KALEO – A/B (Album Review)

Released in 2016, KALEO’s second studio album, A/B is an exceptional release with a unique blend of rock, blues, and folk influences, combined with the soulful and gritty vocals of frontman Jökull Júlíusson. With its rich musical diversity and emotionally charged lyrics, A/B presents a compelling journey that captivates listeners from start to finish.

Part of the compelling nature is the recording itself; one that has been captured, mixed, and mastered with pure perfection. The lossless Apple Music stream, an Apple Digital Master, is equally impressive and while I have heard, and thoroughly appreciated, the vinyl release for A/B, I feel that the best way to appreciate this album is via the lossless Apple Music stream for the differences are minimal at best. Naturally, the stream can’t compete with the physical nature of a record, but it’s so sonically pure that I don’t feel as though I’m missing out on anything from an audible perspective.

No Good is an instant classic that sets the tone for the entire album with some killer beats, riffs, and an exceptional vocal presentation that is perfectly suited to the song and KALEO’s overall style.

Way Down We Go slows the tempo of the album, but it’s simply magnificent and is, without a doubt, a standout tune on A/B. Júlíusson’s vocal is yet another highlight but you’ll be in rhythm and blues heaven with a bass and drum rhythm that reaches to the very depths of your soul. This is music you can feel and the sensory aspect has to be experienced firsthand. Therefore, may I recommend, that you take your headphones off, and play this masterpiece on speakers. 

Broken Bones is sublime!

Glass House picks up the pace again, featuring infectious rhythms and bluesy guitar riffs. While Glass House may be run-of-the-mill rock and roll, there’s nothing wrong with that!

Hot Blood exudes intensity and passion. The song's upbeat tempo and catchy chorus make it a standout track, showcasing the band's versatility in creating different musical moods.

All The Pretty Girls is a slower tune with a very interesting vocal presentation, in comparison to the other songs on the album. That said, it works extremely well with its gentle acoustic arrangement. It just goes to show the level of musicality that is present within the band, even at this early stage in their career.

Automobile is an incredibly catchy tune. I love it!

Vor í Vaglaskógi is sonic perfection! While it is the only non-English language song on the album, the vocal delivery is velvety smooth and is an absolute pleasure to listen to. The music, sans lyrics, is equally impressive. It’s such a beautiful song that I hope KALEO will, one day, release an entire album in their native Icelandic tongue.

Save Yourself is a lovely song but was always destined to be underwhelming following Vor í Vaglaskógi. 

I Can't Go On Without You is a soulful and heart-wrenching ballad that showcases the band's emotional depth. Júlíusson's powerful vocals shine through, making it one of the most emotionally resonant tracks on the album and a perfect closer that encourages the playing of the album again.

Overall, A/B is a stunning release that takes listeners on a captivating journey through various musical landscapes. From powerful blues-rock anthems to soulful ballads, the band showcase their musical prowess and emotional depth throughout the album. KALEO's ability to blend different genres seamlessly ensures A/B is a must-listen for fans of alternative rock and anyone seeking music with substance and soul. 

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Tom Jones - Praise And Blame (Album Review)

The legendary Welshman, known for his powerful voice and charismatic stage presence, took a bold and unexpected turn with his 38th studio release, Praise & Blame, from 2010. Departing from his usual mainstream sound, Jones embraces the genres of gospel, blues, and roots music to deliver a collection of soulful and introspective songs. With his gritty vocals and heartfelt delivery, Jones showcased that his artistic versatility knew no bounds.

Of course, Jones isn’t the only notable element here for Praise & Blame is a stunningly beautiful recording that has been mixed and mastered with respect. The entire production team and players on this release deserve acknowledgement for all aspects complement Jones' vocals perfectly by adding layers of richness to his captivating vocal performance.

While the music is extraordinarily good, however, the artwork is absolutely horrid. I get it, it shows a place of worship, but the chosen design elements and the photograph itself, aren’t exactly compelling. Seriously, if you saw that on display at your local record store, you’d give it a miss, wouldn’t you?

In my mind, all Tom Jones albums should feature Jones on the cover and while Jones may have wanted the songs to speak for themselves, I feel the artwork on this particular album takes away from the incredible musical experience you’ll have when listening to the record. Nevertheless, we listen with our ears and not our eyes so join me as I take a look at the selection of songs that make up Praise & Blame.

Please note that the shared Apple Music stream below is a playlist I created as the Apple Music edition features the bonus track Burning Hell (Ethan John's Wood Room Version). Regular readers will note my penchant for the original sequencing of albums and as such that is why I’ve chosen to present the album in this manner.

What Good Am I? opens the album with a haunting and introspective track. Jones’ weathered vocals add a layer of vulnerability to the song that works exceptionally well with the monotone rhythm thereby making it a standout tune.

Lord Help picks up the tempo with a blues-meets-gospel song that leaves a lasting impression. I do, however, feel that Jones’ vocals are a little too concealed in the mix but that need not be a detrimental factor as Lord Help is quite the toe-tapper.

