Alice Cooper – The Revenge Of Alice Cooper (Album Review)

They’re back!

The Alice Cooper band has returned after a five-decade hiatus with one of the most anticipated releases in recent memory. Yes, Alice Cooper — the man, the myth, the legend — has remained active as a solo artist, with a series of rotating band members, since 1975’s classic Welcome To My Nightmare, as the last studio album featuring the original Alice Cooper band was 1973’s exceptional Muscle Of Love. Yes, Michael Bruce, Dennis Dunaway, and Neil Smith have all collaborated and recorded with Alice in recent years, but it was via a series of tracks rather than an entire album. So, after so many years, could the original Alice Cooper band’s magic be recaptured?

The results speak for themselves. The Revenge Of Alice Cooper is not only a triumphant return, but it’s one of the finest album experiences in recent rock history.

Let’s be honest, not all legacy comebacks are noteworthy. Voyage failed to live up to ABBA’s legacy. AC/DC’s Power Up was adequate, at best. The Rolling Stones, however, proved that an exceptional new release, from a legendary band, was indeed possible with the release of Hackney Diamonds in 2023. And now, Alice Cooper joins that rarified group of artists who’ve managed to deliver a genuinely compelling modern release, not just for the longtime fans, but for music lovers the world over.

As you listen to The Revenge Of Alice Cooper, it becomes abundantly clear that this record is, above all else, an album experience. There may not be a runaway hit on the scale of “School’s Out” or “I’m Eighteen,” but that’s beside the point. This is a cohesive, confident, and utterly enjoyable record from start to finish. Yes, “Crap That Gets In The Way Of Your Dreams” and “Famous Face” feel like natural single choices, but neither has been released as a single. Even “What A Syd” would have been single-worthy as its whimsical nature, tongue-in-cheek lyricism, and unmistakable flair is quintessentially Alice, without the shock-rock elements, of course. Interestingly, the single release schedule mimicked the album’s linear structure. Perhaps the intent was to focus on the album’s overall structure and flow, but it feels as if this was a missed opportunity to highlight some of the album’s standout tracks, despite the first three being highly compelling.

From the first spin, it’s clear that this isn’t some half-hearted reunion. The Revenge of Alice Cooper sounds like a natural continuation of the band’s classic 70s output, but with modern production values. There’s a fluidity and tightness here that suggests the band never really went away; they were just biding their time to release what will most likely become a landmark record. That’s no accident, and much of the credit goes to long-time producer Bob Ezrin, who also mixed the record. A vital architect of the original Alice Cooper sound, Ezrin’s fingerprints are all over this release, just as they were on Love It To Death, Killer, School’s Out, and Billion Dollar Babies. He knows how to get the best out of Alice, usually, and it shows. His return ensures that The Revenge of Alice Cooper not only sounds authentic but fresh, bridging the gap between the past and the present without ever sounding like a nostalgia trip.

Speaking of how the album sounds, the Lossless Apple Music stream is mastered a little louder than I’d ideally like, resulting in a touch of listening fatigue that may have you turning the volume down, rather than up. There’s minor crunching at the top end of the audible spectrum, which is a shame given how exceptional the music as a whole is, but if you can handle a little cymbal crunching, or dial back the treble on your system, you’ll likely find that it is more than acceptable as the album is, otherwise, sonically beautiful.

Of course, it isn’t only the music that’s appealing when it comes to this release, as the artwork invites the listener in. The visual aesthetic is unmistakably Alice Cooper, and it sets the tone before a single note is played. As to which version I intend to pick up for my collection, I’m going with the CD release. While I’ve no doubt one of the vinyl variants would look extraordinary, the price of vinyl is a little too high these days for this music lover. Plus, I’ve grown weary of double LP releases as the flipping of sides gets old, and at 54 minutes long, a single record release would have been far from ideal, as it would either need to be sonically compromised or truncated.

The Deluxe Box set looks incredible, but as there are only 5,000 available worldwide, all you super duper Alice Cooper fans have, seemingly, already purchased your copies. Truth be told, I love the concept, but I would rarely wear the T-shirt, and while the bonus 7-inch vinyl, exclusively containing Return Of The Spiders 2025 and Titanic Overunderture, is desirable, I prefer focusing on core album experiences these days. So, with that in mind, join me as I take a look at the songs that make up The Revenge Of Alice Cooper.

