Blue Magic – Blue Magic (Self-Titled) [Album Review]

Released in 1974, Blue Magic’s self-titled debut album, Blue Magic, is an essential release in the continued development of 70s soul, showcasing the smooth vocal harmonies, lush orchestration, and romantic themes that would define their style. Blending elements of Philly Soul and classic R&B with tender ballads and infectious grooves, Blue Magic, the album and the band, became adored within the genre. While the album may not have had mainstream success, aside from the chart-topping results of its second single Sideshow, it’s a masterpiece that should be in every music lover’s collection.

The question about which version one should have in their collection therefore naturally arises and while opinions will differ, and I prefer not to seek out pre-owned releases, it has been well over a decade since the album was reissued (on CD) and that Japanese release is difficult to get a hold of, as is the 2009 vinyl reissue. Granted, Blue Magic isn’t the household name that would continuously drive sales, so I can understand the hesitation when considering a reissue. However, it would be lovely to see this classic album re-released, in the near future, thereby allowing new music lovers to discover this timeless classic.

In the absence of readily available physical releases, it is fortunate that we have digital delivery options. As it pertains to the Apple Music stream, the standard lossless edition is sonically lovely. The Remastered Bonus Track Version is also available and has a bolder sonic presentation, thereby bringing it more in line with modern standards, but I find it loses a little of the smoothness from the original recording. Subsequently, as I’m not drawn to bonus tracks, my preferred version of this classic album is the original mastering heard via the standard release that I’ll share with you below.

Sideshow is arguably the crown jewel of Blue Magic and an ideal album opener. The over-the-top ballad styling will appeal to those of us who appreciate such tunes, but as the song’s orchestration builds, so does the wonder of the song and its signature falsetto for its addictively good and it’s no wonder that it ended up being a chart-topping hit when released as a single.

Look Me Up is more upbeat with a funky groove, showing Blue Magic’s versatility that combines their silky harmonies with funk-influenced rhythms. While not a dance song, per se, the beat and catchy chorus will see you toe-tapping and head-bopping along. For those who don’t have two left feet, like yours truly, I’ve no doubt that the dance floor is waiting as Look Me Up is a sensational mid-70s tune.

What's Come Over Me is another standout track, especially with its lush, orchestral arrangement. The adage that they don’t make music like this anymore certainly applies to What’s Come Over Me as the falsetto vocal, backed by elegant harmonies, is hard to resist.

Just Don't Want To Be Lonely is soul meets pop with an incredibly catchy chorus and upbeat tempo. What’s not to like? Just Don't Want To Be Lonely is not only one of the most radio-friendly tracks from the album, but it's a hidden gem from the era and one of the best songs Blue Magic ever recorded.

Stop To Start features smooth, velvety vocals against a backdrop of lush strings and a gentle arrangement. As a ballad, it’s stunning, but it’s also one of the album’s most soulful offerings with a Motown influence that is undeniable.

Welcome To The Club has a playful and energetic vibe, with an infectious groove, that not only contrasts nicely with the ballads on the album but leans into funk and early disco styles. While it’s most certainly an album-only tune, it’s a toe-tapper that adds further variety and showcases Blue Magic’s musical diversity.

Spell is another ethereal ballad full of dreamy orchestrations and the group’s signature harmonies. That said, the chosen mix isn’t the greatest as the vocals are on par with the musical bed and while harmonically beautiful, the lyrics sound somewhat concealed as they’re overshadowed by the instrumentation. The result is that the vocal tracking sounds a little muffled, in comparison, to the rest of the songs on the album. Granted, that could be attributed to a recording style, as it isn’t the first time music has been mixed in this manner, but the problem that exists is that the mind struggles to separate both instrumental and vocal elements, particularly as it sounds as though the vocals are being played via terrestrial radio.

Answer To My Prayer brings fresh energy to the album, following Spell, with its compelling rhythm and impassioned vocals. It’s a lovely song and despite not being a standout is one reason why this debut album is one of the greatest released in 1974, for an exceptional album experience is more than just the hits; it’s the sum of its songs.

Tear It Down closes the album with a lush ballad that is not only the ideal closer but will stay with you long after the album has concluded. Yes, Tear It Down causes the infamous earworm, but it not only permits reflection but also compels the playing of the album again due to its emotional depth and musical sophistication.