Did Trouble Me focuses on Jones’ soulful delivery for the sparse instrumentation, on this song, is a feature that ensures Did Trouble Me remains a poignant and thought-provoking tune.

Strange Things is lively with an upbeat tempo set to the background of a roots musical style. It isn’t, however, the greatest song on the album and part of that conclusion is due to Jones’ vocal delivery as he’s over-performing on this track.

Burning Hell is raw and gritty blues-based rock and roll. Needless to say, I love it! Jones' passionate vocals ensure Burning Hell is an emotionally charged and memorable song and is, without a doubt, one of Jones' greatest recordings.

If I Give My Soul is another exceptional example of the rather stripped-down style of Praise & Blame. It’s this musical technique that ensures Jones’ vocal remains central in the mix while simultaneously intensifying the emotional impact of the songs’ lyrics.

Don’t Knock is a lively and infectious gospel-influenced track. Jones' spirited vocals, and the energetic instrumentation, create an atmosphere that’s hard to resist.

Nobody’s Fault But Mine is incredible! This bluesy rendition showcases Jones' vocal prowess and ability to infuse a song with soulful intensity for few vocalists have such control over their octave range.

Didn’t It Rain with its lively gospel-infused sound, is a toe-tapping track that exudes joy and celebration. Jones' energetic vocals and the vibrant instrumentation create a lively and infectious atmosphere, leaving listeners wanting more.

Ain’t No Grave embraces a rootsy and spiritual vibe that is thoroughly enjoyable. Jones' powerful vocal once again shines through ensuring that Ain’t No Grave is one of the best songs from Praise & Blame.

Run On creates a rousing conclusion to the album that embodies the spirit of traditional gospel music, featuring an energetic and foot-stomping rhythm, with a touch of blues-based rock. Listeners are left with a lasting impression that is both energised and uplifting and Ride On, by default, becomes the quintessential closing track that encourages repeat listens of the album.

While some longtime fans of Jones' earlier hits may find Praise & Blame to be a departure from his familiar style, it is a testament to his evolution as an artist as this album is a standout in his discography, proving that even after decades in the music industry, he can still captivate and surprise his audience. Whether it's the introspective and haunting tracks or the uplifting and celebratory ones, Jones' expressive vocals and the rawness of the arrangements make for a captivating and emotionally charged listening experience from start to finish.

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Andrea Bocelli – Cinema (Album Review)

Every now and then an album comes along that is the pinnacle of perfection. Cinema is one such release that blew my mind the first time I heard it. While I’m keenly aware of Bocelli’s work, having been a fan since his 1994 pop/classical crossover Romanza, I wasn’t entirely prepared for the quality of Cinema. There is little doubt regarding Bocelli’s exceptional talent, but I feel that some releases, such as Passione, from 2013, failed to showcase his true talent. Despite that, the song selection, sequencing, recording, mix, and mastering on Cinema is exquisite. As you listen you’ll no doubt come to realise, as I have, that the songs not only bring out the best in Bocelli but that many of these interpretations surpass their original compositions.

While classical purists may lament yet another classical crossover from Bocelli, I truly believe that this is where his true talent resides for he takes listeners on a captivating journey through iconic movie soundtracks, masterfully infusing his signature operatic style with the emotion and grandeur associated with the silver screen.

Sonically, Cinema is stunning and it should be with the calibre of Bocelli and those who worked with him behind the scenes; some of the most decorated and respected people in the entire industry. That said, nothing truly prepares you for the sonic journey you’re about to undertake, so without further ado, join me as I delve into the selection of music Andrea Bocelli chose to cover on Cinema.

Maria (From "West Side Story”) opens the album with a stunning rendition of this timeless classic that is perfectly suited to Bocelli’s tenor vocal range.

La Chanson De Lara (From "Dr. Zhivago”) is a hauntingly beautiful tune filled with the passion and depth that only Bocelli could deliver. His ability to convey raw emotion through his voice is truly remarkable, as he brings the heart-wrenching signature tune from Doctor Zhivago to life through song.

Moon River (From "Breakfast at Tiffany’s”) always reminds me of Frank Sinatra, for I prefer his recording of this classic tune, but Bocelli's tender interpretation of this beloved ballad is nothing short of mesmerising.

E Pit Ti Penso (From "Once Upon a Time in America”) is a magnificent duet with Ariana Grande that showcases Bocelli's versatility and ability to harmonise flawlessly with other artists. Their voices blend beautifully, creating a poignant and captivating performance.

Be My Love (From "The Toast of New Orleans”) will leave you captivated for Bocelli’s heartfelt interpretation captures the romantic essence of the song via his rich and resonant vocal style.

The Music of the Night (From "The Phantom of the Opera”) is one of the most recognisable pieces of music the world has ever known and I’ve always considered Michael Crawford’s interpretation to be the one to beat. That said, I’m extremely impressed with Bocelli’s rendition as his operatic foundation truly shines through in this powerful rendition.

Por Una Cabeza (From "Scent of a Woman”) sees Bocelli deliver the rendition of this tango classic in a passionate and captivating manner whereby his smooth and velvety vocal adds a layer of seduction to the song. That said, it isn’t my favourite track from the album but Cinema wouldn’t be the same without it.

