James Blunt – Who We Used To Be (Album Review)

James Blunt is one of those rare artists who consistently release highly compelling modern works of art that, for lack of a better term, are timeless. Who We Used To Be, however, loses a little focus (compared to his previous works) as Blunt continues to meld his signature sound with that of more modern recordings. That isn’t necessarily a bad thing, especially if one’s aim is to stay relevant. Still, it does shift Blunt’s musical style to such an extent that there are moments on this release that make the British pop sensation indistinguishable from any number of his contemporaries. While Who We Used To Be is amongst the very best releases of 2023, I do hope that Blunt’s future releases will be dialled back a little more, perhaps to the unique styling we heard on All The Lost Souls (2008); an exceptional release and one of Blunt’s finest.

Released in 2023, Who We Used To Be is the seventh studio album from James Blunt. With a core 10-track, 31-minute, linear structure, it’s closer to an EP than a full-length LP. Yet, in a strange dichotomy, a decision was made to offer a Deluxe Edition with an LP-length runtime, of ~44 minutes, and an additional four tracks. One may assume, as is often the case, that the bonus material on the Deluxe Edition fails to add to the overall album experience and only contains recordings that didn’t fit well with the core album’s linear structure. That, however, couldn’t be further from the truth as the 14-track release flows far better than the truncated 10-track edition.

While modern listeners likely won’t care, particularly as attention spans no longer lean towards the longer LP format, artistic output should never yield to the masses, and it is with that in mind that I implore you to exclusively listen to the Deluxe Edition. That, unfortunately, is going to be a problem for those who appreciate buying their music on vinyl, as the singular, and extremely limited vinyl release (300 units), released as a 45rpm edition (and pressed to recycled vinyl) only contain the core album tunes. It’s, ironically, a bit of a waste, especially considering both Standard and Deluxe Editions have been released on CD.

Don’t get me wrong, I appreciate the recycled vinyl approach, but pressing the album at 45rpm, in an attempt to gain greater fidelity, is a fool’s errand when it comes to recycled vinyl. Hence, it would have made more sense to release the album on vinyl, via the Deluxe Edition linear structure, at the more common 33rpm, and press more copies, as the artwork alone is worthy of presentation via the larger canvas.

As it pertains to the overall sound quality, aside from the chosen production style, Who We Used To Be is sonically pleasing via the Lossless Apple Music stream. It isn’t an Apple Digital Master, but that need not be an issue for its sonic presentation is bold, enveloping, and perfectly aligned with the overall sonic qualities that I associate with Blunt. Yes, it’s a little on the loud side, but not distractingly so.

Alongside the Lossless edition is the Dolby Atmos mix. Compared to the stereo mix, it’s more spacious with greater instrument separation, but it lacks energy and emphasis in the bass and midrange of the audible spectrum, as it’s a little too detailed and revealing. Granted, the bass is more balanced, resulting in less distortion, an aspect which may be appealing to some, but I much prefer the bombastic nature of the stereo mix as it’s akin to a live performance with a vibe to match.

The good news is, you can listen for yourself and make up your own mind. So, press play on your preferred version and join me as I take a look at the songs that make up this noteworthy release.

Saving A Life is a magnificent opening tune. The catchy musical bed, accompanying Blunt’s incredible vocal, is so sonically pleasing, as it builds to the crescendo, that you’ll find yourself compelled to put the song on repeat, but I appeal to you to listen on because this is just the beginning. Yes, “Saving A Life” is a modern classic, with a polished pop production to match, but the appeal of Who We Used To Be is the sum of its parts rather than a small selection of notable tunes.

Some Kind Of Beautiful picks up the tempo and will see you on your feet dancing to the groove that would be perfectly suited to any nightclub the world over. The melody is naturally the focus, but Blunt’s vocal delivery on “Some Kind Of Beautiful” is the true standout and is amongst his most impressive vocal presentations, particularly as it relates to his faster-paced numbers.

Beside You is a compelling tune, but the opening echo-based vocal technique, while appropriate to the song, is the first real indication of Blunt merging too much with modern production stylings for “Beside You” is most certainly a James Blunt tune, but if you weren’t familiar with Blunt, you may consider this song to be from one of his contemporaries as it’s overproduced with too much vocal distortion. Still, and this shows his musical talent, “Beside You” remains thoroughly enjoyable.

Last Dance is a beautiful song. Blunt’s vocals are delicate throughout the verses and soar during the chorus, resulting in a tune that is not only worthy of his legacy but is a hidden gem.

All The Love That I Ever Needed is classic Blunt and is one of the songs from this release that is closest to his career-defining tunes, thereby making it highly compelling to long-time fans and newcomers alike.

The Girl That Never Was has a stripped-down production, with a simpler composition, that allows Blunt’s beautiful tones, and the message contained within them, to come through clearly.

Cold Shoulder picks up the tempo with a bolder musical presentation that, while not a standout, will find you toe-tapping and head-bopping along to this pleasant album-only tune.

I Won’t Die With You is a party number, and outside of the verses, the chorus lights up the song with a musical bed that is highly compelling, even if the brass instrumentation appears to be synthesised. While I don’t have anything against synthetic sounds, and love much of what came out of the 80s, I was ready to applaud the trumpeter as it’s believable enough to be an organic performance.

Dark Thought is lyrical magic, both in relation to its storytelling and Blunt’s vocal delivery. While there can only ever be a select few songs released as singles, “Dark Thought” has lead single written all over it as it’s amongst his greatest songs that casual fans have likely never heard. Yes, the subject matter may be too introspective and dark to launch an album on, but “Dark Thought” is a musical masterpiece.