Overall, Blue Magic is a quintessential soul album that showcases the smooth harmonies and romantic themes that made the group a force in the 70s soul scene. With the mega-hit Sideshow leading the way, the album offers a beautiful mix of soulful ballads and up-tempo numbers that keep the listener engaged from start to finish. Blue Magic’s ability to blend vulnerability with lush orchestration, all while maintaining tight, polished harmonies, makes this album a timeless classic. Whether you’re a fan of Philly Soul or simply appreciate well-crafted R&B, Blue Magic is an essential listen, particularly for those who love songs delivered with sincerity and class.

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Lionel Richie – Can't Slow Down (Album Review)

A timeless and beloved masterpiece would likely be an appropriate description for Lionel Richie’s 1983 studio album, his second solo release, Can’t Slow Down. Blending soulful melodies, heartfelt lyrics, and an exquisite production, this record stands as a timeless classic over four decades later and is a significant milestone in not only Richie’s career but also within the annals of pop and R&B music history.

As incredible as the album is, however, one thing has always struck me as bizarre and that’s the album artwork. There’s nothing wrong with it, per se, it just isn’t overly appealing. It seems somewhat irrelevant to the music; not that the visual accompaniment needs to always match the audible intent. It’s just that many albums, particularly the successful ones, do have linkages between the music and the artwork design. It’s even stranger when contrasted against the dominating elements of the era as the primary music format in 1983 was the larger vinyl record. The visuals, at that time, were essential to an album’s success and perhaps I’m missing an element, but it’s a little sparse and cold. In a strange dichotomy, however, I’ve grown accustomed to it. That is to say that I can’t imagine a different album cover for the selection of songs, yet I still don’t consider it to be an exceptional piece of cover art. Thankfully, I have the complete opposite opinion of the music contained within.

As it pertains to the sonic quality of the album, there’s no doubt just how well this record was recorded and mixed, yet different masterings yield varied results and depending on your subjective preferences some editions may appeal to you more than others. For instance, I had been fortunate to have owned the High Fidelity Pure Audio (HFPA) Blu-Ray release but I always found it to be a little too clinical and fatiguing to listen to. However, if you’re interested in extracting every musical element from the recording, that particular edition will likely impress. I, on the other hand, tend to lean towards a more musical presentation. I want to groove and dance to the music, I want to feel it in my soul, and I don’t require every minutia of the recording to thoroughly enjoy this release.

Subsequently, I have found the Hi-Res Lossless Apple Music stream, an Apple Digital Master, to be exquisite. It has detail, but more importantly, for me at least, it has oomph. The roundness of the sonic signature, as featured on the stream, results in what I consider to be a far more pleasant presentation than any other I have heard thus far. It’s so good that I don’t feel the need to seek out a physical copy or return to the HFPA Blu-ray release.

The bottom line is that with the stream, I feel compelled to play the album on repeat, whereas that hadn’t always been the case in the past. I’d usually play the Blu-ray release once and then file it away as the fatigue began to set in by the time I got to the end of the album. Of course, your perspective may, and likely will, differ from mine. Let’s just say that when you have an album as incredible as Can’t Slow Down, there’s no wrong way to listen to it. With that in mind let’s explore the songs that make up this classic release.

Can't Slow Down launches the album with a mid to upbeat rhythmic tempo that sets the tone for the music that’s to follow. While there isn’t a bad song to be heard on the album, Can't Slow Down is one of those songs that I have a love/hate relationship with. Perhaps it’s just me, but I feel Richie’s vocal is too recessed in the mix. Granted, it’s a stylistic choice, but I can’t help but disagree with the mixing decision. That said, I couldn’t imagine any other song from the album that would have been a more fitting opener.

All Night Long (All Night) has an incredible Caribbean-inspired rhythm that immediately captures your soul. Add Richie’s smooth vocal style to the mix and you have a compelling and upbeat celebratory atmosphere that could be played on repeat all night long (pun most certainly intended). The bottom line is that the song's catchy chorus and vibrant instrumentation make this not only one of the most exciting songs from the album, but one of the very best Richie ever wrote and recorded.

Penny Lover shifts the tonality of the album with this beautiful romantic ballad. Richie's soulful vocals and the smooth melody are nothing short of exceptional and ensure that this is one song that truly defines the term timeless.

Stuck On You continues the ballad-styled approach that is, arguably, a signature cue for Richie, but it’s the musicality that makes Stuck On You so impressive. With a touch of country, Richie shows just how skilled and diverse he is as a vocalist and musician.