Black Mamba launches the album in the sinister tone that is trademark Alice Cooper, with a spoken word introduction that has become a notable element in much of Alice Cooper’s music. While I question if it was the best song to be released as the lead single, there is an undeniable vibe that will see you toe-tapping and head-bopping along, and it’s, therefore, the perfect song to open the album with.

Wild Ones picks up the tempo, and while you may not be toe-tapping or head-bopping, you’ll feel compelled to pull out your air guitar on this fast, yet mid-tempo number as Cooper’s tempered vocal, atop the thunderous musical bed, ensures that Wild Ones is highly compelling.

Up All Night is a killer tune with an incredible rhythm and magnificent guitar tuning. The chorus, however, is a little campy, despite working exceptionally well with Cooper’s cheeky lyrical approach.

Kill The Flies is the song where I feel the album really starts to ramp up for the narrative-driven story arc, along with some incredible musical licks, is Alice Cooper 101 and will especially appeal to longtime fans. It’s, without a doubt, one of the best songs from the album and amongst the greatest the band has ever recorded.

One Night Stand is an interesting song for it’s got a Nick Cave & The Bad Seeds feel, and while it may not have appealed to me upon first listen, the more I play The Revenge Of Alice Cooper, the more I find myself captivated by this tune.

Blood On The Sun is a modern masterpiece. It sees Alice Cooper at their very best, and Ezrin’s production and mixing style can be heard throughout as it’s one of the most elaborate musical performances on the record. The layering of musical elements and overall soundstage is extremely enticing and is not only amongst the greatest they’ve ever recorded, but I feel that this will be a standout from the album in the years and decades to come.

Crap That Gets In The Way Of Your Dreams flows perfectly from Blood On The Sun, and if you haven’t turned the volume up, now is your chance, for this hard rocker deserves to be heard at ear-bleeding levels. There’s a ton of attitude to be heard here, but it’s the catchy chorus, guitar solo, and solid rhythm that will make this a fan favourite, especially when performed live.

Famous Face is another that has legendary status written all over it, for the fat guitar tuning, rock-solid rhythm, and Alice’s incredible vocal prowess make this a memorable tune that will have you coming back time and time again. It also helps that the chorus is catchy enough, so much so that Famous Face will likely become an earworm for many of us.

Money Screams has a ‘60s meets the ‘70s feel to it with a touch of punk. It isn’t, however, the strongest song on the album, yet I can’t quite put my finger on what is missing. Alice’s chosen vocal style is a little too different to what we normally expect from him, but it also has teeny bopper film vibes to it that take away from the song itself. Still, as an album-only number, it’s solid, but should have probably been excluded from the record and kept as a B-side for a later release.

What A Syd has a jazzy rhythm that harkens back to Cooper’s blackout era, particularly that which was heard from 1977’s Lace And Whiskey. As such, given that it is one of my all-time favourite Alice Cooper records, I adore this tune and only wish that it were longer, or that there were more songs on the album that were written and recorded in a similar manner.

Inter Galactic Vagabond Blues is a solid hard rocker with a blues-band feel that, along with the harmonica, could only have been improved if it had included the use of a cowbell.

What Happened To You, aside from being a killer tune, is a tribute to Glen Buxton, who is sadly no longer with us, having passed in 1997, for his original guitar licks can be heard throughout.

I Ain't Done Wrong is a song that you’d expect more from Aerosmith than Alice Cooper. It isn’t bad, it just lacks a little bit of Alice Cooper’s originality.

See You On The Other Side is the only misstep on the record, for as a would-be farewell song, it falls just short of its emotional target. While the intention is there, the execution feels too reserved, particularly in Alice’s vocal delivery, which doesn’t quite reach the vulnerability of a cracked note in his upper register. For reference, Kenny Rogers nailed this aspect on his posthumous release, Life Is A Song, with the song Goodbye. Still, this minor disappointment doesn’t detract from the album, and you’ll find yourself rewarded upon repeat listens, for this is one record that is going to get better the more often you listen to it.

Ultimately, The Revenge Of Alice Cooper is so impressive that if this were to be the final Alice Cooper album, it’s an ideal closing chapter to a spectacular career, and to do so with the surviving members of the original lineup is a dream come true for Alice Cooper fans.

