Glenn Frey – After Hours (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out more Glenn Frey reviews by Subjective Sounds

Nina Simone – I Put A Spell On You (Album Review)

Nina Simone had one of the most distinctive voices in all of recorded music history. Her skill and control over her vocal delivery knew no bounds and no truer is that statement than when listening to her 1965 opus I Put A Spell On You.

Adding to the musicality is the visual accompaniment and while it may be contentious to suggest that the cover art of I Put A Spell On You is one of Simone’s greatest, it is certainly up there. I’m also fortunate to own the 2020 Acoustic Sounds reissue; a release that is second-to-none as it pertains to the reproduction of the cover art and the gatefold design and inner artwork that draws you further into Simone’s world.

I’ve also been fortunate to have owned the High Fidelity Pure Audio Blu-Ray release and while the DTS-HD Master Audio stereo mix (24/96kHz) was lovely, it pales in comparison to the reproduction that Chad Kassem and his team were able to achieve on the aforementioned vinyl reissue. Seriously, every aspect is bettered and if you want to see an example of how classic albums should be reissued, I suggest you track down a copy for it offers a sonic reproduction that knows no peer. 

Even the Apple Music stream, a stereo Hi-Res Lossless Apple Digital Master, can’t reach the smoothness and refinement heard on the vinyl counterpart. As for the Dolby Atmos mix on Apple Music; let’s just say that it exists. Don’t get me wrong, if you prefer streaming and aren’t the least bit interested in vinyl, you’ll thoroughly enjoy the streaming counterpart. I listen to it often as vinyl simply can’t be played everywhere and the stream is good enough that I never feel the need to create a needle drop. That said, the vinyl reissue does take the experiential aspect of I Put A Spell On You to another level entirely; ensuring that you’ll be captivated from the very moment the needle hits the groove. 

I Put a Spell On You is as much a Nina Simone song as it is a Screamin' Jay Hawkins’ classic. However, while Hawkins may have recorded the original, I doubt there would be many who would proclaim his rendition as being superior to Simone's. I also love the Creedence Clearwater Revival interpretation as it takes cues from both Hawkins and Simone and if you want to take the song up a notch, on the metal-infused dial, you could always listen to Marilyn Manson's rendition. Regardless of how many musicians have covered the song well, I always return to Simone's rendition as being the definitive recording of the song. She made it her own and I doubt anyone will ever be able to top it.

Tomorrow Is My Turn is a classic tune that oozes with longing and anticipation. Simone’s vocal control shines as she navigates the song’s emotional peaks and valleys. It’s this mastery that ensured Simone was a world-class musician with music that is ultimately timeless. 

Ne Me Quitte Pas is spectacular! Simone's trembling vulnerability and expressiveness make this track a standout on the album.

Marriage Is For Old Folks is witty and incredibly entertaining. Seriously, if you don't have a smile on your face when listening to this song, you're taking life too seriously. It’s a fantastic tune and perfectly suited to Simone; particularly the doo, doo, dooo, de-doo scat-styled lyrics.

July Tree is a beautiful addition to the album that will linger in your mind long after the song ends. 

Gimme Some picks up the tempo with an addictive rhythm that will have you head-bopping and toe-tapping from the very first note. Plus, that Little Richard inspired vocal growl of Simone's is stunning!

Feeling Good is one of the album's most iconic tracks for Simone's powerful vocals and the brassy instrumentation creates an exhilarating experience that has to be heard to be believed. If, however, you’re after a more contemporary interpretation of this classic, George Michael performed it beautifully. 

One September Day is a poignant ballad that showcases Simone's ability to convey deep emotion. Her voice, combined with the song's melancholic melody, is simply amazing. 

Blues On Purpose is an instrumental piece that lets the piano take the lead, demonstrating Simone's prowess as a pianist. It adds a bluesy, soulful dimension to the album, with a touch of jazz, that will appeal to just about any music lover.

Beautiful Land is an interesting folk-inspired song that plays into Simone’s unique phrasing and emotional depth. However, it’s the weakest song on an otherwise perfect album. It will always be an album-only tune, but this record wouldn’t be the same without it. 