Love Will Find A Way picks up the tempo with a groove that will see you toe-tapping and head-bopping along to this stunning album-only tune. While Richie is exceptional throughout the entire song, it is the moment when the backing vocals enter the mix that cements it as a hidden gem that will touch your soul as only the best music in recorded music history can.

The Only One maintains the soulful and romantic atmosphere of Love Will Find A Way. Featuring a masterful blend of R&B and pop elements, The Only One, while never released as a single, is one of the standouts from the album and I dare say that had it been released as a single, it too would have topped the charts as the other five releases from Can’t Slow Down had.

Running With The Night is one of the greatest songs from the 80s. Yes, it has the 80s vibe to it, as does the entire album, yet it doesn’t sound dated. I’d argue that it remains sonically fresh after all these years and perhaps that is due to its rock-inspired atmosphere as you get the sense of the song continually building to Steve Lukather’s magnificent guitar solo that graces the song from the midway point. Richie may not be a rock and roller, but as with Stuck On You, his vocal prowess knows few bounds.

Hello is, arguably, Richie’s most iconic song and for good reason; it’s an exceptionally powerful ballad with exquisite music layering and a vocal performance that is amongst the greatest Richie has ever recorded. It is, for lack of a better term, timeless!

While Can’t Slow Down was a monumental success, its true triumph was not in the awards, critical acclaim, or sales it achieved, but in the album’s timeless quality, perfect sequencing, and song selection, as well as its emotive storytelling. Each song stands out on its own, but the culmination of chosen songs knows few peers. It truly is one of the greatest albums ever released and is one that will continue to captivate audiences and inspire artists for generations to come.

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Stevie Wonder – Songs In The Key of Life (Album Review)

Songs In The Key Of Life is one of those unique album experiences that comes along once in a generation. Billed as a double album, part of the uniqueness of this release was that it originally shipped with a bonus EP called A Something's Extra that included the four final tracks that you’ll find on all digital counterparts. While this additional element could be seen as unnecessary to the core album experience, I couldn’t imagine Songs In The Key Of Life sans these bonus tracks as some of them are representative of Stevie Wonder’s most creative output. Granted, in the modern era, bonus tracks are nothing special but we must remember that we’re talking about 1976; a year when the vinyl record reigned supreme and rather than have a third full-size record, with nothing pressed on the sixth side, the additional 7-inch record seems to be the perfect compromise between maintaining artistic vision and the vinyl record’s limited runtime. 

Even with such an abundance of music, as incredible as it is, Songs In The Key Of Life can, at times, be a little too long; particularly if you wish to listen to the album in its entirety. Of course, that is part of the appeal for it is an audible journey that needs to be experienced in its intended sequencing, at least once, as you’ll be amazed at just how fluid and spectacular this release is. Yes, it ebbs and flows throughout, and some songs may touch your soul more than others, but as an album experience, there really isn’t a bad song to be heard. Yes, there is the occasional extraneous moment, but if we believe in artistic license, then these aspects must remain unaltered, unchallenged, and ultimately appreciated.

As it pertains to the sonic presentation of this release, Songs In The Key Of Life was masterfully mixed and recorded with kid gloves, yet all releases should not be considered equal. I was flawed by the sonic reproduction on the High Fidelity Pure Audio (HFPA) Blu-ray release as the DTS-HD Master Audio lossless codec added a sense of presence that had always been absent from the CD counterpart. The presentation is fuller and more three-dimensional in its soundstage (despite being only delivered in stereo). Most importantly, however, the clarity of the Blu-ray release wasn’t as bright as the CD editions, thereby eliminating listener fatigue. Correcting these previous flaws makes for a thoroughly enjoyable listen ensuring that you still get the sparkle in the top end but it's never so prominent that it overpowers the mid or low-range aspects of the recording. 

Turning our attention to streaming and we have a Hi-Res Lossless Apple Music stream which is also an Apple Digital Master. While it is anything but shrill, sharing the reserved nature of the Blu-ray release, it’s also not quite as dynamic while also sounding a little concealed by comparison. That said, if you’ve never heard any other edition of the album, then the Apple Music stream will likely offer you a perfect facsimile. However, if you are looking to go that additional mile, the Apple Music stream may not be the best choice as songs that are meant to pop, such as As, are ultimately a little too relaxed. Interestingly, Qobuz has a different master, and it’s incredibly similar to that heard on the Blu-ray release, hence it may be the direct counterpart minus the physical container; an important aspect seeing as the Blu-ray release has been out-of-print for a considerable time. 