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Halestorm – Back From the Dead (Album Review)

Halestorm's 2022 release, their fifth studio album Back From The Dead, is a triumphant album that is not only on par with their prior records, but in many respects trumps all that has come before. Loaded with raw energy, captivating lyrics, and Lzzy Hale's signature powerhouse vocals, Back From The Dead stands as a fierce testament to the band's evolution and enduring spirit and is amongst the best albums released in 2022.

Back From The Dead also marks Halestorm’s greatest album artwork to date as it’s evocative of their musical style and portrays the emotive frustrations of the last few years into a piece of visual art that would look incredible on the larger vinyl canvas. While I’ve yet to pick up a release on vinyl, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite. It’s so enjoyable that I question if I need the vinyl counterpart, but that is a null thought as the artwork is worthy of ownership alone. Nevertheless, it’s wonderful to hear modern hard rock music recorded, mixed, and mastered so well, for it is the exception rather than the norm.

That said, as it pertains to the Dolby Atmos surround sound mix, also on Apple Music, it isn’t as hard-hitting and rocking as the stereo mix and sounds a little muddy in places. The treble is dialled back and is, subsequently, a little less pronounced, but Hale’s vocal is also a little distant in the surround mix. It’s as if the album was recorded for stereo and then mixed to the surround format as an afterthought. I’m all for Atmos mixes when done with intent, but I certainly don’t believe it should be done for the sake of ticking a box. 

Back From The Dead is a killer blues-based hard rock opener that sets the tone for the entire album. It’s Halestorm 101 and while it may not break new ground, you know exactly what to expect and Halestorm delivers. 

Wicked Ways is one of Halestorm's greatest recordings. Hale’s incredible vocal is the magical element that ensures Wicked Ways is a highlight of the album. Naturally, it isn’t only Hale’s prowess on the microphone that makes such an impact for the band is on fire throughout this hard rock masterpiece. Wicked Ways is what can only be called a stadium-filling tune and if you don’t agree, may I suggest you listen again and turn the volume up to 11.  

Strange Girl is the perfect follow-up to Wicked Ways. The tempo may be a little slower, but the hard rock and heavy metal core elements remain present. With Strange Girl, you’ll be met with a wall of sound but that’s far from a bad thing, especially for this style of music. It's emotional and raw and Halestorm has never sounded this good. 

Brightside is best described as an album-only tune with killer rhythm and guitar elements. It’s a solid rocker that keeps the album flowing and sometimes that is all that is required. 

The Steeple is groovy and is, as with the entire album, proof that rock and roll isn’t dead. There’s no doubt in my mind that The Steeple will be incredible when performed live for if Hale’s vocal delivery or the guitar solo doesn’t get you, the tribal nature of the song will. 

Terrible Things slows the tempo considerably, but it’s a beautiful song and Halestorm has the musical chops to deliver both ballad-styled tunes and heavy hitters alike.

My Redemption slowly brings us back to rock elements more frequently associated with Halestorm and while I wouldn’t suggest that My Redemption is a standout song, it’s another album-filling tune that ensures Back From The Dead remains a memorable album experience. 

Bombshell is nu-metal meets heavy metal meets rock and roll. There’s a plethora of elements to appreciate with Bombshell and it’s one of those songs that will likely take multiple listens in order to fully appreciate. When you find the musical elements that speak most to you, Bombshell quickly becomes a wonderful addition to the album and Halestorm’s expanded catalogue of music. For me, it’s the bass tracking and Hale's vocal, for they are the backbone of the song.

I Come First has a killer introduction. That riff and Hale’s vocal dexterity are exceptional. The result is an addictive toe-tapping head-bopper that is thoroughly enjoyable. 

Psycho Crazy, from the very first note, puts me into a pleasurable bass coma. Unfortunately, as the song progresses, the focus on the bass element is reduced within the mix. Subsequently, I’d suggest that Psycho Crazy is a little overproduced in that it is trying too hard and should have fewer musical elements, thereby allowing for a cleaner recording and overall presentation of an otherwise solid tune. 

Raise Your Horns is simply magnificent. While I’ve mentioned it countless times throughout this review, Hale’s vocal is spectacular. She truly has never sounded better and if Raise Your Horns doesn’t leave you impressed, you’re listening wrong for Hale is one of the greatest vocalists the world has ever known and even after all these years, she’s just getting started.

While Back From The Dead demonstrates Halestorm's musical growth and experimentation, it’s an album that provides further validation to their unwavering dedication to the hard rock industry, their fans, and to the music itself, for Back From The Dead is full of electrifying performances.