Glow is a lovely song, with a subtleness and relaxed tone that acts as a perfect album-only tune, as every song doesn’t need to be a hit for an album to be exceptional. Coincidentally, it is the closing song for the standard release of the album, and in that context, I don’t feel that it’s strong enough to encourage one to play the album again. The song also ends prematurely, which leads to a sense of an incomplete record.

Confetti And Roses is somewhat sombre, but Blunt absolutely nails the vocal delivery on this tune, and it’s a core reason as to why the Deluxe Edition linear structure is paramount to the album’s overall appeal, for I couldn’t imagine Who We Used To Be without “Confetti And Roses”.

Care A Little Less has a unique quality about it. It’s not the type of song that I’d usually link to Blunt, but it’s highly compelling nonetheless. For a reason that escapes me, as I listen to “Care A Little Less”, I can’t help but hear the production and songwriting styles that align with those of Michael Jackson and Quincy Jones. Perhaps I’m hearing something that isn’t there, because it’s not a direct correlation, but there’s something within this tune that leads me to that conclusion.

A Thousand Lives is another magnificent song that would be easy to overlook if all you ever did was listen to the core release of Who We Used To Be, hence why the Deluxe Edition should be the only version of the album you listen to.

When You’re Gone closes the record on a much bolder and compelling note than “Glow” would have, as “When You’re Gone” is more in line with the album’s overall style, one that incorporates modern production and songwriting techniques while remaining true to Blunt’s musical vision. As it pertains to this closing number, it will encourage you to play the record again, as Who We Used To Be can seldom be listened to once.

No matter which way you look at it, Who We Used To Be is an extraordinary album and is one of James Blunt’s most impressive to date. While it’s most certainly amongst the best albums released in 2023, there’s a real chance of Blunt disappearing within an overly crowded genre, as the merging of his unique sound, with modern musical stylings, prevents him from standing out as he once had. That, however, doesn’t deter this fan, as this collection of songs will stay with you long after the album has ended; that is, should you listen to the Deluxe Edition.

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The Rolling Stones – Hackney Diamonds (Album Review)

With rumours of a new album set for release in mid-2026, it’s the perfect moment to look back at The Rolling Stones’ Hackney Diamonds, their first album without Charlie Watts. Watts’ drumming, however, can be heard on “Mess It Up” and “Live By The Sword”, but performing in Watts’ place, for the majority of the record, is Steve Jordan, an accomplished and exceptional drummer in his own right. Despite the lineup change, Hackney Diamonds remains a Rolling Stones album from the first note to the last and is amongst their greatest creative works. In some respects, as much as we’d all love to see another album of new material, consisting of the leftover songs from these recording sessions, I feel Hackney Diamonds is, in a similar manner to Alice Cooper’s The Revenge Of Alice Cooper, a release that offers an idyllic closing chapter to a spectacular career.

Released in 2023, Hackney Diamonds is The Stones’ 24th studio album, in a career that spans an astonishing six decades. Yes, this record could also be considered their 26th studio release, if we consider the US release schedule, but given The Stones’ UK origins, I’m calling it the 24th. Nevertheless, Hackney Diamonds is significant as it represented an 18-year gap, without a release of original material, as Blue & Lonesome (2016) was a covers album, and their last original material release was heard on 2005’s A Bigger Bang. Yes, they had released new songs, such as “Doom And Gloom”, “One More Shot”, and “Living In A Ghost Town”, but Hackney Diamonds proves that the era of the playlist, and its focus on individual songs, is no longer the stranglehold it once was.

With a runtime ideally matched to the single LP length, you’ll quickly find a connection with many, if not all, of the album’s 12 tracks as the conciseness and flow meld easily with one’s soul. The album artwork, however, takes a bit of getting used to as its over-the-top styling may be fitting for the era, but isn’t necessarily indicative of The Rolling Stones. Add to that the multitude of variants, which were a collector’s nightmare, and what you’ve got is a release that is musically aligned with The Rolling Stones, but one that simultaneously could have come straight out of the Taylor Swift production mill. Granted, the release of different editions is nothing new, but with 43 different vinyl editions to choose from, it’s excessive and quite frankly unnecessary.

The other problem, aside from giving the most dedicated of fans FOMO, is that this release schedule artificially inflates sales numbers. Granted, in the modern era, sales of any artist, on physical media, is nothing more than a blip on the radar, but this is one practice that I wish was restricted because many peers, and independent artists, do not have the resources to release such volume and are at as much of an disadvantage as they are in the streaming world where playlist inclusion often determine success. This aspect, however, shouldn’t take away from what is an exceptional release, one which would go on to win a Grammy Award for the Best Rock Album, but it does make one question just how popular certain releases have been, when fans and collectors strive to collect multiple copies.

As it pertains to the recording, mix, and mastering aspects of the album, it has been mentioned broadly online that the CD is unlistenable, and while I’ve yet to hear that particular edition, the Apple Digital Master, delivered as a Hi-Res Lossless release, is absolutely pushing the limits of Apple’s mastering guidelines. Yes, Hackney Diamonds is a loud release, but the tech giant’s mastering specifications still pull the overall recording and presentation back in line, thereby allowing for a thoroughly enjoyable listening experience.

While I haven’t heard a vinyl release of this record either, that particular format generally dials in loud masterings for a smoother and more relaxed listening experience. Still, despite the hot mastering choices, it’s indicative of a Rolling Stones’ release which features their raw rock and roll approach, that comes through loud and clear, even if the soundstage is a little boxed in. In a strange dichotomy, this sonic presentation gives the album a bolder styling that is closer to a live performance than a studio recording.