While it’s clear that I prefer the Blu-ray release, for it encourages my body to move involuntarily to the music, I just don’t feel the Apple Music stream is connecting with my soul. That doesn’t mean the Apple Music stream isn’t enjoyable to listen to, but it subjectively isn’t the perfect release of this classic album.

While mastering always plays a role in the appreciation of music, whether you pay attention to that aspect or not, Songs In The Key Of Life is really all about the music and as you listen you’ll come across a collection of songs that can best be described as a kaleidoscope of musical genres. Wonder effortlessly weaves through jazz, R&B, funk, and even classical elements with each tune being a testament to his versatility and mastery across various musical styles. Yes, the album is synthesiser-heavy, but Wonder’s inclusion of groundbreaking technology, at the time, was used to enhance the music rather than being implemented simply because it was available. The result of this refrain was that Songs In The Key Of Life is timeless and there’s little doubt as to why this 1976 record remains Wonder’s most celebrated release. 

Of course, the sonic aspects of the album would be for nil had Wonder’s songwriting not been up to snuff, but in Songs In The Key Of Life we find a lyrical approach that is nothing short of poetic genius. The storytelling is vivid and emotionally resonant, painting a rich tapestry of the human experience while simultaneously addressing social and political issues. 

Love's In Need Of Love Today opens the album with a beautiful vocal harmony before launching into a soulful ballad that, in many ways, sets the tone for the journey ahead. It, as so many of the songs from this album are, is masterful and is amongst the greatest tunes Wonder ever recorded. 

Have A Talk With God is a spiritual and introspective track that blends soul, jazz, and gospel elements. Wonder's vocals are accompanied by a celestial choir, creating a transcendent atmosphere that is extremely compelling. 

Village Ghetto Land is a socially conscious piece that uses orchestral arrangements to paint a vivid picture of urban struggles. The juxtaposition of classical elements with Wonder's soulful delivery adds a powerful dimension that is difficult to ignore. While it may not be a standout song, and would have never been considered for release as a single, it’s the quintessential album-only tune that is perfectly suited to the overall style of the record. 

Contusion is an instrumental jazz-fusion piece showcasing Wonder's prowess as a multi-instrumentalist and genre-bending artist. Featuring intricate melodies and a dynamic interplay between all musical elements, Contusion is an exceptional work of audible art that had it been released by one of the jazz greats, would have become a renowned jazz standard.

Sir Duke is simply magnificent with an introduction that Duke Ellington would have been proud of for Sir Duke was a tribute to the jazz legend. While the entire song is spectacular, the infectious horn arrangement and upbeat rhythm ensure Sir Duke remains a timeless classic.

I Wish is a funky, upbeat, energetic number that captures the essence of the funk and soul music throughout the 70s.

Knocks Me Off My Feet is a soulful and romantic ballad that showcases Wonder's vulnerability and emotional depth. The tender lyrics and melodic arrangement make it a standout and it's one of the best songs from the album.

Pastime Paradise is musically incredible. That instrumental styling, along with the lyrical delivery, stays with you well after the song has ended. Most modern music lovers will likely be familiar with Coolio’s reworked interpretation of the song as Gangsta’s Paradise from his 1995 album, Gangsta’s Paradise; an interpretation that I dare say is spectacular and better than this original. Nevertheless, the core Stevie Wonder tune has a haunting quality that, when combined with the choir element, represents some of the greatest music ever released.

Summer Soft, by contrast, is more mellow but flows seamlessly from Pastime Paradise. Summer Soft, however, isn’t a standout, but as another album-only tune, it’s simply incredible as it ensures the flow of the album is maintained. 

Ordinary Pain is a lovely mellow ballad, until it picks up the tempo midway through, which delves into the complexities of love and heartbreak. Wonder's emotive vocals, and the soulful arrangement, contribute to the emotional impact of the song, but it’s the mix that I find myself continually drawn to for the backing vocals are perfectly positioned in the mix and never detract from Wonder’s vocals or the musical bed. If Ordinary Pain isn’t a textbook example of a good mix in audio engineering circles, I’m not sure what would be.

Isn't She Lovely is a joyous celebration of the birth of Wonder’s daughter, Aisha who also happens to appear on the track as she’s the baby crying at the beginning of the song and the young child featured towards the end. It’s a fitting tribute to his daughter and while I would love to have a version sans these child elements, simply because I feel they detract from the core song a little too much, the song wouldn’t be the same if it were edited in such a way. 

