Bee Gees – Mr. Natural (Album Review)

When you think of the Bee Gees, Mr. Natural is likely not an album that instantly comes to mind. Still, the more you listen to this classic release, the more you realise that it’s one of the greatest hidden gems in not only the Bee Gees’ illustrious career but in all of recorded music history.

Released in 1974, Mr. Natural marks a transitional period in the group’s evolution, as they began exploring a more contemporary soulful sound that incorporated elements of rhythm and blues, funk, and rock. Interestingly, it’s not entirely representative of their earlier works nor the disco-driven vibe that would catapult them to superstardom and define an era. Mr. Natural sits precariously in between their old and new styles, yet there is connective tissue to be heard throughout and it’s thoroughly enjoyable and perfectly suited to the trio.

While Mr Natural didn’t achieve commercial success, it remains a pivotal album in the Bee Gees’ discography and demonstrates their willingness to experiment with new directions; an essential aspect should the world of music long to hear sensational disco-driven releases such as Main Course and Spirits Having Flown.   

As we’ll come to see, as we peruse the songs that make up this hidden gem, the music is but one part of the album experience for the album artwork, much like the music, grows on you the more you look at it. Initially, it appears a little drab and uninspiring, but it melds perfectly with the chosen selection of songs and adds to the overall album experience.

Of course, the greatest album artwork would be for nil if the music contained within was lacklustre and while it is anything but, the lossless CD-quality Apple Music stream also sounds exquisite. There are no glaring omissions to concern ourselves with and you’ll find a soundstage that is wide and enveloping, with enough space between each musical element, allowing every aspect of the recording to shine. While mastering is essential, and in this case, it is ideal, when music is recorded and mixed this well, then the only thing left to do is to grab a coffee, sit back, and enjoy.

Charade isn’t an ideal opener, despite being a lovely ballad. The problem is it lacks a hook, one that will draw you into the music and the album itself. It isn’t, however, until you play the album multiple times that you start to appreciate Charade for its gentle yet melancholic melody that evokes some of the Bee Gees’ earlier 60s-styled recordings.

Throw A Penny introduces a more contemporary, soft rock-influenced sound, building momentum with its smooth groove and layered production. I can’t help but wonder if Throw A Penny would not have been a better opening. Nevertheless, it’s an exceptional song and the shift between the slower delicate verses, and the slightly more upbeat chorus that blends elements of R&B and Soul, is simply exquisite.

Down The Road flows seamlessly from Throw A Penny yet smoothly transitions the mood to that consisting of a bluesy, rock-and-roll vibe. Add to that the carefree swaggering groove, with a lively beat, and you’ve got yet another exceptional hidden gem from the Bee Gees.

Voices shifts the tone with its eerie slow-burning arrangement that makes me immediately think of songs such as Massachussetts and New York Mining Disaster 1941. To say that Voices is a masterpiece would be a just statement for it’s a magical song.

Give A Hand Take A Hand is an uplifting soulful ballad and while the Bee Gees’ vocal prowess is not a point of contention, the vocal skill heard here is second-to-none as Barry Gibb has rarely sounded better. Subsequently, this vocal-driven number is a standout from Mr. Natural and another of those hidden gems that really need to be appreciated for the hits are one thing, but Give A Hand Take A Hand is musical gold.

Dogs will captivate you with its fluid melody, particularly throughout the verses and chorus. Additionally, that mid-tempo shift in the bridge is pure genius. Not to sound like a broken record, but given Mr. Natural was all but ignored when released, it’s songs such as Dogs that need to be shared with fellow music lovers for casual fans of the Bee Gees have no idea of the exceptional music they’re missing out on.

Mr. Natural was an interesting choice as the title track as it’s a solid song with an infectious groove and funky bassline, but it’s most certainly an album-only tune, despite being released as the album’s first single. It just doesn’t hold one’s attention as much as many of the other songs on the album do.

Lost In Your Love slows the tempo down again with this delicate ballad, offering a tender moment. The arrangement is sparse, allowing Barry’s magnificent vocals to take the spotlight, thereby ensuring that Lost In Your Love is another memorable experience.

I Can't Let You Go has a killer riff, as the song brings an upbeat rock-oriented style to the record; one that melds perfectly with the Bee Gees’ overall style and harkens back to their origins.

Heavy Breathing continues the upbeat nature with this jazzy groove-focused tune that is perfectly suited to the era. If you’re not toe-tapping and head-bopping to this number, you’re listening wrong for its rhythmic gold with some exceptional musicality, particularly from the brass section to the ripper guitar licks. The bottom line is that Heavy Breathing is one Bee Gees song that should not be overlooked.

Had A Lot Of Love Last Night is, arguably, the greatest closer, from any album, in the history of recorded music. Not only is it uplifting, but it’s reflective, as well as encouraging the listener to play the album again. It also happens to be the most beautiful song that the Bee Gees has ever recorded that almost no one has ever heard. Had A Lot Of Love Last Night is so beautiful that I’d even argue that it’s the best song the band ever recorded; it’s that impressive!