This boldness, however, is reduced when listening to the Dolby Atmos mix. Yes, the soundstage is deeper than the stereo mix and is a little more dynamic, but my preferred edition remains the core stereo recording as I find it to be more in line with my expectations of how a Rolling Stones record is supposed to sound. Nevertheless, if you choose to listen to the Atmos mix, you will get a greater appreciation for the layered production as elemental aspects, especially the backing vocals, are far more pronounced.

The bottom line, as it pertains to sound quality, is that Hackney Diamonds will likely appeal to longtime fans and newcomers alike for it’s got the flair of their 70s-era combined with modern day recording styles and influences; thanks in part to Andrew Watt’s guidance in the production chair. If you can get over the loudness aspect of the recording, you’re in for a treat! But, as always, don’t take my word for it, give the album a listen as we take a look at the songs that make up this, soon-to-be classic, release.

Angry launches the album on the right note with an aggressively charged, punchy riff. Reminiscent of their greatest rock numbers, “Angry” is unapologetically Rolling Stones’ and is the modern equivalent of their unique and highly celebrated sound. While it may not be a classic yet, give it a couple of decades and “Angry” will be amongst the Stones’ most notable tunes as it possesses a Tattoo You-era styling with up-to-date production values.

Get Close slows the tempo somewhat with a looser presentation than the highly strung “Angry”, and while it isn’t a standout, per se, “Get Close” has a funky-jazz feel to it that is highly compelling.

Depending On You is classic Stones, and is another reason why Hackney Diamonds is a modern classic, as The Rolling Stones haven’t sounded this good, arguably, for decades. Yes, it plays to the softer side of the band, but the Stones have never been what I’d call hard rock, so this classic rock tune is nothing short of a sensational masterpiece.

Bite My Head Off picks up the tempo with this funk-driven punk-inspired number. Included on bass is Paul McCartney, for the first time on a Stones’ record, and his distorted bass is perfectly suited to this tune. His inclusion adds a level of attitude that only peers, and friends, vibing off each other, could achieve. “Bite My Head Off” is, ultimately, one of the best songs in their collective careers.

Whole Wide World continues the energy of “Bite My Head Off” but not only is it Stones’ 101, but it reminds me of Midnight Oil and is one song I’d love to see the Australian rockers cover. A driving rocker with a sense of urgency is an apt description, as “Whole Wide World” is an incredible tune and one that will be relevant long after the Stones have closed the door on their storied career.

Dreamy Skies shifts the tone to that of a slow country-blues vibe, but the album’s sequenced so well that it isn’t a jolt to the senses; if anything, you’re expecting a slightly more relaxed tune and “Dreamy Skies” delivers.

Mess It Up will find you head-bopping and toe-tapping along, that is, unless you’re on your feet dancing to this number that features Watts’ backbeat. Jordan is an exceptional drummer, but Watts’ styling, combined with the rock and roll nature of The Rolling Stones, offers a special element that simply can’t (and shouldn’t be) replicated. It makes “Mess It Up” one of the most appealing songs from the record and one of the catchiest tunes The Rolling Stones has ever recorded.

Live By The Sword also features Watts on drums and sees Bill Wyman return on bass guitar after a three-decade-long absence. Add to that a piano element by none other than Elton John, and what you’ve got is a highly compelling tune that acts as a bridge between the modern Stones’ styling and that which came before, particularly from the 70s. While it may not be a standout, “Live By The Sword” is a killer album-only number, one that makes Hackney Diamonds so appealing.

Driving Me Too Hard, with its tight riffs, catchy chorus, and straightforward production, makes one think immediately of classic Stones. That isn’t a negative aspect, however, for as much as the creative freedom of artists is a great thing, often resulting in unique creative endeavours, there are times when going back to one’s core is of benefit and “Driving Me Too Hard” is the sonic equivalent of going home.

Tell Me Straight is a masterful song that sees Keith Richards on lead vocals. His weathered vocals offer a level of authenticity that contrasts beautifully with Jagger’s more flamboyant style, but it’s also one of his greatest performances.

Sweet Sounds Of Heaven includes Lady Gaga on vocals, but this is Gaga like you’ve never heard her before. Yes, she’s an incredibly versatile artist, but something sounds off. If she hadn’t been listed as a contributing artist, you’d likely not make the connection, as her usual vocal cues are missing. Nevertheless, “Sweet Sounds Of Heaven” is a solid tune that, in a rare case, has received far more recognition than it deserves.

Rolling Stone Blues sounds inherently different to the rest of the recordings on Hackney Diamonds, but for good reason, as it’s a cover of Muddy Waters’ original, "Rolling Stone"; a song that was highly influential to The Rolling Stones’ origins. Its sonic presentation also differs as it’s a stripped-down recording and was the only song from the record that was recorded to analogue tape. The result is an interesting sonic patina that will stay with you long after the album has ended. It isn’t necessarily the strongest tune from the record, but given its influential heritage, one can’t help but sit and reflect on what a sensational album this is, and what a long-lasting career the British rockers have had.

Overall, Hackney Diamonds is everything you’d want from a Rolling Stones release at this stage of their career, as it’s confident, reflective, and still brimming with that unmistakable rock and roll spirit. Should it prove to be the final chapter for the band, then it closes their storied career perfectly with a collection of songs that not only make it a great album, but also honour their past and reinforce their legendary status.

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T. Rex – Electric Warrior (Album Review)

There are classic albums, and then there is T. Rex’s Electric Warrior; a killer '70s rock and roller! While not quite as polished as their 1972 follow-up, The Slider, Electric Warrior laid the groundwork for what was to come, despite this being their sixth studio album overall and second under the T. Rex banner. It did, however, deliver a musical shift that favoured an increasingly electric approach, one which had started with their self-titled 1970 release, rather than the acoustic styling they’d previously been known for. As a result, the glam meets rock with touches of funk was met with great success, and Electric Warrior remains T. Rex’s most commercially successful release.