Joy Inside My Tears is a contemplative and soulful ballad that explores the theme of finding joy amid life's challenges. The emotional depth of Wonder's vocals and the intricate arrangement make it a standout tune.

Black Man is a socially and politically charged track that addresses issues of racial identity and pride. The powerful lyrics and dynamic musical arrangement contribute to its impact as a statement on social justice. That said, it’s difficult to dance to so while it resides in a lyrically important place within music history, had it not been so lyrically powerful, it likely would have fallen flat. 

Ngiculela-Es Una Historia-I Am Singing blends Latin and African rhythms with Wonder's signature sound. The multilingual lyrics convey a message of love and unity and while most English language speakers would be unaware of the specific words sung, that doesn’t alter the fact that this song is thoroughly enjoyable.

If It's Magic is a delicate and enchanting ballad with a simple arrangement that highlights the timeless beauty of the harp and Wonder’s soulful tones. 

As is one of Stevie Wonder’s greatest songs. The rhythmic tempo, perfectly cemented in the 70s, is timeless and connects with your soul. The sweeping musical arrangements and heartfelt lyrics provide the backbone to a song that continues to build to its climactic and triumphant conclusion, showcasing Wonder's musical prowess. 

Another Star is a dynamic and energetic fusion of Latin, funk, and jazz influences. As another of Wonder’s extended musical journeys, there is little doubt regarding his skill as a musician for he’s able to capture your attention and hold on to it, whilst simultaneously ensuring that you’ll want to listen to the music time and time again.

Saturn is a cosmic and experimental track where the use of synthesisers and atmospheric sounds contribute to its otherworldly quality. It’s the first of the EP songs to be included on the album, and while I’m normally not a fan of bonus material, Saturn is magical and fluidly continues the brilliance that has already been present throughout the album thus far.

Ebony Eyes is amazing, brilliant, sensational…you get the idea. Flowing perfectly from the closing moments of Saturn, the rhythm reaches into your soul and ensures that your body will move involuntarily to the beat. It is, arguably, the best song from Songs In The Key Of Life and is severely overlooked. 

All Day Sucker has a lively rhythm and playful lyrics that further showcase Wonder's ability to create infectious grooves with not only his music but also his lyrical delivery. 

Easy Goin' Evening (My Mama's Call) was an interesting choice as the closing tune. It’s reflective, yes, but its tempo is so different to the previous three tracks that it feels like it would have been better suited in another sequenced position within the album with the energy of All Day Sucker closing out the collection of songs. Nevertheless, it’s a lovely album-only tune and while I always feel compelled to listen to the album again, following this song, I also find myself more than satisfied to move on to the next record in my library as the length of Songs In The Key Of Life can be a little too long. While there’s no such thing as too much Stevie Wonder, this classic album puts that statement to the test and sometimes it is best to appreciate the album and come back to it at a later date rather than to immediately repeat the journey.  

Overall, Songs In The Key Of Life stands as Stevie Wonder's crowning achievement and is a landmark release in the landscape of popular music that continues to resonate with audiences worldwide. It’s a breathtaking musical odyssey that spans a myriad of genres, showcasing Wonder's unparalleled musical skill, innovative production, and profound lyricism. It, ultimately, is nothing short of a masterpiece! 

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Lionel Richie – Self-Titled (Album Review)

Released in 1982, Lionel Richie's self-titled album marked a pivotal moment in his career. Stepping away from his tenure with The Commodores this eponymous album saw Richie establish himself as a solo artist with a unique sound that would shape the R&B and pop landscape for decades to come. The album, often referred to simply as Lionel Richie, is an iconic piece of 1980s music history, combining smooth vocals, heartfelt lyrics, and memorable melodies.

Comprised of nine tracks, with each song showcasing Richie's exceptional songwriting and vocal talents, this self-titled release is a pleasure to listen to for the lossless Apple Music stream, an Apple Digital Master, is simply exquisite. It certainly helps that the album's production is top-notch for Richie worked with talented musicians and producers to create a sound that was fresh, innovative for its time, and remains timeless in retrospect. The arrangements are lush and well-crafted, with a perfect balance of instruments to complement Richie's vocals. The result is a memorable musical experience that is one of the greatest releases in all of recorded music history. 

Serves You Right kicks off the album with a lively, funky groove and infectious rhythm that makes it impossible to resist toe-tapping or dancing along to.