Sorridi Amore Vai (From "Life Is Beautiful”) is a lovely song, but I’ve always wondered how it would sound with a slightly slower tempo. Regardless, as I listen, I remain amazed at the control Bocelli has over his vocal delivery as many artists tend to reach too high and it often sounds forced. It is this self-constraint that makes him one of the best vocalists in the world and ensures that this song is thoroughly enjoyable.

Mi Mancherai (from “Il Postino: The Postman”) is one of the standout tracks selected for Cinema for Bocelli’s emotional performance of this song is deeply moving. His ability to convey longing and sorrow through his voice is truly remarkable and each time this tune comes on, all I can do is close my eyes and appreciate the masterpiece that Bocelli has created. It’s an audible experience that really needs to be heard first-hand to be fully appreciated.

Cheek to Cheek (duet with Veronica Berti) [From "Top Hat”] is a masterful tune and while it has been interpreted innumerable times, I never tire of it. However, as good as the Bocelli/Berti version is, no one does it better than Ella Fitzgerald and Louis Armstrong, for their recording from their 1956 album Ella And Louis is a timeless classic.

Brucia La Terra (From "The Godfather”) delivers a touch of nostalgia with Bocelli’s incredible rendition of this Italian classic. His emotional performance, coupled with the beautifully arranged orchestration, evokes the bittersweet essence of the iconic film.

No Llores Por Mi Argentina (duet with Nicole Scherzinger) [From “Evita”] is filled with passion and intensity and reminds me vividly of Elaine Paige’s exceptional interpretation. It’s a beautiful song and Bocelli pays homage to its lineage as only he could.

Nelle Tue Mani (Now We Are Free) [From “Gladiator”] is the quintessential closer. While the entirety of Cinema is magnificent, this is one interpretation that will bring you to tears for Bocelli’s performance is flawless, moving, and emotionally engaging. We are truly blessed to have access to such incredible music.

No matter how hard I try, mere words can not adequately explain just how incredible this album is. Cinema beautifully highlights the profound connection between music and cinema, demonstrating how the power of melodies can enhance storytelling and evoke a wide range of emotions in audiences. Ultimately, Bocelli's velvety vocal effortlessly transports listeners to the heart of each film's narrative, reminding us of the lasting impact that music has on our cinematic experiences.

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George Michael – Symphonica (Live Album Review)

Released in 2014, George Michael’s Symphonica is a fluid masterpiece that melds exceptional live performances, captured between 2011-12, with studio mastery thereby ensuring the music and Michael’s vocal talents take centre stage with few distracting elements. With a collection of well-known covers, and a half dozen original songs thrown into the mix, Symphonica will captivate you from the very first note. 

Some may lament the studio manipulation, but most live albums are created similarly. Truthfully, I prefer the additional spit and polish for live performances can be hit and miss and that’s a core reason why I’m not a fan of attending concerts. It’s a case of once-bitten, twice shy, and I prefer higher production values when live recordings are released. 

Yes, dear reader, I’m one of those music lovers who doesn’t have a problem with artists using backing tracks at a concert if that’s what it takes to put on a good show. Is it pure and organic, no, but isn’t it better to have every note presented accurately than to have a substandard experience? I believe so!

The only aspect that I wish they had worked on a little more would have been the reduction of sibilance in Michael’s vocals. Michael’s vocal has always had a tad of sibilance, so I look upon it as artistic expression at this stage, but on a couple of the songs, it’s quite pronounced and temporarily takes you out of an otherwise relaxed experience.

Concerning the selection of songs, I find it incredible that Michael’s own works mix so perfectly with the classics of yesteryear. Seriously, it’s a seamless transition between tunes and goes to show just how incredibly talented Michael was as not only a vocalist but as a songwriter. 

While I was fortunate to have owned the stunning HFPA (High Fidelity Pure Audio) Blu-ray release, following a culling of formats, I now find myself limited to the streaming offerings and I have mixed feelings. The DTS-HD Master Audio 24-bit/96kHz edition of the album, from the Blu-ray, was as close to having a private audience with George Michael as I was ever going to get and while I have few regrets about downsizing my collection; this is one of them. 

The Dolby Atmos stream, via Apple Music, is admirable but it just doesn’t have the same presence as was heard on the physical counterpart. Interestingly, despite the Blu-ray format being capable, no surround mix was presented, yet, to my ears, it still had a greater presence. For many music fans, this won’t be an issue. For us audiophile-focused music lovers, however, it’s a substantial element for we strive to attain the best possible release. Nevertheless, I may have to try and seek out a vinyl edition, or hope for a reissue, as they’re incredibly hard to come by and go for insane prices on Discogs.

Symphonica is one release certainly worth owning but, as is often the case, it isn’t only a matter of sonic perfection for there are numerous releases of Symphonica, with different track listings, which makes choosing a definitive copy much more difficult.