Aside from the musical shifts, much of Marc Bolan’s songwriting on this release revolves around personal experiences and while lyrical intent is not necessarily the focal point of music, particularly for this music lover, one thing is for certain, and that’s that T. Rex benefits from this shift in songwriting as well. Add to that Tony Visconti’s production brilliance, and what you’ve got is an album that is not only highly compelling but sonically impressive. The musical trickery of Visconti took the quartet to much bolder musical heights that couldn’t have been conceived without his influence, and he is, in many ways, a core member of T. Rex, having produced just about everything the band put out until their 1975 release, Zip Gun.

Electric Warrior is also notable for its striking album artwork, which effectively sets one’s expectation, while simultaneously matching the overall musical style of the record. While the album’s artwork maintains its emphasis on small-format digital screens, the stark gold on black design would, undoubtedly, be best appreciated via the larger vinyl canvas, and its ability to be displayed amongst one’s collection. While I’ve yet to be able to appreciate it via that format, the CD-quality lossless Apple Music stream is sonically exquisite. Based on the 2012 remastered/reissue, this streaming edition is ideal for those who have yet to venture into one of the many physical releases and will likely appeal to most music lovers.

You’ll be met with a digital reproduction that sounds warm and enveloping with a full-bodied sound. There are, however, a couple of instances when the cymbals can sound a little jarring, particularly at higher volumes, but it’s a minor gripe that is likely a non-issue on the more rounded and smoother vinyl editions. Nevertheless, the greatest gift of streaming is that we can sample the music, and so, as we take a look at the songs that make up this classic release, give it a listen and decide for yourself.

Mambo Sun sets the tone for the album with its hypnotic upbeat funky vibe. If you’re not moving involuntarily to the rhythm, you’re most certainly listening wrong, as “Mambo Sun” has a surreal atmosphere that perfectly presents Bolan’s vocal atop the pulsating rhythm.

Cosmic Dancer slows the tempo somewhat, but the initial throwback to a more acoustic sound is quickly overtaken by the gorgeous symphonic presentation that not only enhances the song but showcases the experimental nature of both T. Rex and the glam rock genre itself.

Jeepster has a rock swagger that is perfectly suited to the era. While not necessarily a standout, and one song from the record that suffers from a little too much shrillness in the top end, “Jeepster” is a solid album-only number that fulfils that obligation perfectly.

Monolith is a masterful number. Yes, there’s a little too much focus on the cymbals, but the layered nature of this tune is exceptional and feels akin to a bridging element between legacy T. Rex (Tyrannosaurus Rex) and this bold new musical styling.

Lean Woman Blues is about as country as you’re gonna get from T. Rex, but despite the twang element, it’s the blues-driven styling, the vocal grit, and distorted guitar that, ultimately, makes “Lean Woman Blues” so appealing.

Get It On, also known as Bang A Gong (Get It On), is T. Rex’s magnum opus. Nothing comes close, even though there are many contenders, but from the very first note to the last, Bolan and the band draw you into this groove-filled number that will stay with you long after the album has ended.

Planet Queen flows well from “Get It On” with its softer groove that, while less immediate than the aforementioned tune, is dreamy and hypnotic in a manner that you’ll likely find highly compelling.

Girl is a beautiful tune, one that Bolan knocks out of the park for his vocal delivery, the subtle musical bed, and Burt Collins’ exceptional flugelhorn, meld together in one of the greatest and most unassuming tunes T. Rex ever recorded.

The Motivator picks up the pace, but the heavier groove, with its killer rock riff, is a welcome return to form as “The Motivator” represents the broader musical perspective of the band and is somewhat of a hidden gem.

Life's A Gas is a beautiful ballad. Gentle and melancholic. Few songs are as stunning as this unassuming number.

Rip Off is full of raw energy that, in some respects, is too far removed from the dreamy fluidity of “Life’s A Gas”, but it does serve well as the album’s closing tune for it leaves you wanting more and will likely see you spinning the record again, for Electric Warrior is an album that can be seldom listened to once.

No matter which way you look at it, or whether or not you consider The Slider as a superior T. Rex record, Electric Warrior is timeless and has had a profound impact on musicians and music lovers alike. Yes, the sub-million sales may encourage some to suggest that it was less successful than one might think, but those who have taken the time to listen to Electric Warrior know of its impact; one that will see it highly sought after long after this review, and all of us are but distant memories.

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Carole King – Tapestry (Album Review)

Released in 1971, Tapestry remains one of the most timeless and revered records in the history of recorded music. It’s an album that almost everyone knows of, even those with little interest in the singer-songwriter genre. With sales exceeding 25 million units worldwide, Tapestry is also among the most commercially successful and culturally significant releases of the 20th century, as it touched the hearts and souls of many music lovers through King’s dulcet tones and incredible songwriting, which spoke to a generation while remaining relevant all these years later.

While an album’s reputation is often built upon sales figures alone, Tapestry is one of those rare albums that is so universally admired that many would argue it belongs in any “serious” record collection; a claim that’s difficult to dispute, but it has lived up to its legendary status with its enduring appeal. Aside from it being a landmark release, the influence this record has had on musicians is near-impossible to measure, for its reach goes beyond the songs as the album became part of the zeitgeist, without it ever intending to.

Of course, commercial and critical success doesn’t always guarantee artistic greatness, but in this case, it is most certainly deserved. Tapestry demands attention, and even its few rough edges and imperfections lead to the album’s lasting character. At times, Tapestry sounds as though it was conceived almost like a fully realised demo recording rather than a pristine studio production. It is this rawness, however, amongst an exceptional selection of songs, that makes it so compelling. While the songwriting is excellent throughout, King’s vocal performances are deeply human and emotive, while the underlying musical bed is often understated but equally compelling in its support and delivery of King’s masterful tunes.