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Tina Arena – Love Saves (Album Review)

Love Saves, Tina Arena’s thirteenth studio album, is a captivating musical journey that showcases the iconic Australian singer's versatile vocals and heartfelt storytelling. Comprised of a collection of songs that revolve around love, compassion, and resilience, Love Saves is Arena’s greatest musical achievement. 

That declaration extends to the recording, mix, and mastering of this release for it is flawless. While it may not be presented as an Apple Digital Master, the Hi-Res Lossless presentation on Apple Music will leave you in awe. The result of such perfection is that one can enjoy the music and not be distracted by production aspects that are unrelated to the songs themselves.

Church is a lovely opener that sees Arena’s gorgeous vocal float atop the musical bed. It is, however, not the strongest song from the album and is therefore surprising that it was chosen as the lead single from Love Saves. While some, perhaps even yourself, may disagree, I simply feel many stronger songs could have been selected to launch Love Saves to Arena’s fans. 

Cry Me A Miracle is magnificent and would have been a stronger opener. It’s musical bliss and Arena’s vocal is so raw and unprocessed that it’s as if she’s in the room with you. 

Outrun The Night continues with the trademark piano-backed style that works so well with Arena’s overall vocal presentation. Outrun The Night has a Lady Gaga feel to it, but that shouldn’t be seen as a deterrent for this is one of Arena’s most beautiful recordings. It’s just that I would love to hear Gaga cover Outrun The Night. 

Can’t Say Anything is a musical throwback to Arena’s 90s era, but with a modern twist. It sounds familiar, yet fresh and magnificent. The hook will compel you and that rhythmic drive, with Arena’s sensational vocal, ensures that Can’t Say Anything will be a memorable standout and an incredible tune should Arena choose to perform it live. 

Devil In Me is a killer song. Your body will move involuntarily, as if controlled by the music, for this is yet another musical and vocal masterpiece from Arena.

Dancing On Thin Ice slows the tempo and is a beautiful ballad. Arena can still hit every note with such incredible control. It goes to show that age is just a number for at 55 years young, Arena’s arguably a stronger and more confident vocalist than at any other time in her illustrious career. Incredible!

Mother To Her Child is another song I’d love to hear Lady Gaga cover. Purists will likely detest that comparison, but it’s suggested with nothing but pure admiration for both of these incredible vocalists. Plus, when a song such as Mother To Her Child is this exceptional, it deserves to be heard, and appreciated, by a broader audience than Arena generally attracts. 

Dared To Love You First is lovely, not a standout, but lovely nonetheless. It’s, for lack of a better term, the quintessential album-only tune. 

Love Saves has a delicate composition and is worthy of the title track position. As with all the songs from Love Saves, Arena’s vocal is recorded so perfectly that you’ll be lost for words. Anyone who has heard Arena’s music will know just how incredible she is as a vocalist, but it is songs such as Love Saves that secure that opinion for there are few vocalists, particularly in the modern era, that can sing with such perfection. 

House is more upbeat and pop-driven, but it’s a great song that’s thoroughly engaging and is a perfect tune for the closing moments of the album. For those of you who pick up Love Saves on vinyl, House is the final song and will likely compel you to play the album again. However, I really appreciate the bonus track on the CD and streaming counterparts as it’s simply lovely.

Danser Sur La Glace is, as I’ve already suggested, a coveted closing tune. Normally I dislike bonus tracks, but this is one example of how to do it correctly. It’s familiar, because it is the French version of Dancing On Thin Ice, but it is uniquely fresh as the language shift allows us to enjoy the song in a purely musical manner; for those of us not well-versed in the French language. Regardless, Danser Sur La Glace is a perfect way to close Love Saves and is so captivating that I find myself playing the album on repeat, for hours on end. 

A modern masterpiece of timeless songs would be an apt description for this 2023 release. From anthemic tunes to soul-stirring ballads, combining powerful vocals, heartfelt lyrics, and a diverse range of musical styles, Arena’s artistry shines throughout, ensuring Love Saves is not only one of the very best albums released in 2023, but is Arena’s greatest album to date.  