In conclusion, Mr. Natural was a crucial, though often overlooked, album in the Bee Gees’ discography. It marked a period of experimentation and transition, as the group adapted their sound in preparation for their later success in the disco era. The album’s blend of soulful ballads, rock, and subtle R&B influences helped set the stage for what was to come, and it remains a thoroughly pleasing listen for those curious about the Bee Gees’ musical journey, beyond their chart-topping hits.

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ABBA – Waterloo (Album Review)

Released in 1974, Waterloo, ABBA’s second studio album, catapulted the Swedish quartet to international stardom. While the album owes its iconic status largely to its Eurovision-winning title track, Waterloo, the record as a whole offers a diverse mix of catchy melodies, heartfelt ballads, and playful storytelling that showcases ABBA's early range and charisma.

A somewhat confusing aspect, however, is the different linear structure of the album with few international releases retaining the original tracking of the Swedish release, where the Swedish version of Waterloo opens the album and the English rendition is the closer. While it could be argued as to which version is preferred, not to mention the further shifts with bonus material on the Deluxe Edition and Bonus Track Edition, I’ve chosen to share the album via the original tracking of the vinyl release as this has always been my preferred structure and is true to the original intent. It also replicates the 2020 vinyl reissue from The Studio Albums that I’m fortunate to own.

Speaking of the vinyl reissue, it is amongst the best-sounding reproductions that I’ve heard, thus far, of this classic album. Granted, I haven’t heard every release but the reproduction is subjectively perfect with a bold, yet enveloping, soundstage that will capture your attention from the very first note to the last. Of course, the question that must be asked is what my thoughts are regarding the Apple Music stream, a lossless Apple Digital Master. Let’s just say that it is the digital counterpart to the vinyl reissue and that unless you’re dedicated to the needle drop process, for digitising your records, you’ll be utterly thrilled with this digital edition for it offers everything the vinyl reissue does, minus the tactile aspect and the slightly more rounded (think warmer) tonality that is commonly associated with vinyl releases. The result is that no matter which of these two versions you choose to listen to, you’ll find yourself thoroughly captivated. I would, however, keep my distance from the Deluxe Edition; unless you wish to attain the additional songs and updated album artwork it offers, that is. My reasoning for this suggestion is that I find it too shrill and fatiguing to listen to. The chosen mastering doesn’t encourage the music lover to turn the volume up and each time I listen to it I find myself wanting to turn the volume down. Naturally, your experience may differ, but let’s turn our attention to the songs that make up this historic release.

Waterloo (Swedish Version) is an upbeat and infectious pop anthem that blends rock and glam elements with ABBA’s signature harmonies. While presented here in ABBA’s native Swedish language, it’s so compelling that it really doesn’t matter which version you appreciate more for the Swedish Version is the ideal opener to this classic album.

Sitting In The Palmtree has a tropical flair and carefree vibe. Its quirky charm makes it a hidden gem, but it’s also quintessentially ABBA as their lighthearted musical style shines throughout.

King Kong Song continues the playfulness with this irresistible rock number. Blending a mix of hard rock guitar riffs, eccentric vocals, and an overall upbeat styling, King Kong Song isn’t merely a novelty track but one that is ideally positioned in the era while keeping the core of ABBA’s pop sensibilities intact.

Hasta Mañana offers a more mellow moment with Agnetha on lead vocals, delivering a tender ballad that is one of ABBA’s greatest tunes and one that many casual fans have likely never heard.

My Mama Said is another exceptional tune that hasn’t received the recognition it deserves for the funk-driven number, shifting vocal style, and the overall mix gives the song a sense of maturity and introspection showcasing ABBA in a different light to their more lighthearted tunes.

Dance (While The Music Still Goes On) is a strong contender for ABBA’s first true foray into a dancefloor-focused song. Featuring a captivating melody and lush harmonies, Dance (While The Music Still Goes On) is thoroughly enjoyable; even if it isn’t a standout from the album. Of course, for an album to be exceptional, all songs need not be a hit, for it is the combination of all elements that ensures an album is a worthwhile experience.

Honey, Honey is a sweet and flirtatious pop song that blends ABBA’s knack for catchy hooks with lighthearted lyrics. With its infectious rhythm, sparkling melodies, and sing-along chorus, there’s little doubt as to why this track became a fan favourite as it captures the essence of ABBA’s early style.

Watch Out sees ABBA venture into rock territory once again, this time with a hard-edged song featuring Björn on lead vocals. While not known for their rock songs, ABBA has always impressed when edging towards this styling for the aggressive guitar riffs and energetic pace contrasts nicely against the pop sheen of other songs from the album.

What About Livingstone? returns the album to a whimsical style with this upbeat number. Featuring a light, bouncy rhythm, What About Livingstone? gives music lovers more of the styling that would ultimately make ABBA a household name. No matter how many of us appreciated their more polished numbers, there’s something extremely compelling about these playful kinds of tunes as they make you smile each time they’re played.