Wandering Stranger slows the tempo, allowing Richie to showcase his incredible vocal range and emotional depth. With a tender moving arrangement, featuring gentle piano notes and strings, Wandering Stranger becomes a melancholic beauty that is amongst Richie’s greatest recordings, for it’s nothing short of a masterpiece and Joe Walsh’s guitar solo ensures that Wandering Stranger is taken to the next level for what can only be described as being a perfect composition.

Tell Me is an up-tempo number that perfectly suits Richie’s vocal style. While it isn’t a standout, and you’re unlikely to seek it out on its own, as an album-only tune it holds the album together and Lionel Ritchie simply wouldn’t be the same record sans Tell Me. 

My Love is one of the album's standout tracks with a lush arrangement that showcases Richie's incredible vocal range, tender delivery, and ability to deliver heartfelt ballads that continue to touch the hearts of music lovers everywhere.

Round And Round is a pleasant and easygoing track with a touch of Motown influence, particularly in the song’s chorus. Richie's vocals are relaxed and smooth, but it is the catchy melody and the harmonious backing vocals that ultimately make Round And Round so enjoyable. While it may not be as prominent as other songs on the record, the success of an album is the sum of all its parts, rather than a couple of exceptional songs. Round And Round is, subsequently, a quintessential B-side.

Truly is, arguably, the most iconic song from the album. It’s a classic love ballad with a simple, yet unforgettable melody. Richie's vocal is at its most soulful throughout this song, and the lyrics express deep and genuine affection. The song's timeless quality has made it a staple at weddings and romantic occasions, and it remains one of Lionel Richie's signature tunes.

You Are oozes warmth and sincerity as Richie's vocals are filled with tenderness and love. It’s another of Ritchie’s timeless classics with a chorus that you simply can’t help but sing along to. Exceptional!

You Mean More To Me is a gentle, heartfelt ballad that perfectly suits Lionel Richie's signature style. The song's lyrics express deep affection and gratitude for a loved one, and Richie's vocals are so tender and sincere that you simply can’t help but be drawn into this song. The melody is simple and memorable, with a delicate arrangement composed with the use of soft piano keys and subtle orchestration, along with the entire band, resulting in a beautiful song that will captivate your soul. 

Just Put Some Love In Your Heart is a short, but ideal closing track as it leaves a lasting impression that will compel you to play the album again. 

Overall, Lionel Richie's 1982 self-titled album is a timeless classic that remains a pinnacle release from the 80s. With its unforgettable melodies, heartfelt lyrics, and Richie's exceptional vocal delivery, it continues to resonate with listeners across generations and is a testament to Lionel Richie's enduring talent and his ability to create music that speaks to music lovers everywhere. Whether you're a longtime fan, or discovering it for the first time, Lionel Richie is a must-listen for anyone who appreciates the beauty of love songs and the magic of a truly gifted artist.

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Tavares – New Directions (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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Earth, Wind & Fire – Raise! (Album Review)

Released in 1981, Earth, Wind & Fire’s 11th Studio album, Raise!, delivers the band’s trademark blend of funk, disco, R&B, and soul so well that you’d be mistaken for thinking this is a greatest hits compilation. Filled with infectious and uplifting tunes, Raise! sounds as fresh today as it was when it first hit record stores in the early 80s and is bound to captivate modern audiences, as much as their legacy counterparts, for Raise! is ultimately timeless. 

What is also enduring is Earth, Wind & Fire’s compelling artwork for they rarely disappoint in that regard as their albums are all worthy of presentation via the larger vinyl canvas. It’s disappointing to note that Raise! hasn’t been reissued on vinyl at all, despite some of their other albums seeing a reissue on the format. Given the modern resurgence of vinyl records, it seems like a missed opportunity and it isn’t as if Raise! is one of their lesser-known albums. That all said, the lossless Apple Music stream, an Apple Digital Master, is exquisite in every way imaginable. When streaming sounds this good, it makes one wonder why they should invest in the physical counterpart. 

Let’s Groove opens the album with a dance-floor vibe that sets the tone for the entire record. With an irresistible tempo, catchy melody, and some powerful instrumental elements, Let’s Groove will get you moving. 

Lady Sun continues the upbeat feel but is a little more soul focused than Let’s Groove. Don’t let that deter you, however, for the party has just started. In fact, if you were having a party, Raise! would provide the perfect background music for such an occasion. 

My Love slows the tempo a little but the disco vibes remain ever-present. The band's instrumentation and tight harmonies are nothing short of pure sonic bliss and while My Love may be overlooked as an album-only song, it’s one of the greatest groove meets funk meets disco tunes in Earth, Wind & Fire’s extensive catalogue. 