You've Got to Learn is a beautiful tune with warm and comforting vocals that make this song feel more conversational than songs normally are.

Take Care of Business closes the album on a high note ensuring that I feel compelled to spin the record again.

I Put A Spell On You is more than just an album; it's a journey through the spectrum of human emotions and is nothing short of pure perfection. Nina Simone's artistry shines through each track as she navigates love, pain, empowerment, and introspection. I Put A Spell On You is, subsequently, a testament to her ability to connect with her audience, on a deep and profound level, making it an endearing classic.

Check out more reviews by Subjective Sounds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out more Herb Alpert and Herb Alpert & The Tijuana Brass reviews by Subjective Sounds

Quincy Jones – The Dude (Album Review)

Released in 1981, The Dude stands as a timeless masterpiece that incorporates elements of Funk, Jazz, Pop, R&B, and Soul, yet Quincy Jones isn’t the only star here for the lineup of studio musicians chosen is not only extensive but impressive. While you may be most familiar with Jones for his production of classic albums, including Big Band Bossa Nova, Off The Wall, and Thriller, to name a few, his legacy continues well beyond these signature releases as The Dude represent some of his most creative works.

Yes, Jones’ collaborations with Michael Jackson will always be what he is most remembered for, but it’s important to note that The Dude was nominated for an impressive twelve Grammy Awards. It would go on to win three; an extraordinary achievement for an album that not only is so varied but also utilised various musicians and vocalists. And, yes, while Michael Jackson appeared on the title track as a backing vocalist his inclusion on this release is minimal at best.

Regardless, there’s little doubt as to the musical chops of The Dude, but what I find most fascinating is the album’s artwork. The morphing “Dude” creates a visual illusion that matches the shifting styles heard throughout the record and is perfectly set against a simple black frame. It’s one of the best album covers from the era and immediately captures one’s attention. You can imagine just how fascinating it would have been seeing it on the shelf in your local record store in 1981.

Sonically, however, all is not perfect. The lossless Apple Music stream is adequate but to get it to sound its best, you’ll likely be fiddling with your EQ settings. It’s a shame considering the music is, otherwise, incredible. The problem is that in its flat presentation, it’s a little too clinical. The result is a sound that lacks an emotive feel; an aspect that is paramount to this style of music. Despite this, once your preferred EQ settings are dialled in, there’s no doubt that you’ll find it encapsulating. A remastered edition, however, would be welcome, but as music is subjective you, dear reader, may find the core stream to be perfectly acceptable. As for myself, I’ll be thoroughly enjoying this particular release until the streamed version is either updated or until I attain a physical release as the music is that good!

Ai No Corrida (feat. Dune) has an infectious rhythm and is the perfect tune to launch The Dude with. With a mix of jazz, funk, and pop stylings, Ai No Corrida will hook you from the very first note. Ai No Corrida, however, wasn’t first recorded by Jones et al as Chaz Jankel (along with Kenny Young) wrote and recorded it for his self-titled 1980 release, Chas Jankel. Jankel’s version is similar in style but as Jones always does, he hears and subsequently refines a tune so that it is greater than the original song. It’s his gift and while Jankel’s recording is excellent in its own right, it pales in comparison to this version.

The Dude blends funk undertones, captivating jazzy brass sections, and memorable hooks to create an unforgettable musical experience.

Just Once slows the album’s tempo but you won’t mind as James Ingram’s vocals are exceptional on this tender love song. Yes, it is very much a song of the 80s, but don’t let nostalgia influence you for Just Once is as beautiful today as the day it was recorded.

Betcha Wouldn't Hurt Me (Extended Version) will encourage you to turn the volume up, if you haven’t already, as its atmospheric musicality is enveloping. Patti Austin vocalises the song perfectly and with a flawless mix of jazz and funk elements, Betcha Wouldn’t Hurt Me remains a standout tune on The Dude.