Tapestry may lack some of the spit and polish of its contemporaries, but the grittiness and associated warmth of the recording combine to add to the record’s patina in a way that perfectly suits the source material. No truer is this than when listening to the Hi-Res Lossless Apple Digital Master, available via Apple Music. While I’ve had the good fortune to have heard a number of the physical editions, with the most recent being the Music On Vinyl pressing (MOVLP035), I’ve stopped trying to seek out the “best copy” as each mastering and reissue presents the album differently from the one before it, yet the Apple Music stream simply sounds right. Granted, that isn’t a very helpful description, but the shrillness that can be heard, via some editions of the album, is dialled back, preventing a detractive element. Undoubtedly, there’d have to be a killer physical version available; I just haven’t come across it yet, but modern listeners can’t go wrong with the Apple Digital Master.

I Feel The Earth Move has a compelling bluesy-jazz meets Motown vibe, but most importantly, it’s an ideal opener as it sets the tone for everything that follows with its sense of urgency and confidence. King’s vocal is full of emotion, but it’s the rolling piano groove and the hook-laden musical bed that brings everything together.

So Far Away is a beautiful song. While it can be seen as a stark contrast to the album’s opener, the record is tracked so well that it doesn’t cause a jolt to the senses. Instead, you’ll find yourself sitting back, enjoying what can only be described as one of the loveliest songs in King’s arsenal, for every aspect of the recording is handled beautifully.

It's Too Late is a defining number and has that quintessential ’70s pop styling that, if you’re a fan of the era, you’ll immediately fall in love with, for this is one incredible song.

Home Again is brief, but the polished yet raw approach of the recording, with King’s vocal front and centre in an otherwise immersive soundstage, is akin to a heavenly experience. It also happens to be one of the songs that benefits most from the Apple Digital Master treatment, for King’s vocals, on this song in particular, have a tendency to distort in the upper ranges.

Beautiful is a lovely uplifting number, but as great as King’s recording is, check out Anne Murray’s cover for it’s the greatest interpretation of “Beautiful” that I’ve ever had the privilege of hearing. Barbara Streisand’s rendition isn’t bad, either, but I do wish Elton John had recorded it; I dare say he would have knocked it out of the park.

Way Over Yonder is a lovely song that knows no bounds for its composition taps into numerous musical genres, most notably its gospel undertones, to create another standout from an already exceptional album. Add to that, Curtis Amy’s mystifying saxophone at the midway point, and what you’ve got is one of the most memorable and relaxing songs from Tapestry.

You've Got A Friend is, undoubtedly, the centre point of the album and is nothing short of pure perfection. There’s little doubt in my mind that “You’ve Got A Friend” could easily be considered the greatest song ever written, and for good reason, for it’s the emotional centrepiece of Tapestry. Despite being later popularised by James Taylor, and his rendition is magnificent, King’s recording is glorious in its own right.

Where You Lead is a solid pop/folk number, but it’s largely forgettable when contrasted against the other exceptional recordings on this release. Don’t get me wrong, it’s a good song, and King does an admirable job, but there’s a bolder and more bombastic version lying just below the surface that could have been recorded.

Will You Love Me Tomorrow? was originally recorded by The Shirelles, but their rendition is easily forgettable. Thankfully, King reclaims this classic and records it in such a spectacular manner that it adds new depth to what was already an iconic song. While numerous covers have been recorded, few compare to the passion that King portrays through this, one of her very best recordings.

Smackwater Jack has an addictive rhythm that will see you toe-tapping and head-bopping from the very first note to the last. It may not be the most well-known track from the record, but there’s little doubt that it contributes to the overall album experience.

Tapestry is a simply beautiful title track, one that is understated and reflective, but it’s also a standout and somewhat of a hidden gem.

(You Make Me Feel Like) A Natural Woman closes the album with one of King’s most enduring and powerful songs. For lack of a better term, it’s a classic to end all classics and has been covered by the best of the best. While purists will agree that King’s recording cannot be beat, Aretha Franklin's version is stunning and amongst the greatest renditions ever recorded, for it is true to the song’s original intent and direction, but it’s also not overproduced, unlike Celine Dion’s recording. Regardless of the version you prefer listening to, “(You Make Me Feel Like) A Natural Woman” is a magnificent tune and a quintessential closing track; one that will compel you to play the album again whilst simultaneously encouraging you to sit back and contemplate the music you’ve just heard, for songs like this know few peers.

More than five decades on, Tapestry remains one of the most essential and emotionally resonant singer-songwriter albums ever recorded. From its unforgettable melodies to its understated songwriting, Tapestry captures King’s honesty and warmth, resulting in an album that’s both deeply personal and universally relatable. More than that, Tapestry offers a quintessential album experience; one that is timeless and continues to justify its place amongst the greatest records ever released.

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T. Rex – The Slider (Album Review)

There are classic albums, and then there is The Slider, a record that further solidified the legendary status the English rockers had attained on this, their seventh studio album. While The Slider was not as commercially successful as Electric Warrior (1971), it’s quintessentially T. Rex and if one was to share the band with a music lover, that had yet to experience them, The Slider would be at the top of my recommendation list for T. Rex doesn’t get much better than this, even though I have a soft spot for the experimental Futuristic Dragon (1976).