For instance, the Blu-ray contained 17 songs, with the closer being You’ve Changed, as did the highly sought-after vinyl release, but the CD counterpart was abridged to 14 songs. The three songs removed were Roxanne, Going To A Town, and You Have Been Loved; all are exceptional performances and worthy of inclusion. Yes, incorporating these tracks would have gone beyond the limits of a single CD, but it would have been wonderful to have greater cohesion between versions by limiting the tracks, across all releases, to the finite runtime of the CD format.

Naturally, as a lifelong music lover, this should come as no surprise for it’s a constant problem within the music industry and a practice that I wish they would abolish for it would be far simpler if each version was the same so that fans don’t experience decision fatigue concerning which version we should pick up or listen to. Or worse still, feel compelled to pick up every edition; most likely the reason this is standard practice across the industry for the record labels’ ultimate aim is to make money and what better way to do that than by targeting the most dedicated of fans. 

Nevertheless, you might suggest that given the Dolby Atmos mix is enjoyable, that this is the version I should enjoy going forward. I thought so too until I realised that the Atmos Mix and its stereo counterpart, both Apple Digital Masters, only contain the 14 songs from the CD release.

Confusing matters further, a lossless 15-track edition is also available via Apple Music (a non-Apple Digital Master). Where did that come from? Seriously, can’t we just have a definitive edition? This 15-song version adds I Remember You as the final track on the album. Interestingly the Deluxe Edition (also not certified as an Apple Digital Master) tacks I Remember You to the backend of the album.

It’s an absolute mess, isn’t it? 

Still, for this review, I’m going to stick with the Deluxe Edition in its entirety, as all songs are featured, but while I consider the first 17 songs to be nothing short of perfection, I intend to remove I Remember You from my digital library for I feel it detracts from the highly polished production values heard throughout the rest of the album.

However, there’s a problem. Not a big one, but it needs to be addressed. The Deluxe Edition is not an Apple Digital Master. Few Deluxe Editions, by any artist, are and it simply makes no sense to me whatsoever. If the label goes to the trouble of remastering a release for the Apple Digital Master program, then why are the more complete editions omitted from this process? Surely it would be worth doing for those of us who appreciate the expanded offerings of Deluxe Editions.

Common sense, clearly, isn’t very common when it comes to what record labels do and how they manage their catalogs. I’m sure they’ve got their reasons for these discrepancies, but from a music lover’s perspective, I simply can’t comprehend why they make things so challenging. 

I’m sure by now you’re wondering why it matters if the Deluxe Edition is an Apple Digital Master or not. Well, dear reader, it’s an issue for two reasons. The first is that for those who enjoy surround mixes, they should be able to get the complete series of recordings in Dolby Atmos. Secondly, and this applies more to me, I find that the Apple Digital Master of Symphonica is less shrill, more rounded, and therefore a little more enjoyable when directly compared to the non-Apple Digital Master. Despite that, given I want the same 17-track experience that the Blu-ray and vinyl counterparts allow for, I’m left with no choice but to go with the slightly less appealing and sonically compromised Deluxe Edition. Of course, if I had not compared releases, I likely wouldn’t know what I’m missing out on so that perspective needs to be taken into account.

Through, a George Michael original from Patience, is a beautiful song to open the album with and it’s as if it should have always included an orchestra for this live performance trumps the original recording. The strummed introduction, intermingled with vocals and subtle symphonic elements, sets the tone for the entire album and subsequent performances. 

My Baby Just Cares For Me is upbeat and jazzy and would do any jazz club in New Orleans proud. The horn section in this song is perfectly balanced and I appreciate this as sometimes the brashness of brass instruments can overpower a song. 

A Different Corner slows things down a little with gorgeous vocals and acoustic guitar and bass strumming. It’s a simple and uncomplicated rhythm, but one that highlights Michael’s extraordinary vocal capabilities. Dating back to the mid-80s and the final Wham! release, Music From The Edge Of Heaven, the live performance of A Different Corner captures the soul of the studio recording and is the perfect counterpart to that 1986 release.

Praying For Time was originally released as the lead single on Michael’s second solo album Listen Without Prejudice Vol. 1 and is one of his greatest and most memorable tunes. While the original studio recording is marvellous, in its own right, this live performance takes the song to another level entirely; magnificent!

Let Her Down Easy is a song I adore. It was originally written and recorded masterfully by Terence Trent D’Arby (Sananda Maitreya) on the album Symphony Or Damn. The song is just so soothing, especially as it’s presented in a lullaby style, and Michael performed it beautifully.

The First Time Ever I Saw Your Face is an absolute classic and this live recording represents one of the very best interpretations of the song I have ever had the pleasure of hearing. 

Feeling Good is epic! George Michael performs this tune masterfully. That said, I still consider Nina Simone’s version to be the pinnacle recording of this classic song.

John And Elvis Are Dead is a lovely live recording of Michael’s tune; first heard on Patience. While I never considered John And Elvis Are Dead to be a standout song, although it’s a wonderful studio recording, this live performance changes that perspective for it flows so incredibly well within the live album structure that I couldn’t imagine Symphonica without it. Plus, it’s a little more relaxed than the studio release meaning that it can be fully appreciated in a relaxed setting when listening to Symphonica.