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Rival Sons – Darkfighter (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Kavinsky – Reborn (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Bruce Cockburn – O Sun O Moon (Album Review)

In the ever-evolving world of music, few artists can boast a career as diverse and influential as Bruce Cockburn. With a legacy spanning over five decades, Cockburn has consistently captivated audiences with his thoughtful lyrics, virtuosic guitar playing, and unique vocal style. His latest album, O Sun O Moon, released in 2023, showcases his enduring talent and serves as a testament to his artistic evolution. Seamlessly blending folk and rock elements, Cockburn's music will continue to resonate with listeners worldwide with this latest release; one of his very best!

While there isn’t much to say about the album artwork, it’s an appealing piece of visual art that plays into the album’s title quite well. I can only imagine how impressive it would look on the larger vinyl canvas and while I aim to pick up a copy, from a sonic perspective I’m smitten with the lossless stream available via Apple Music. As I listen to the record, it becomes clear that Cockburn is in the room with you and every instrumental element has the space to breathe. It really is a well-recorded, mixed, and mastered album.

Of course, sonic quality alone is for nil if the music isn’t exceptionally good and while I don’t always appreciate music for its literal meaning, instead choosing to enjoy the human vocal as another instrument in the mix, join me as I take a look at the songs that make up O Sun O Moon. And, yes, dear reader, you can most certainly enjoy the very best a singer/songwriter has to offer even if, like me, you don’t pay attention to the lyrical stories expressed via the songs.

On A Roll sets the musical tone for the entire album. While the rhythm will infect your soul, it is the catchy chorus that I find myself drawn to as well as the mid-song guitar solo; although I do wish the mix was somewhat different so that the solo could take centre stage for I feel it is too concealed.

Orders slows the tempo a little but the gorgeous guitar work throughout is thoroughly pleasing to the senses. Orders is delivered poetically in Cockburn’s chosen style and as with On A Roll, it is Cockburn’s delivery on the microphone that makes Orders so compelling. It’s singer/songwriter gold and makes for a perfect accompaniment when you’re after music that is both bold and relaxing.

Push Comes To Shove sees me turn the volume up. Exquisite comes to mind for the recording and the mix is utterly perfect with a jazz-inspired tune that is one of the best songs from O Sun O Moon and is without a doubt one of Cockburn’s greatest recordings.

Colin Went Down To The Water is one of those songs that will create an earworm; a pleasing one, but I’d be lying if I didn’t say that it isn’t the strongest song on the album. My feeling is that it is a little too repetitive and while I acknowledge that others may love that approach, it has the potential to cause fatigue upon repeat listens.

Into The Now is a lovely song sung in a near-lullaby style. It may not be a standout, but Into The Now ensures that the album structure of O Sun O Moon is one of the very best records released in 2023.

Us All flows beautifully from Into The Now and Cockburn’s beautiful tones float lovely on the musical bed of the song. It’s an outstanding mix!

To Keep The World We Know takes us back to an upbeat tempo, yet there’s little to no jolt to the senses. It will have you toe-tapping and head-bopping; a great tune.

King Of The Bolero is a magnificent song. Truly magnificent! King Of The Bolero is a textbook example of how to write, record, mix, and master a perfect tune. It’s songs like this that prove just how incredibly talented Cockburn is as a musician.

When The Spirit Walks In The Room continues the sonic masterpiece and is one of my favourite songs from O Sun O Moon. Cockburn’s gravelly vocal presentation here is the highlight for he takes every note and intonation right to the edge of his capabilities and holds it so that, as with Us All, his vocal delicately hangs in the air just above the backing musical elements.

Haiku (Instrumental) is a lovely musical interlude.

O Sun By Day O Moon By Night is essentially the inspiration behind the album’s title and it’s a fantastic tune. Yes, to some it may come across as a little preachy, particularly in the chorus, but it’s lovely nonetheless.

When You Arrive isn’t a standout, but it is the perfect closer for O Sun O Moon for it encourages me to play the album again. It also does what all good closers should; it allows one to contemplate the music they’ve just listened to, meaning that it is a perfect way to end a relaxing night of music listening.

Bruce Cockburn's O Sun O Moon is a musical masterpiece that effortlessly blends folk and rock elements to deliver a deeply satisfying listening experience. Each track on the album showcases the artist's immense talent and artistic growth and that isn’t bad considering Cockburn is fast approaching his eighth decade. It just goes to prove that age is but a number for O Sun O Moon is one of the best albums released in 2023 and if it were to be Cockburn’s final album, then it wouldn’t be far-fetched to suggest that this release was a pinnacle moment in his illustrious career.

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