Released in 1972, The Slider finds T. Rex at a pinnacle moment of their career. With a selection of songs that play akin to a Greatest Hits release, it wouldn’t be far-fetched to suggest that The Slider, despite not reaching the commercial success of Electric Warrior, is the superior album. There will be some who naturally disagree, and they’d subjectively be correct, but The Slider is a glam rock masterpiece that knows few peers.

Featuring a stark black and white photograph of Marc Bolan, courtesy of Ringo Starr (yes, the one and only), the cover art design is striking. Perhaps my only complaint is that my preferred edition, The Visconti Master, utilises the white space from the album’s cover to inform us of the different mastering when presented on Apple Music et al. It shouldn’t matter, and most of the time I overlook it, but it takes away from the original artwork and is a distraction. First world problems, I know, but at least they didn’t make the same mistake as it pertains to the physical releases.

With regard to the sonic qualities, I find the Visconti remaster simply sounds right. And, yes, that is a technical term! For those unaware, Tony Visconti was the album’s producer, and this latest mastering is smoother, bolder in the mid and low end aspects of the recording, whilst also allowing for a thoroughly pleasing wide and enveloping soundstage. It isn’t presented as an Apple Digital Master, but it doesn’t need to be, as the CD-quality counterpart is stunning.

Undoubtedly, there will be fans of the original mastering, but whichever you prefer, join me as I take a look at the songs that make up this legendary release.

Metal Guru is a killer opener with a rhythmic burst that sets the tone for the entire album. Bolan’s emotionally charged vocals help to give the song its glam rock feel, but the backing vocal harmony adds to the mystique, for “Metal Guru” is amongst T. Rex’s finest recordings.

Mystic Lady slows the tempo somewhat, but the flow from “Metal Guru” is so natural that it’s unlikely you’ll sense the shift, unless you’re expecting it. With a near-dreamlike atmosphere, “Mystic Lady” is a lushly layered masterpiece that showcases not only T. Rex’s incredible musical prowess but Visconti’s high production values.

Rock On captivates like no other. You’ll feel compelled to move involuntarily to the rhythm as this song melds with your soul and stays long after the album has ended, but an earworm such as this has never been so pleasantly rewarding to the senses. The gruff, yet highly polished style of the song is part of its appeal, as it provides a contrast that works surprisingly well.

The Slider delves into a grunge-styled tone that provides the backbone to what can only be described as a classic glam-rock number. The layered musical bed is detailed and enveloping, yet Bolan’s vocals sit perfectly within the mix, further showcasing just how well The Slider, the album and this title track, have been recorded and mixed.

Baby Boomerang is an ideal glam-rock tune, for the short and punchy styling is undeniably catchy.

Spaceball Ricochet is a musical exploration that needs to be heard firsthand in order to be fully appreciated. While those not overly familiar with the era, or T. Rex, may point to “Spaceball Ricochet” being akin to a David Bowie tune, that would be a complimentary statement. The sparse, yet evolved, styling of the song is perfectly suited to both artists and is a great example of glam music at, arguably, its apex.

Buick Mackane is amongst the heavier tunes on the album, and while I’ve always appreciated Guns N’ Roses’ 1993 cover, from The Spaghetti Incident, the original is all that one ever really needs to listen to, as its muscular driving riff, while maintaining the band’s glam aesthetic, is nothing short of exceptional.

Telegram Sam is derived from one of T. Rex’s most iconic compositions, "Get It On". With a touch of funk, a dab of rock, and a healthy dose of glam, “Telegram Sam” is as instantly irresistible and catchy as the aforementioned track and a highlight amongst a collection of songs that are some of the very best in all of recorded music history. Some may be perturbed that the riff and overall styling were reused, but when you have such an incredible tune, why not repurpose it? AC/DC has been doing it successfully for decades.

Rabbit Fighter is a boldly dramatic number that sees T. Rex at their most theatrical and grandiose, whilst simultaneously delivering one of Bolan’s most impressive vocal performances.

Baby Strange is a raw, stripped-back rocker that will find you head-bopping and toe-tapping along. The riff and Bolan’s vocal delivery are the highlights on this tune, and while it may have been seen as a little pedestrian, the strength of “Baby Strange” is its simplistic approach.

Ballrooms Of Mars is one of the slower compositions on the record, but it’s an absolutely magnificent tune and another that highlights not only the band’s overall musical ability and tightness, but Bolan’s incredible vocal capabilities that, in this case, have a slight John Lennon styling in a respectful tip of the hat to the former Beatle.

Chariot Choogle is a killer high-energy number with an incredible riff and rhythm that you’ll feel as much as you’ll hear it, for this is one number that will encourage you to move both involuntarily and intentionally to the rhythm.

Main Man is a magnificent closer, with a dreamy mystique that is reminiscent of “Life’s A Gas” and is, subsequently, difficult to ignore. It will encourage you to play the record again, as well as offering you the opportunity to sit and reflect on the music you’ve just heard.

From start to finish, T. Rex’s The Slider is nothing short of an exceptional release that has not only stood the test of time but also remains one of the greatest albums ever recorded. It is T. Rex at their finest and, if, like me, you’ll find yourself playing this record on repeat for hours, for The Slider can seldom be listened to once.

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Rare Earth – Willie Remembers (Album Review)

Some albums, more than others, grow on you if you give them a chance. Willie Remembers, Rare Earth’s fifth studio album, is one such release. As to why that is the case, I truly can’t say, as this Funk-infused record, replete with R&B and Soul, is one of the greatest records to come out of the early-‘70s.

What I know for sure, however, is that it took a half dozen listens for the album’s music to infuse itself with my soul. Perhaps it was the diverse musical styling of Rare Earth that I found equally compelling and musically challenging. It could have even been the unique artwork that carried a similar tone to the music; compelling, but different enough to challenge one’s mind. Regardless, Willie Remembers reminds us that you can’t judge a record by its cover, or even upon first listen, but if you give it a chance, it can become one of your most treasured albums, one that will continue to capture your attention and unravel itself further upon each subsequent listen.