Roxanne will appeal to any fan of The Police for this live recording is a beautiful interpretation of their original tune from their 1978 release, Outlandos d’Amour. As solid as the original is, the jazz-influenced live recording by George Michael is exceptional and amplifies the song beyond The Police’s version. 

One More Try was originally released on Michael’s highly successful debut solo album Faith and it’s a George Michael classic that remains as fresh today as the day it was written and recorded. This live rendition honours the original studio release perfectly and the addition of the symphonic orchestra is complementary and therefore takes nothing away from the original. 

Going To A Town is one of the most beautiful songs ever written and is one of the greatest songs Michael has ever sung for it’s simply stunning and is perfectly suited to Michael’s vocal style. To say that I’m blown away would be an understatement, but if you’re as impressed by this recording as I am, then I suggest you check out Rufus Wainwright’s original from Release The Stars. 

Cowboys And Angels is another George Michael original from Listen Without Prejudice Vol. 1. It’s a nice classical meets jazz-styled tune, but it’s the worst song on Symphonica for Michael’s vocal sibilance is far too prominent. Thankfully, the sibilance isn’t a detracting element on the original studio recording, so the song can still be thoroughly enjoyed via that release. 

Idol is an underrated Elton John and Bernie Taupin collaboration from John’s 1976 album Blue Moves. This live recording, however, is one of those examples where an artist records a lesser-known cover, makes it their own, and that recording then becomes the standard to which all others are compared.

Brother Can You Spare A Dime is an American Classic and one that George Michael recorded and previously released on Songs From The Last Century. As good as Michael’s studio recording is from 1999, this live interpretation is about as good as it gets. The orchestral elements are off the charts and are not that far removed from Michael’s original interpretation, while Michael’s velvety smooth vocal ensures that Brother Can You Spare A Dime will remain in the social consciousness for decades to come.

You Have Been Loved was originally featured on Michael’s album Older and this live recording doesn’t break any new ground but it remains a lovely ballad with some exceptional jazz drumming and beautiful symphonic elements. That said, this is one case where I prefer the original recording to the live rendition. 

Wild Is The Wind has been recorded by some of the greatest musicians the world has ever known, but it really doesn’t matter which version you listen to as Wild Is The Wind is simply gorgeous. That said, Michael’s interpretation is one of, if not the, greatest ever recorded. 

You’ve Changed is what I consider to be the perfect closer and, again, I feel the label got the sequencing right when they closed the HFPA Blu-ray Audio version and vinyl releases with this beautiful jazz number as it is reflective and also compels me to listen to the album again.

I Remember You isn’t the strongest closer as it’s rawer, from a production and recording standpoint, than the rest of the songs featured on Symphonica. I also find the harp to be distracting, along with the audience, and subsequently, while I Remember You is included in this review, I remain convinced that the right decision, for me, is to omit it from my digital library, thereby allowing You’ve Changed to close the album out pleasantly.

Overall, sans I Remember You, Symphonica is a powerful and emotionally charged album that showcases George Michael's vocal range and songwriting talent, as well as the beauty and power of a symphony orchestra. Whether you're a fan of George Michael or simply a lover of beautiful music, this live album is worth a listen; you may even add it to your collection, for it is truly remarkable.

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Katy Perry – Prism (Album Review)

Prism, Katy Perry’s fourth studio album, and her third within the mainstream popular music genre, is full of electrifying dance-pop rhythms, infectious hooks, and catchy melodies. Add to that her meaningful lyrics and you’ve got a truly captivating album that’s a landmark release of the pop music genre. 

While it would be easy to assume that Perry reached her creative peak, following the exceptional Teenage Dream, Perry didn’t sit on her laurels instead choosing to head back to the studio just over two years later to record an album with a somewhat more serious tone; one that also showcased artistic growth. 

What didn’t increase, however, is the dynamic range of Perry’s recording. Prism is mastered, as many modern recordings are, too loud. That doesn’t mean that it doesn’t sound good, or that you won’t be drawn into the music, but it does mean you’re more likely to experience fatigue and may find yourself turning the volume down. 

Despite that, I find that the lossless Apple Music stream, an Apple Digital Master, manages to smooth out the presentation of the album just enough that it can be turned up to moderate levels without hearing distracting artifacts.

Alongside the stereo mix of Prism, on Apple Music, is a Dolby Atmos stream that is not only thoroughly enjoyable but more immersive than the stereo edition. You’ll be met with more depth and an overall bolder soundstage and the presentation isn’t so different to the original stereo mix that you’ll wonder if it is the same album; an issue that plagues many surround mixes when they are created post-album release.

While some may wonder if you can still appreciate the stereo mix, following listening to the album in surround sound, the answer to that is an unequivocal yes. That is because the surround mix is complementary; ensuring that the core of the album remains intact while simultaneously adding nothing to the mix that wasn’t already there. 

Roar was the lead single from Prism, but while this mid-tempo power pop tune is empowering, it isn’t the greatest song from the album. Like many instant hits, the more you listen to it the more it loses its lustre. It’s as if the substance of the song is merely surface deep and perhaps that is all a pop song needs, but I do question if Roar will ultimately be timeless. 