Evolution Orange is a lush musical experience. That said, it’s a quirky little tune that takes a few listens to fully appreciate. Part of the slow appreciation process is due to Maurice White’s vocal style, on this particular tune, as it differs considerably from the vocal tracking on the rest of the album. Subsequently, while the Apple Digital Master ensures his high notes remain tamed, I can only imagine how fatiguing Evolution Orange could be, especially if the CD, for instance, was mastered with loudness in mind. 

Kalimba Tree is a mesmerising musical interlude that could barely be called a song, due to its length, but it’s a perfect introduction to You Are A Winner.

You Are A Winner is infectious. Its sheer energy and positive message, while maintaining the core groove-fused musicality, is a trademark of Earth, Wind & Fire and is a core component that makes Raise!, and their music in general, so compelling. 

I’ve Had Enough will see your body moving involuntarily to the rhythm. Its smooth, laid-back, style, combined with elements of R&B and funk, ensures that I’ve Had Enough is not only magnificent but that it remains another hidden gem. Despite charting satisfactorily when released as a single, it simply doesn’t get the recognition it deserves.

Wanna Be With You initially slows things down, but its funk, disco, and R&B elements show their true colours rather quickly. While the tempo doesn’t reach the pace heard earlier in the album, Wanna Be With You is perfect in its own right while also being thoroughly relaxing. 

The Changing Times, in a similar manner to Wanna Be With You, has an introduction that is somewhat different to the core song and while it’s a style, I find it to be a little distracting. Nevertheless, as the closing track, The Changing Times allows for contemplation as well as compelling listeners to listen to the album again.

Raise! is a testament to Earth, Wind & Fire's incredible artistry and their ability to create timeless music. The album seamlessly blends different genres while maintaining a cohesive and infectious sound throughout. From the energetic and irresistible Let's Groove to the quintessential closer, The Changing Times, each song showcases the band's unmatched musical prowess and their ability to uplift and inspire listeners. Raise! is, subsequently, a must-listen for any fan of the band as well as being a perfect entry point for those who are new to Earth, Wind & Fire.

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Rick James – Come Get It! (Album Review)

Rick James and the Stone City Band was a breath of fresh air to both funk and soul genres when they launched onto the music scene in 1978 with their first studio album, Come Get It!. It wasn’t that the music from those genres was lacking in originality at the time, it was more a case of the need for an artist to stand out from the crowd and Rick James was one such musician.

During the same year, Chic would release C'est Chic, but as is often the case fans needed and wanted more than Chic could deliver. Rick James and the Stone City Band was exactly what was necessary; a familiar sound with a uniquely different style that blended more rock elements into their music. 

Listening to Come Get It!, from a modern perspective, one can’t help but see correlations between James’ style and that of Prince’s. Of course, the pages of history will tell of the rivalry between the performers and Prince certainly won the upper hand as it pertained to superstardom and admiration. That shouldn’t, however, detract from James’ musical legacy as he’s given us some of the grooviest songs in the history of recorded music; many of which are included via this release. 

While controversies, criminal acts, and drug addictions have cast a shadow over James’ musical career, one must attempt to separate the man from the performer for while they are linked, they aren’t inextricably connected. Regardless, there’s something special about this debut release. While the 1981 album, Street Songs may be considered James’ opus, aside from Super Freak, the album is rather nondescript by comparison. Whereas, Come Get It! has a flow that goes beyond a hit single. It’s an album, an exceptional one, and one that deserves more recognition for there isn’t a bad song to be heard. 

As James’ greatest creative achievement, it’s disappointing to note that while Street Songs has been reissued ad nauseam, Come Get It! has not seen an official reissue, via any physical format, since 1982. Yes, there was a 2014 CD reissue for the Japanese market, but considering these releases are rarely found outside of that marketplace, it’s a minor consolation.  

For fans, however, James’ entire catalogue was reissued to iTunes in 2014 and that legacy continues today with an Apple Digital Master, in (Hi-Res) Lossless quality, that is simply exquisite. When music sounds this good, I question the need to attain a physical release. There’s a fullness that will remind you of the tonal quality of vinyl while still ensuring every musical element shines with a level of clarity expected from the Compact Disc format. Whoever undertook the transfer, and mastered this particular digital release, should be congratulated as it’s faultless. Perhaps I shouldn’t be as surprised as I am for one of Motown’s greatest achievements was always ensuring their music sounded phenomenally good, on all formats, and I don’t recall ever being disappointed with a Motown-related release. 