Released in 1972, Willie Remembers joins a collection of highly respected and memorable releases from the same year, but is arguably a standout due to the album’s aforementioned unique, yet somewhat disturbing, album artwork. As was the case during that era, the visual accompaniment was often seen as just as important as the music itself. One can only imagine entering their local record store and seeing that cover art on display. Of course, given the artwork’s controversial nature and the sensitivities of the era, this is one record that may have remained somewhat hidden among the record shelves. Still, upon seeing it, it would have drawn you in, just as it does in the modern era, as we’re still talking about it all these years later.

While I most certainly would have picked it up, based on the artwork alone, had I been alive at the time of release, the music is the most important aspect, and in that regard, Willie Remembers is second-to-none for it’s an extremely underrated release and has been recorded and mixed incredibly well. You’ll get a rawness, not unlike that of The Rolling Stones, but you’ll also hear high production values that link back to The Beatles, the Eagles, and Cymande.

While somewhat of a cult-status release, in the modern era, it’s a difficult album to come by. Other than digital download/streaming options, there have been two official re-issues on CD in the last decade. No vinyl re-issue and, perhaps most interestingly, Willie Remembers didn’t see a CD release at the height of the format’s reign. As such, it would be pure conjecture on my part to suggest which mastering was used, but as it pertains to the CD-quality Apple Music Lossless stream, it’s a thoroughly pleasing facsimile and is on par with what one may expect from a CD release.

If there are any sonic flaws to note, it’s fair to suggest that they’re intentional and part of the album’s recording and mixing style, rather than the mastering itself. Nevertheless, I have a feeling that most fans will find the digital offerings to be noteworthy.

Would a vinyl release better serve the album?

In this case, I don’t think so. While it doesn’t possess the vinyl warmth per se, it isn’t brittle and shrill, meaning that you’ll find yourself content to listen to the album on repeat for hours on end with no listening fatigue to be heard. Of course, don’t take my word for it; give it a listen for yourself and join me as I dive into the songs that make up this intriguing release.

Good Time Sally kicks off the album with an upbeat funk-rock number, immediately showing off the groove-based styling of Rare Earth. While the musical aspects of the song are irresistibly catchy, it’s Pete Hoorelbeke’s vocal delivery that captures not only the carefree spirit implied by the song’s title, but the playful and energetic nature that makes this tune a standout.

Every Now And Then We Get To Go On Down To Miami continues the feel-good funk-style groove. Capturing a sense of escape and celebration, while being further rooted in the band’s Soul and R&B origins, it delivers the easygoing charm of early-‘70s rock and is so highly compelling that one can only wonder why Willie Remembers wasn’t more successful, as it failed to achieve the commercial heights of Rare Earth’s earlier releases.

Think Of The Children is the first significant shift in tempo and tone, but this slower and more contemplative number is thoroughly pleasing with a beautiful arrangement and multi-layered mix that’s simply divine, for every musician is represented thoroughly, thereby showcasing the musical cohesion of Rare Earth.

Gotta Get Myself Back Home is perfectly suited to the era, as is much of Willie Remembers, but the raw rock-driven approach, with a tight groove, energetic guitar work, and a rock and roll narrative style, makes it more aligned to the era’s notable rock counterparts.

Come With Your Lady is a sonic masterpiece and a true hidden gem. Built on a relaxed, almost hypnotic groove, combining soulful vocals with layered instrumentation, “Come With Your Lady” is amongst the finest recordings Rare Earth ever made. The slow-burning introduction is an idealistic opening element that then explodes into a killer rock and roller that will not only compel the senses but will leave a lasting impression.

Would You Like To Come Along flows so seamlessly from “Come With Your Lady” that you’d swear it was merely a continuation of the previous song. Still, this tight upbeat burst of soulful rock, with catchy hooks and a lively rhythm section, is perfectly aligned to the radio-friendly numbers of the early-‘70s; yet it was never released as a single. Was it a missed opportunity? Absolutely, but success on the charts is rarely an indication of greatness, and in that context, “Would You Like To Come Along” is one of the most underrated and overlooked tunes from the era.

We're Gonna Have A Good Time is exactly representative of the song’s title, for it doubles down on the album’s celebratory mood, complete with infectious grooves and funky bass lines.

I Couldn't Believe What Happened Last Night is one of the album’s most ambitious songs, but it resembles a jam session full of improvisation that allows Rare Earth the space to explore their broad musical styling, whilst leaning into Soul, R&B, Funk, and Rock in this sprawling 12-minute epic. It isn’t, however, dull as there isn’t a lull to be heard throughout, and it’s the perfect closing number that allows for contemplation and will see you compelled to listen to the album, or this song, again.

Willie Remembers is one of those albums that I find myself returning to time and time again, for I find greater appreciation for the record upon each subsequent listen. There's little doubt that the band’s diverse musical styling, from the very first note to the last, is a drawcard, but as you listen to the album, it will command your attention, and if you allow it, it will meld with your soul in a manner that words can’t adequately describe.

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Neil Young – Harvest (Album Review)

Despite the prolific nature of Neil Young’s creative output, and as enjoyable as much of his extensive catalogue is, few releases compare to his 1972 record, Harvest. It’s not only one of his most iconic and enduring works, but it also captures the singer-songwriter at a pivotal moment in his career, shifting tone slightly to a warmer, country-tinged sound, alongside his remarkable lyrical poetry and emotional depth.