Controversially, you may also wish to check out Sara Bareilles' Brave, from her album The Blessed Unrest, as there’s quite an interesting correlation between the two songs. 

Legendary Lovers has a fantastic Middle Eastern-inspired rhythm that will infuse itself with your soul. The combination of styles, with pop influences, is masterful and Legendary Lovers quickly becomes one of the best tunes from Prism. 

Birthday is cringeworthy! 

Okay, so its upbeat styling will appeal to many but it's too cliché to be taken seriously. Of course, that is probably the point of the song and perhaps I’m simply listening incorrectly and not allowing myself to groove out and have a good time. 

Nah, it’s just not my kinda song!

Walking On Air has a dance-pop groove that will light up any dance floor. While there’s already a fair bit of vocal processing applied, I can’t help but wonder what the results of turning Autotune to its highest settings would have had on the song. It may well have ruined it, but I have a feeling it would have been even more sonically impressive than it already is.

Unconditionally is a stunning power ballad that showcases Perry’s vocal prowess. While the verses are a slow build, that soaring chorus draws you in and becomes not only one of the best songs from the album but one of Perry’s greatest musical achievements. 

Dark Horse (feat. Juicy J) is a mashup of styles but its edginess, combined with the hypnotic intensity, ensures that Dark Horse is a standout recording. The collaboration with Juicy J was also well-chosen as there isn’t another rapper that I feel would have been better suited.

Interestingly, and in another case of appropriation by Perry et al, Flame lodged a copyright claim that Dark Horse was derived from his song Joyful Noise, from the 2008 album Our World Redeemed. The court concluded that this was indeed the case and damages were awarded.

Having listened to Joyful Noise, there is no doubt in my mind that elements were borrowed and while I appreciate both songs, this is one case whereby if Perry et al had officially credited Flame, as a co-writer, legal action wouldn’t have been required after the fact. Of course, it can be argued that the borrowed elements were utilised unintentionally, for music tends to get stuck in our feeble human minds, but that still doesn’t constitute innocence as it relates to copyright laws. 

This Is How We Do flows perfectly from Dark Horse, primarily because of a similar memorable infectious dance-pop rhythm. However, This Is How We Do is much more upbeat, thereby making it a perfect musical contrast to the previous tune. While you’ll likely seek This Is How We Do out on its own, for it’s that good, this is one example that showcases the importance of album sequencing as when done well it ensures the album experience remains paramount. 

International Smile is a fun little tune but the chorus is incredibly trite.

Ghost is another exceptional mid-tempo ballad; arguably a Perry trademark thereby making Ghost one of the best tunes on the album.

Love Me is toe-tapping head-bopping bliss. Perry’s vocal delivery here is particularly appealing and while Love Me was never going to set the charts on fire, it’s a thoroughly compelling upbeat pop tune with a great message for those of you who appreciate lyrical interpretation; particularly lyrics that are empowering. 

This Moment has a pop-disco vibe that I can easily get behind. In many respects, This Moment is the song that is most likely to be compared to Firework, for it has a similar sonic styling despite being a little more laid back by comparison.

Double Rainbow is a lovely romantic tune.

By The Grace Of God is a beautiful closing tune that’s filled with emotions; some of which are more sombre than those heard throughout Prism. Yet, despite this, By The Grace Of God encourages listeners to play the album again. However, as much as I appreciate the verses and the bridge, the chorus is a little over-produced as I feel it would have been stronger had there been fewer musical elements brought into the mix. 

While some will forever peg Perry as nothing more than bubblegum pop, Prism showcases artistic maturity that goes beyond the disposable aspect as this album is not only one of the best released in 2013 but is one of Perry’s greatest musical achievements. 

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The Roots – …And Then You Shoot Your Cousin (Album Review On Vinyl & Apple Music)

Hip hop, arguably, remains somewhat of a mystery to me. I have my favourite albums and know what sounds subjectively good but until …And Then You Shoot Your Cousin was released in 2014, I had never heard of The Roots. They simply weren’t on my radar but I kept seeing the vinyl release of …And Then You Shoot Your Cousin and became captivated by the mixed media collage was created by Romare Bearden in 1964 and adopted for the cover and overall style of the album artwork. In years gone by, I would have likely picked up the album based on the cover art alone, but streaming services have allowed record collectors to sample music, before purchase, ensuring that we don’t pick up albums that we’ll never really play thereby proving that analog and digital formats can happily coexist. 

While this review will champion the vinyl release, for it is an exceptional piece of art, both in the traditional and audible sense, the lossless Apple Music stream isn’t as dynamically charged as the vinyl counterpart but that isn’t a dig at the streamed version, it’s more a tip of the hat to the vinyl mastering and pressing that is nothing short of exceptional and is amongst some of the best sounding records in my collection.