Something Special is smooth. Austin, once again, performs vocal duties here; she is truly magnificent! One aspect, however, that may be detracting is the slower tempo as it’s unassuming. Granted, the song flows well within the linear structure of the album, but Something Special isn’t a song that is likely to be anyone’s favourite as there isn’t anything here that is truly memorable.

Razzamatazz, however, will have you coming back for more as the 80s funk rhythm is so infectious that you’ll lose yourself in this tune. It’s arguably Austin’s greatest vocal contribution to The Dude for her addition not only amplifies the groovy musical bed but ensures that those looking to sing along will be in good company, especially throughout the chorus.

One Hundred Ways is a timeless masterpiece. Ingram’s vocal is extraordinary and leaves a lasting impact.

Velas calms the senses for this serene tune takes you on a thoroughly enjoyable musical journey. While it could be argued that it could have been a stronger song, it does set up the album well for the closing burst of energy that is Turn On The Action.

Turn On The Action is the quintessential closer as it brings our attention to the Funk elements that are at the core of The Dude. In doing so, it will remind you of the mastery heard and compels you to listen to the album again.

There is little doubt that The Dude is a testament to the exceptional talent and musical genius of Quincy Jones. With its interweaving styles, impeccable craftsmanship, and infectious grooves, The Dude remains not only a landmark release for Jones but is one of the greatest albums released in 1981.

Check out more reviews by Subjective Sounds

Herbie Hancock – Monster (Album Review)

Released in 1980, Monster would be the 29th studio album from one of Jazz’s greatest pianists. Although, it is somewhat void of the jazz styling that many Hancock fans would have been looking for. Instead, what we have is an album with jazz elements scattered throughout and a little jazz fusion, pop rock, and what was an included aspect to stay relevant in the era, a rhythmically charged disco undercurrent. Purists will no doubt dislike the album because of this genre-crossing aspect. I’d argue that it perfectly suits Hancocks’ style and is worthy of sitting alongside Head Hunters; a bold claim, certainly, but part of Hancocks’ charm was in his ability to innovate, thereby ensuring his music never became stale or limited to a particular era. That said, Feets Don’t Fail Me Now, Hancocks’ 1979 release, which was in a similar sonic vein, failed to impress and subsequently remains absent from The Best Albums Of 1979. 

Perhaps the greatest compliment I can give to Monster is that it is compelling. From the insane cover art to the sweeping music, I find it difficult to play this album only once for it’s simply magnificent. 

Part of its appeal, no doubt, is due to its high-quality recording and impeccable mix. Add to that the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, and you’ve got an album that is sonically perfect and arguably as good as you’re ever going to find. While I’d love to own a copy on vinyl for the cover art alone, when a digital counterpart sounds this good, there’s no need to go to the additional expense, and hassle, of tracking down a physical version that may or may not offer a superior, or even comparable, sound. 

Saturday Night has a funk-driven sound that will get you on the dance floor. The highlight here, however, is Carlos Santana’s trademark guitar licks. His inclusion is complementary but is used to great effect throughout the solo. It’s a great start to the album and certainly sets the tone of expectation regarding the type of music you’re about to hear.  

Stars In Your Eyes is a true sonic wonderland. The rhythm, the spacing between musical elements, and the immersive soundstage ensure Stars In Your Eyes is not only the highlight tune on Monster, but it’s one of the greatest songs Hancock has ever released. Seriously, try to listen to this song by sitting still. I bet you can’t do it. My body moves involuntarily to every beat and rhythm and I never want it to end. A masterpiece in every sense of the word. 

Go For It really increases the tempo. A great song, but there’s a small shift in the senses when going from the smoother Stars In Your Eyes to the upbeat Go For It. Nevertheless, the difference lasts for mere seconds as your mind adjusts to the speed shift. Once you’ve settled into the groove, Go For It is a great little tune that doesn’t forge new ground, but it doesn’t need to as it fulfils its role as an album tune perfectly. 

