band Tavares. While their legacy, by this stage, was well-cemented into the annals of music history, New Directions sees the band shift musical direction slightly as they transitioned from the core disco and soul sounds that characterised their earlier works, to a more contemporary and versatile style that lent more on the musical elements of funk, pop, and vocal ballads. 

While the cover art of New Directions was, and still is, unappealing, the sonic quality of the lossless Apple Music stream is thoroughly enjoyable. In fact, New Directions wouldn’t even be available on CD until 2010 when Big Break Records, under license from Sony Music Entertainment UK, released a remaster of this album. Since that time, the only other edition to be reissued was a CD release, for the Japanese market in 2016. Naturally, those of you who only care about the music will ponder my direction here, but when you consider that the Compact Disc was first released in 1982, it’s incredible to think that a new release album was not considered for release on the new emerging format. Granted, widespread acceptance of the CD format took a few years, but one can only speculate as to the sales success of New Directions had it been released on the now humble Compact Disc. 

While the aforementioned editions are now unfortunately out of print, we live in a wonderful era whereby for a small monthly fee we can have access to the same remaster and thereby be able to appreciate an album that otherwise would have been lost to history for many of us. Plus, if you’re still into buying digital downloads of the music you love, New Directions is available on both the iTunes Store and Qobuz. That said, all available editions include bonus tracks and longtime readers will note my distain regarding bonus material being tacked onto the end of an album. Subsequently, I have chosen to share with you a playlist that resembles the album’s original sequencing. However, if you want to listen to the bonus material, you can stream the complete bonus track version by clicking here. 

A Penny For Your Thoughts opens the album with a smooth soul-based tune that is simply stunning. The song’s lyrics are delivered as impeccably as ever for the smoothness melds perfectly with the harmony to produce an engaging laid-back tune that is the ideal opener.

I Hope You'll Be Very Unhappy Without Me maintains the sonic smoothness while adding a touch of funk and pop styling. Its groovy beat and playful lyrics are compelling, ensuring that while this song was only ever going to be an album-only tune, it fits the overall flow and sequencing of the album perfectly. 

Mystery Lady has a seductive quality that is musically engaging. It’s a simply beautiful song and while it isn’t the type of song that is most commonly associated with the Tavares, I do wish they had recorded more ballad-driven tunes for their smooth and sensual vocals are perfectly suited to that type of music. 

Abra-Ca-Dabra Love You Too exudes a playful and lighthearted vibe that is cringeworthy but pure fun. Yes, as you listen to Abra-Ca-Dabra Love You Too, especially with regard to the chorus, you’ll wonder why anyone would want to record this song for it’s corny and cliché, yet, it puts a smile on my face every time it comes on. 

Got To Find My Way Back To You picks up the tempo, adds an ample amount of funk with a touch of disco, and encourages you to get on your feet and dance around the room. Even if you’re sitting down, you’ll note that your body immediately connects with the rhythm as you’ll find yourself toe-tapping and head-bopping along, without intending to do so; a sign of music that’s good for the soul! 

Maybe We'll Fall In Love Again pops from the very first moments of the song. While it suits the overall style of the album, Maybe We'll Fall In Love Again is one of those songs that I doubt anyone will seek out on its own, for it’s the very definition of a filler tune. Still, New Directions wouldn’t be the same without this song. 

The Skin You're In is a masterpiece. That groove is sensational and the funky bass-driven rhythm is nothing short of addictive. Additionally, the vocal delivery is spot on and it makes me wonder why it was never released as a single for it’s one of the best songs the Tavares recorded throughout their entire career; yes, it’s that good!

Wanna Be Close To You closes the album perfectly with an 80s energy that’s nostalgic for many of us who either lived through the era or appreciate the 80s zeitgeist. Wanna Be Close To You is, ultimately, strong enough that it encourages me to spin the album again.

New Directions is a diverse and engaging album that showcases the Tavares' ability to adapt to different musical styles while maintaining their signature harmonies and soulful vocal performances. The album offers a mix of upbeat and mellow tracks, making it a well-rounded listening experience for fans of R&B and soul music and is one of the best albums released in 1982; despite its lacklustre chart success. New Directions is a perfect example of incredible music that was overlooked during its time. 

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