Putting the record on the turntable is an immersive experience that I consider to be synonymous with hip hop as the music will not only radiate through your body but will also touch your soul. Yes, the digital stream gets you close, and if you have no interest in vinyl you won’t be disappointed in the sonic quality, but the vinyl tonality takes the album to a whole nother level while maintaining a record that is so quiet you’ll be hard-pressed to hear any surface noise, even in the dead wax. 

Disappointingly, however, Theme From The Middle Of The Night, The Devil, and Dies Irae are omitted from the Apple Music stream; in Australia. A frustrating element considering these songs are available if you purchase the lossy album on iTunes; they’re the dreaded album only tracks. This streaming omission is a shame considering …And Then You Shoot Your Cousin is a concept album satirising American culture. That said, the vinyl counterpart continues this story-arc through the exquisite vinyl artwork.

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Starting with Bearden’s stunning collage, the art production team masterfully merged new creative elements so well that the artwork becomes the visual equivalent of sampling; a foundational element of the hip hop genre. It tells a story and on several occasions, I’ve been more captivated by the continuity of the visual tale than the music itself; a sign, in my opinion, that the vinyl artwork remains a value-added proposition to music lovers. 

Unlike the vinyl release, the Apple Music stream doesn’t consecutively number songs; a shame considering this is a trademark of The Roots.

SIDE A

Theme From The Middle Of The Night is a magical introduction courtesy of the incomparable Nina Simone. As a fan of Miss Simone, I love this introduction despite it being somewhat truncated. If you’re interested, the original can be heard on The Amazing Nina Simone.  

Never (Feat. Patty Crash) is an enveloping, eerie, sonic wonderland that is simply stunning. Add to that the unique feminine lyrical element and the masculine rap lyric throughout and you’ve got a song that on paper shouldn’t work but the culmination is extremely compelling.  

When The People Cheer (Feat. Modesty Lycan & Greg Porn) is head-bopping gold; one of the best tunes on the album.

The Devil is a short interlude-styled song, sampled from the Mary Lou Williams original, but is pure genius and works extremely well on …And Then You Shoot Your Cousin. 

Black Rock (Feat. Dice Raw) is a composition that grows on you the more you listen to it. Yes, initially, it may seem a little disjointed, but once you connect with a specific rhythm, you’ll be hooked. As a song on its own, however, it isn’t memorable but when listening to it via the album sequencing, it’s perfect. 

Understand (Feat. Dice Raw & Greg Porn) simply explodes on vinyl and while the Apple Music stream isn’t lacking in oomph, low-frequency music lovers will most certainly want to hear the sound vibing from the grooves. If you like to enjoy your music visually, you need to check out the music video for no other reason than to witness the greatest organ ever, in a music video. 

Dies Irae is one of the most annoying tracks ever recorded. Thankfully it’s short, but even after enjoying the album countless times, I still find myself being distracted by this instrumental, if you could call it that, as it is simply a shrill mess. 

SIDE B

Thankfully, The Coming (Feat. Mercedes Martinez) makes up for the harshness of the Side A closer. The mix on The Coming is simply amazing. It’s subtle but the panning of the vocal, especially when listening via headphones, is one of those sonic experiences that needs to be heard firsthand. It’s a shame, however, that the musical interlude in the second half of the song detracts from the masterful first half.  

The Dark (Trinity) [Feat. Dice Raw & Greg Porn] flows beautifully from The Coming and has a slow rhythm, and an utterly perfect lyrical delivery, that simply resonates with my soul. The best song on the album? Perhaps, but The Unraveling is next. 

The Unraveling (Feat. Raheem DeVaughn) is sonically amazing; especially on vinyl as the warmth (think distortion) of the format adds significantly to the overall experience. The pause around the three-quarter mark, while stylistically cool, isn’t a necessary element in my opinion and does momentarily take you out of the rhythm but thankfully it doesn’t last and The Unraveling closes out masterfully.

Tomorrow (Feat. Raheem DeVaughn) closes the album on a lighter tone than much of …And Then You Shoot Your Cousin, but its melody ensures that I’m captivated enough to spin this masterpiece one more time. 

…And Then You Shoot Your Cousin is a phenomenal release and while it’s on the short side at only 33 minutes, sometimes that is all you need as a longer runtime would be superfluous to the creative vision.

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Meat Loaf – Hang Cool Teddy Bear (Album Review)

Many Meat Loaf albums are underrated, as we compare his output too often to Bat Out Of Hell, but Hang Cool Teddy Bear is more than a simple cash-in on the legacy, for there are some extraordinary songs to be heard. Yes, there are a couple of songs that I don’t feel suit Meat Loaf’s vocal style, but if you give it a chance, Hang Cool Teddy Bear is a great rock album that is worthy of the Meat Loaf moniker. Of course, Meat Loaf is more than a singular entity and the lineup of collaborators in this 2010 release is impressive, although, no music is featured from Meat Loaf’s long-time collaborator, Jim Steinman.

As for the recording, mix, and mastering of Hang Cool Teddy Bear, it’s LOUD! That isn’t necessarily a bad thing for it works well with the style of the album, but you’ll likely find yourself turning the volume down and listening at lower levels to prevent listener fatigue. Thankfully, even though the album is dynamically compromised, it hasn’t been compressed to the extent that elements, such as cymbals, are crunching unnaturally. In that regard, Ted Jensen did an admirable job mastering the album to modern standards. 