Don’t Hold It In has a killer distorted grind that launches the tune and reoccurs throughout the song even after the funk-disco style has taken hold. Hancock and co certainly didn’t hold back with this tune. It, and many other songs from Monster, are right up there with the very best of Stevie Wonder; that is a true testament to how good this album is.

Making Love slows the tempo and is a well-positioned intermission-styled tune that has smooth soulful influences throughout, particularly with regard to the rhythm and harmonious backing vocal. 

It All Comes Round has some serious rock-inspired moments. Yes, it is as far removed from traditional jazz as you can get, but that doesn’t matter as it’s a great tune. I only wish Santana had been included on this track as his performance would have taken it to the next level. Although I have to admit, Hancock utilising his Clavitar to create the synthesised distorted guitar is not only experimental, especially for the time, but works remarkably well upon reflection. My only criticism, however, is that the chorus is fatiguing as the vocal component repeats ad nauseam. An interesting dichotomy as Go For It has a similar style yet it remains fresh throughout. 

Overall, Monster is, pun intended, a monster of an album. It’s the perfect length, at approximately 42 minutes and its six songs are amongst the very best Hancock has ever recorded. Yes, Monster isn’t his most successful, nor is it extremely well-known, but if you give it a chance, I’ve no doubt you’ll find the same musical bliss I have for when I listen to Monster, it reminds me of why I love music. 

Check out more reviews by Subjective Sounds

The Crusaders – Street Life (Album Review)

While jazz music has never been focused on commercial success, The Crusaders’ Street Life was not only a success in that regard but is also their creative pinnacle. Few jazz-based albums are as fluid as Street Life and this is one release that is amongst the best of what jazz has to offer. It’s also one of the best albums from 1979 with an infectious rhythm that captivates the music lover within. 

Originally billed as the Jazz Crusaders, prior to 1971, The Crusaders would release no fewer than 29 studio albums before Street Life. While new albums, post-Street Life, were released, they never quite captured the spirit that The Crusaders were renowned for. As has been the case throughout the years, once a peak has been reached it is often difficult for an artist to not only re-capture and re-infuse themselves but also reinvent their art into subsequent zeitgeists. It is with this in mind that makes Street Life such a monumental release for it speaks to the era, but like all great music, it has remained timeless and is as magnificent today as it was in 1979. 

For some reason that escapes my understanding, this seminal recording has remained out-of-print on vinyl since the mid-80s. Yes, it’s been remastered and reissued on CD, even with vinyl replica artwork, but for those of us who don’t wish to seek out a used copy, preferring to create our own memories with the music we love, this omission is frustrating. The lossless Apple Music stream is a lovely facsimile but depending on how you have your system configured, it can be a little shrill and fatiguing if you prefer to keep your EQ settings flat. Personally, I prefer a little boost in the low end and a slight reduction in the treble range as it best mimics the warmth that is closest to analogue reproductions but I acknowledge that many people, particularly with modern listening equipment, often lack an equaliser and will therefore not be so fortunate to be able to address this issue. Another problem, for those of us seeking the very best quality in music, is that there’s no indication via Apple Music if this is the 2014 remaster or an earlier CD mastering. This makes it difficult to ascertain its provenance and if the aforementioned CD is worthy of acquisition over the stream. Of course, this is a quibble that only a few will entertain but as we all know it’s the music that is the most important thing, so let’s take a look at the songs that make up Street Life.

Street Life is a pure masterstroke with exceptional vocals from Randy Crawford. It’s so good that I wish Crawford and The Crusaders had recorded an entire album together. Of course, if that had happened, Street Life may not have been as singularly spectacular as it is. From the smoothness of the opening notes, to Crawford’s soulful vocal, to the upbeat firestorm of rhythm, this 11-minute epic is utterly perfect. Yet, this original composition wasn’t my first experience of the song. 

In 1997, towards the end of my formative years, Quentin Tarantino’s Jackie Brown was released and along with it a killer soundtrack with one of the songs being Street Life; albeit a higher tempo, significantly abridged version, but I was intoxicated and it has remained in my consciousness ever since. The day I streamed the original, not realising that it was a Crusaders’ release, for the Jackie Brown soundtrack billed it as a Randy Crawford song, I was ecstatic. It was as if I had found the meaning of life, as ridiculous as that may sound. Nevertheless, let me give you an insight into the versions that I feel are worthy of listening to. 