While some fans will be divided between this solo outing and his noteworthy collaborations with Crazy Horse, the tone Crazy Horse adds to Young’s musical palette is one of a heavier rock vibe that is somewhat of a contrast to Harvest’s more laid-back approach. It’s important to note, however, that this more relaxed style was due to Young’s inability to physically play the electric guitar at the time, following an accident that, ironically, became a significant aspect that made this release a defining moment in Young’s career.

With a minimal album artwork to accompany the music, some may find it a little underwhelming, but I’d argue that it’s strikingly compelling. There’s a relaxed aspect that shines through the design, one that perfectly matches much of the album’s musical styling. The old, tarnished look also adds a sense of warmth that complements the music well.

Speaking of warmth, Harvest has a smooth tonality that will captivate your soul, but all editions are not necessarily created equal. That’s somewhat surprising, given Young’s penchant for purity as it pertains to what the listener ends up hearing, but it’s an accurate assessment. Over the years, I’ve been fortunate to have owned the HDCD reissue, and if you have a CD player that will decode the HDCD element, you’re in for a treat. Without that functionality, however, the CD can sound a little harsh, particularly if you don’t have the treble dialled back a little.

As it pertains to the Hi-Res Lossless Apple Digital Master, available on Apple Music, that version has a lovely presentation, but isn’t quite as lively as the aforementioned HDCD. Had I never heard the HDCD release, I’d likely find myself smitten with the Apple Digital Master. The Dolby Atmos mix (also available on Apple Music) is another beast entirely. As one may expect, there’s excellent instrument separation and depth, but there’s also a substantial increase in the bass and midrange. It’s not bloated and does enhance the mix by adding emphasis, but it also doesn’t sound quite right. Of course, after all these years, I’m used to the stereo mix, so it may simply take some adjustment for the additional boldness of the mix to merge with my senses. If nothing else, the surround mix is more enveloping when compared to the stereo mix, but it isn’t fundamentally better, just different.

One aspect I did notice, which I’ve never experienced before with this release, is a sense of fatigue when listening to the Atmos mix. It was only apparent towards the back end of the album, but it was distracting nonetheless. Most likely, it’s due to the senses needing to adapt to the increased detail within the surround mix. While I can appreciate the surround mix and do find it compellingly different, I’ll stick with the original two-channels. But, don’t take my word for it, dear reader, take a listen for yourself and see which mix you subjectively prefer, as there really is no right or wrong way to appreciate this classic release.

Out On The Weekend is a beautiful opening country ballad that sets the tone for the entire album. Musical gold is one way to put it, for every aspect of this recording is perfect with a sereneness that delivers a thoroughly enjoyable listening experience, extending from the very first note to the last. How “Out On The Weekend” was not released as a single is beyond comprehension, for it’s one of the very best tunes from the album.    

Harvest continues the acoustic laid-back styling and will see you toe-tapping and head-bopping along to the rhythm. It may not be the most complex song Young has ever written and recorded, but it suits the album perfectly.

A Man Needs A Maid is a unique song in that the minimal musical arrangement and Young’s distant vocal, particularly in the opening, sound unpolished, yet it isn’t and is as intentional as the inclusion of the London Symphony Orchestra. Part of me would love to hear a bolder version of this song, one with a more lush arrangement, but that would, naturally, take away from the core essence of the tune.

Heart Of Gold is a masterpiece, in every sense of the word, and while this sacred number should never be covered, Diana Krall’s edition, on her 2015 release, Wallflower, is a lovely rendition of this timeless classic. Still, it is, arguably, Young’s greatest song and while “Old Man” tends to receive more attention, “Heart Of Gold” is a vocal and musical wonder that makes Harvest even more compelling.

Are You Ready For The Country has a lively vibe. With an ideal country-rock groove, it becomes the perfect midway point for the album as well as a perfect closer for the first side of the record. It may not be a standout, but all songs need not be hit-worthy to contribute to a top-tier album experience.

Old Man is amongst Young’s most thought-provoking numbers, but it’s the musicality of the tune that, for me, is the strongest element here, as it’s the gentle country-folk rhythm that keeps me coming back for more.

There's A World is musically bold, yet beautiful. It’s the contrast between musical stylings that makes the song so intriguing. Add to that Young’s unique vocal styling, and you’ve got a highly compelling album-only number that will keep you coming back to the record as much as the more celebrated tracks do.

Alabama is a killer tune. With equal parts relaxed and upbeat, this is rhythmic gold. The piano element enhances the raw intensity of the electric guitar throughout, thereby driving the song forward and making it one of the most compelling tracks from the record. In fact, I’d even go as far as saying that “Alabama” is the hidden gem from the record; it just hasn’t received the attention it deserves throughout the years.

The Needle And The Damage Done is a remarkable song, one that was recorded live, that tells of drug addiction, specifically heroin, and the associated consequences. While I seldom listen to music for its lyrical storytelling, instead preferring to appreciate the human vocal as if it were an instrument within the mix, Young is a master storyteller, and it’s his vocal clarity, on songs such as this, that allows the narrative to take centre stage.

Words (Between The Lines Of Age) is an idealistic closer. Incorporating elements from the songs that have come before, “Words (Between The Lines Of Age)” will simultaneously encourage the playing of the album again and contemplation of the music that’s just been heard.

No matter which way you look at it, Harvest is one of Neil Young’s finest releases; one that has not only stood the test of time, but has continued to be lovingly adored by generations of fans. Albums such as this are ultimately timeless, but it's with certainty that there will never be another Harvest, not from Neil Young, or any other artist, but its influence ripples throughout the decades of singer-songwriters that have followed in Young’s footsteps, even if Harvest can be seen as a spiritual successor to Bob Dylan’s celebrated 60s output.

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