Similarly commendable is Boris Vallejo’s cover art. There’s just something about fantasy artwork that works so well for album covers. Naturally, while the music is the most important aspect, pictures can tell a thousand words and in this case, you can take from the artwork what you want. All I know is that this would look awesome on a vinyl-sized canvas. 

Peace On Earth isn’t the greatest tune to launch the album on, for the introduction is somewhat pointless and the tempo is a little too upbeat for Meat Loaf. Also of note is Meat Loaf’s lyrical style that appears to be a merging of himself, Lou Reed, and Johnny Cash. Does it work? I’m not sure it does, but you grow to accept it as it also makes an appearance on Living On The Outside. Regardless, while I’d suggest that the verses are a little chaotic, I thoroughly enjoy the delivery of the chorus. 

Living On The Outside, similarly to Peace On Earth, has a great chorus but a somewhat inconsistent verse structure. Nevertheless, Living On The Outside is catchy, with a solid rhythm, and some killer guitar licks. 

Los Angeloser should have opened Hang Cool Teddy Bear. An utterly brilliant and witty tune! You’ll be head-bopping and toe-tapping from the very first note and its literal meaning is reminiscent, in my mind, of Alice Cooper’s Lost In America. The combination of James Michael and Meat Loaf has struck again and I don’t know about you, but I would love to see these two collaborate on a future record in the same way as Jim Steinman and Meat Loaf collaborated. 

Despite being the first single from Hang Cool Teddy Bear, Los Angeloser failed to gain traction in the charts; a shame considering it is arguably the best song on the album and most certainly should be in Meat Loaf’s career highlight reel. However, one can’t help but wonder if the quirky music video played a role in its lacklustre success with the only redeeming factor being Meat Loaf’s role as the preacher. Alas, we’ll never know!

If I Can't Have You (feat. Kara DioGuardi and Hugh Laurie) had the potential to be another I’d Do Anything For Love (But I Won‘t Do That), albeit with a faster tempo. The dynamic range, however, is a little shallow resulting in a smaller and more compressed soundstage that hides not only the backing vocals but Hugh Laurie’s piano elements throughout much of the song. DioGuardi’s vocal, however, is simply gorgeous and spot on. 

Love Is Not Real/Next Time You Stab Me In The Back has an enjoyable backbeat and overall rhythm, but it is Brian May and Steve Vai's intermingling guitar solo that makes this song truly memorable.

Like A Rose is one of the best songs on Hang Cool Teddy Bear and is one of my all-time favourite Meat Loaf tracks. In part, it’s due to Jack Black’s involvement but the tip of the hat to the Beastie Boys takes Like A Rose to another level. If there was one aspect that I’d change, it would be the mix. The guitar is simply too concealed and if it was more forward in the mix, and turned up by a few decibels, Like A Rose would be a guaranteed rock anthem.  

Song Of Madness is one tune that you’ll want to pump the volume on. Not only is Steve Vai’s guitar work masterful but Meat Loaf pushes his vocals beautifully, ensuring his signature smooth highs and guttural lows are prominent throughout. But, that bass tracking, by Chris Chaney, is what dreams are made of. A killer heavy metal-inspired tune!

Did You Ever Love Somebody slows the album down a little, but this isn’t your usual Meat Loaf ballad. It sounds, from a vocal perspective, like a demo as Meat Loaf’s full range isn’t on display here but that is also, strangely, part of its appeal. Did You Ever Love Somebody, however, could have been a masterpiece if a little more spit and polish had been applied. That introduction and gradual build, though, is magical. 

California Isn't Big Enough (Hey There Girl) is a rock song, with 80s synth elements, amongst a cascade of other styles, resulting in a compelling, yet confusing, composition. I enjoy the chorus, but as with a couple of other songs on Hang Cool Teddy Bear the chorus is where this song shines.

Running Away From Me is a classic B-side. It was never going to be a hit, but I like it. 

Let's Be In Love isn't a bad song, but is made significantly better thanks to Patti Russo. Again, Meat Loaf's vocal presence feels lacklustre, especially in the quiet passages, but given the love song styling it could be suggested that his vocal is intentionally vulnerable. Nevertheless, in comparison, Russo's Vocal takes the song to another level and it’s just disappointing that Russo doesn’t enter the mix until around the midway point of the song.

If It Rains is a great song but I would love to hear it with a slightly faster tempo and a little more edginess. 

Elvis In Vegas is a great closer but as good as Meat Loaf performs it, I’d love to hear Jon Bon Jovi record it as he co-wrote it with Desmond Child and Billy Falcon. A great song, regardless. 

Hang Cool Teddy Bear is likely no one’s first choice when listening to Meat Loaf, but it is underrated and is deserving of more attention as there is some thoroughly enjoyable music to be heard here. If you haven’t had a chance to check it out, I hope this review convinces you to give it a chance. Give it a few plays, particularly in the background, and you may be surprised just how much the entire album grows on you. 

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