Randy Crawford’s version from the Jackie Brown soundtrack is magnificent but I’d argue that the conciseness loses some of the magic that can be heard on the original recording. Yes, the core principles are there, but the focus of this edition is very much the vocal aspect with only a small musical interlude that is jazzy but can no longer be classed as jazz. Herb Alpert’s rendition, from Rise, is another beast entirely for it is condensed, and a little disco-driven, but thanks to Alpert’s exceptional trumpeting, it retains the soul of the song by comparison.  

If you’re after a live performance of Street Life, look no further than Randy Crawford’s performance from Live In Zagreb; a solid live performance only overshadowed by the original studio recording. While some may suggest checking out the 2012 performance with Joe Sample, it is too focused on improvisation. Granted that’s a trait of live jazz performances but it is too far removed from the original to be compelling for this listener. 

My Lady follows Street Life perfectly with a rhythm that isn’t entirely removed from the first track, thereby ensuring fluidity when listening in the album format. It’s less bold by comparison, as are the remaining songs on Street Life, but one must remember that the rest of the album is sans lyrics and it’s this musical focus that makes up The Crusaders’ greater catalogue. Yes, My Lady features some vocal harmonies but none are lyrical thereby making the human voice an instrument in the mix. Either way, this is an exceptional tune.

Rodeo Drive (High Steppin’) is a little lighter when it comes to the chosen style for its story is one regarding the glitz and glamour of the famed street. Of course, the way you interpret the song may differ but it’s always interesting to hear how musicians can make their instruments and compositions sing without the need for lyrics. That said, if they hadn’t titled the song as they did, the correlation likely wouldn’t be apparent so there’s a little confirmation bias at play here. Regardless, Rodeo Drive (High Steppin’) is Jazz 101.

Carnival Of The Night will get you on your feet if you’re not already toe-tapping, for its ability to involuntarily move your body is one of its most notable qualities. Plus, that interweaving soloing is out-of-this-world. A great song by anyone's standards. 

The Hustler shifts gears a little and is one song on this particular release that I feel is a little too forward in the treble range, thereby making it a more challenging listen without shifting the EQ settings. That said, The Hustler is the weakest song on Street Life but I couldn’t imagine the album sans this song and I never skip over it when listening via the album format. 

Night Faces is a lovely song to close the album on. Some will lament its overall styling whereby it has a jazz-club feel to it, but I prefer to look at it reflectively as it allows me to ponder the magnificence that has come before it. I rarely listen to Street Life without putting it on repeat, and Night Faces encourages me to listen to the album again, but it can also be the perfect track to close out a relaxed night of listening.

While individual songs are important for they tell a unique tale within themselves, Street Life is a fluid piece of audible art and as such while we can discuss the individual tunes this is one album that truly needs to be appreciated in the album format. Yes, the title track is worthy of any 70s, or jazz-inspired, playlist, but as each composition flows from one to the other we’re met with a flawless album that has not only stood the test of time but will remain one of the greatest jazz albums ever released. 

Check out more reviews by Subjective Sounds

Herb Alpert – Rise (Album Review)

Gone are the kitsch, but eye-catching, album covers of Alpert’s creative output with The Tijuana Brass for his solo works, which are equally exceptional, present a less flamboyant flair but just as you should never judge a book by its cover, Rise is one of the most energetically exciting releases of Alpert’s career and is without a doubt one of the best albums released in 1979.

Alluding further to the cover art for Rise, I find it to be stunning with full praise going to photographer Barry McKinley. The perspective vinyl record artwork behind Alpert, along with its lighting and the overall composition, is a work of art that is truly worthy of displaying; especially on vinyl.