What is missing from the digital counterpart, however, is the stunning album artwork. There’s no doubt in my mind that if you saw Come Get It! in a record store, you’d consider picking it up based on the cover alone. I must admit that as much as I appreciate the seemingly endless availability of music, thanks to streaming, I miss randomly coming across something in a record store that I’ve got no idea about but would be willing to give a shot based on the visual presentation of the release. Yes, you can still happen upon new releases on your favourite streaming platform, but it’s far too easy to skip to another record without giving an album, such as this one, a fair spin.

Stone City Band, Hi! Has gone for a stylistic faux live recording and while it isn’t usually something that I’d applaud, in this situation it is utterly perfect as it doesn’t dwell too long on the introductory elements, thereby allowing the song to quickly come into its own. The chosen mix is also intriguing for it offers that low-fi, somewhat produced, styling that you’d get from a live performance.

You And I is a seamless transition from Stone City Band, Hi! and while the false sensation of a live performance is gone, you’ll find yourself on your feet, on the virtual dance floor, as you groove along to every rhythmic beat. You And I was also chosen as the debut single and history will tell that it was the right choice for it rocketed all the way to the top of the charts. As much as I enjoy this album version, the final track on this digital release offers a different mix and is truly worth listening to for it takes You And I and tastefully embellishes it further.  

Sexy Lady has some incredible horns thanks to Randy and Mike Brecker and the song is Funk 101 with an infectious groove. That said, James’ chosen vocal falsetto style doesn't work. Look, it won’t make me skip the song, but the bridge is most certainly taxing on the senses. If I have the song on in the background, I don’t necessarily notice it, but listening intently, as I am while penning this review, it becomes jarring and a low point on an otherwise exceptional album.

Dream Maker is dreamy! Yes, dear reader, I had to go there. It’s that sultry spoken word introduction that sends my thoughts in that direction, but once the song gets going, it is thoroughly enjoyable and perfectly suited to James’ overall style. Yes, there are correlations to be heard, upon retrospect, with Prince and I can’t help but wonder how Dream Maker would have sounded had Barry White recorded it, but despite its kitsch nature, it hasn’t aged and isn’t a bad song by any measurement. Although, we could have done without the moaning at the end of the song, couldn’t we? 

Be My Lady picks up the tempo and pulls us out of the dream-infused world in order to return us to the dance floor. A great upbeat tune!

Mary Jane, as the second single from Come Get It!, is masterful and I’d even go as far as saying that it’s superior to You And I and should have been the lead single. Yes, the tempo is different between the songs, but I feel Mary Jane encompasses more of the 70s overall feel whereas You And I hit more specifically on the disco-era vibes. Regardless, Mary Jane is a killer tune even if its meaning is more closely aligned to James’ love of marijuana than a woman named Mary Jane. I love songs like this where there’s a double meaning. It results in a song that can be appreciated by everyone, for many will assume that Mary Jane is a love interest for James without knowing about this additional aspect. The good news is, that whichever way you choose to enjoy the song, it has a lasting impact and is one of the best tunes on the album. 

Hollywood is one of the strongest songs James ever recorded and I truly believe that it would have been a far better closer than Stone City Band, Bye!; a song that despite bookending the album should have been omitted. Nevertheless, Hollywood is EPIC! 

Stone City Band, Bye! returns us to the faux elements that opened the album but as I mentioned in my reflection on Hollywood, I feel that this song isn’t strong enough to close the album on and while the 2014 remastered edition features the Extended M+M Mix of You And I, all original releases would have ended with Stone City Band, Bye!. Yes, the thank you at the end is cute, and this song does work, I just feel the album would have been stronger had the epic Hollywood been the closer. 

You And I (Extended M+M Mix) is a worthwhile bonus track, particularly because it builds well upon the brilliance of the album mix for You And I, but it’s an isolated example as I generally lament the inclusion of bonus tracks. Why, you may ask? Well, they’re generally substandard tunes that weren’t worthy of inclusion originally and subsequently I often question why we’re bombarded with such unnecessary bloat when the original track listing is perfect. Nevertheless, the Extended M+M Mix for You And I isn’t so removed from the album mix that it ruins the experience and it, therefore, encourages me to spin the album again for you can never listen to Come Get It! only once.

Come Get It! is nothing short of a masterpiece and is rightfully deserving of its position as not only one of the best albums from 1978 but one of the best albums released in recorded music history.

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