While I, unfortunately, don’t own a copy on vinyl, the lossless Apple Music stream, an Apple Digital Master, is sonically magnificent. About the only thing that the vinyl counterpart would bring to the table, minus the larger artwork and the tactility of the format, is a further level of warmth and smoothness to the sound. That said, it really isn’t needed for Rise will have you toe-tapping and head-bopping throughout.

Some may lament the change in direction for there is a little less jazz and mariachi-styled music to be heard here but these styles aren’t missing entirely as Alpert has infused them with disco and rhythm and blues cues; a combination that likely appeals to a wider audience. There’s even a little soft rock to be heard throughout. On paper, it may appear to be a mishmash of creative ideas, particularly as the first half of the album is assigned to original compositions by Andy Armer, Herb Alpert, and Randy Alpert while the second side is a collection of covers, but the proof is in the listening as this is one album you’ll want to play again and again; it’s intoxicating!

1980 opens Rise magnificently, paying homage to Alpert’s core styling while simultaneously introducing new musical elements that set the tone for the entire album. 1980 is most notably transitional and in the best way possible for it becomes instinctive as you listen to interleaving styles that you’re about to hear throughout the rest of the album. Interestingly, 1980 wasn’t written with that intent for it had been earmarked as the official theme for the 1980 Summer Olympics in Moscow only to later be used, arguably more appropriately, for the FIFA World Cup in Mexico in 1986. Despite that, there isn’t a song that Alpert recorded that would have been a better opener for Rise. 

Rise was a Billboard No. 1 hit and a Grammy Award-winning song for Alpert and rightly so. Without a doubt, it’s the highlight of the album. Perhaps on a note of disappointment is the fact that Andy Armer and Randy 'Badazz' Alpert, despite being nominated, didn’t win a Grammy Award for Best Instrumental Composition; they truly deserved it! Rise is rhythmic gold with an incredibly immersive soundstage that will captivate your soul. 

While nothing can beat the original, Rise was sampled masterfully on The Notorious B.I.G.’s Hypnotise and covered beautifully by Glass Candy.

Behind The Rain slows the tempo a little, certainly throughout the introduction, but its sweeping sound will captivate the senses as it moves between musical influences including a killer rock and roll guitar solo that doesn’t overpower the mix but compliments it. 

Rotation has a modern sound that hasn’t aged a day since it was recorded. Yes, good music shares this timeless aspect, but Rotation is a little different for there are few modern musicians that record in a style such as this, yet it sounds as if it was only recorded yesterday. 

Street Life is one of the greatest songs ever written and while I adore The Crusaders’ original, Alpert reinterpreted it like no other could. It matches the original, even bests it, yet it quizzically takes nothing away from the seminal recording. Few cover songs are done so exquisitely that they become a celebration of the song itself rather than a bastardisation. 

Love Is is the only song on Rise that I feel indifferent towards. While it wasn’t entirely uncommon for Alpert to perform vocally, it isn’t his forte. Musically, however, there’s some exceptional playing if you care to listen beyond the repetitive vocal. Love Is was originally recorded by Bill Withers and while this rendition is very similar, I feel the song is better suited to Withers. Fans of the song will note that Alpert removed all lyrical elements aside from the repetitive chorus. That approach certainly works as the vocal becomes a harmonic musical element, rather than a storytelling device, but I remain unconvinced that the vocal aspect was needed at all.

Angelina has a personality all of its own. It’s the type of song that tells a story without the need for lyrics and is how all good instrumental music should be presented. Angelina has plenty of influences, from various musical styles, with even a little country being mixed with the eclectic sounds of the Caribbean. 

Aranjuez (Mon Amour) is a magnificent song and is arguably the closest song on the album to Alpert’s style when performing with The Tijuana Brass. While I’m not sure it’s the greatest version of the tune that I’ve ever heard, as it’s a little too disco-driven, Alpert’s interpretation is exceptionally good and closes the album perfectly.

Alpert may have outsold The Beatles in the 60s but as magnificent as his music was during that era, Rise is quintessentially Herb Alpert; a musical masterpiece if there ever was one. 

Check out more reviews for Herb Alpert by Subjective Sounds