Gonna Sing You My Love Song is one of the more tender and soulful tracks on Waterloo. While it may be lacking the immediate hook of some of the album’s other songs, it stands apart for its emotional resonance and is another of ABBA’s hidden gems. Of course, when an artist such as ABBA has such an incredible back catalogue of music, some tunes are destined to be overlooked, but Gonna Sing You My Love Song shouldn’t be one of them for it is one of ABBA’s greatest recordings.

Suzy-Hang-Around is another of ABBA’s lighthearted numbers to feature a gentle melody and subtle arrangement. It’s most certainly an album-only tune, but as mentioned earlier, an album experience is the sum of all its parts, not just a couple of hit songs.

Waterloo (English Version) is the ideal bookend closer to the album as it encourages me to play the record again as Waterloo is one album that can be seldom listened to once.

ABBA’s Waterloo was a pivotal album in their career, showcasing the band’s diverse musical abilities and their growing confidence as performers and songwriters. With a mix of jubilant anthems, tender ballads, and experimental rock numbers, the album laid the foundation for ABBA’s future success. Yes, Waterloo will forever be linked to their Eurovision triumph, but the album contains hidden gems that highlight ABBA’s evolution from a regional pop act to international superstars. The bottom line is that Waterloo is a fun, vibrant, and eclectic record that has stood the test of time.

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Julio Iglesias – 1100 Bel Air Place (Album Review)

Released in 1984, Julio Iglesias’ 1100 Bel Air Place marked a significant milestone in his career and established him as a global pop icon. Showcasing his signature romanticism, primarily from an English-language perspective, 1100 Bel Air Place became a worldwide phenomenon selling over 9 million copies.

Featuring collaborations with prominent artists of the time added to the crossover appeal. However, when an album is recorded and mixed this well, success is most certainly the culmination of all elements. That said, the mastering, of different versions, is a point of contention for the Apple Digital Master is a little smoother and more laid back. At the same time, the 2006 CD remaster is louder and more forward, offering fans a more lively presentation. There is no doubt that fans will be divided over the editions, especially considering one version is not categorically better than the other.

If I were forced to choose one of the aforementioned versions, it would be the CD remaster as the Apple Digital Master can sound a little too concealed, in places, as a result of mastering decisions. Naturally, the core performance remains, regardless of how you choose to listen to the album, and perhaps this is why Sony Music has decided to keep various editions on Apple Music so that listeners can decide for themselves. Nevertheless, by utilising tone controls, the remaster can be dialled in extremely closely to the sonic presentation of the Apple Digital Master. Hence, it is really up to you as to which version you prefer.

While I can appreciate both masterings, I do wish that each album would have a definitive master as I find comparisons to be frustrating and fatiguing, thereby taking away from the magic of the music itself. With that in mind, dear reader, I am going to share the 2006 remaster with you, but know that either version is readily available on Apple Music if you search for the album.

All Of You (with Diana Ross) is a beautiful opening track that sets the tone for the music that’s about to come. While I’m not in awe with the introduction, particularly Ross’ ad-lib vocal, as the song proceeds through the verses and then to the chorus it comes into its own and is simply magnificent with an enchanting melody and lush orchestration that perfectly complements the vocal styles. All Of You was also, strategically, included on Ross’ 1984 release, Swept Away; a perfect collaboration technique as it allowed fans of each artist to experience the duet without having to purchase an album they may not have been enamoured with.

Two Lovers is one of Iglesias’ most heartfelt performances. The slow build is utterly exceptional and the soft rock feel blends perfectly with Iglesias’ usual balladry to create an extremely compelling tune. While Two Lovers wasn’t released as a single, it should have been for I believe it would have topped the charts worldwide.

Bambou Medley introduces a tropical flair to the album that showcases Iglesias’ multilingual abilities. While this medley brings a light-hearted, fun moment to the album, offering a change of pace from the more emotionally intense tracks, it isn’t a style that I believe encompasses Iglesias’ musical talents.

The Air That I Breathe (with The Beach Boys) is a cover of Albert Hammond’s 1973 masterpiece, but it’s most likely that The Hollies' exceptional 1974 release is the one that many music lovers will remember. Regardless, this classic tune has been covered by some of the greatest musicians the world has ever known and this rendition by Iglesias and The Beach Boys doesn’t disappoint. They not only paid homage to the original but ensured this newer composition was memorable. As you listen to Iglesias’ heartfelt rendition, the nuanced delivery of his lead vocal will touch your soul. Add to that the appealing harmony delivered by The Beach Boys and you’ve got a lush and dramatic rendition of a classic tune that will remain in your thoughts long after the album has finished playing.

The Last Time is a lovely smooth mid-tempo pop tune with a slight jazz influence. Iglesias’ vocal delivery is calm and restrained, bringing an air of wistfulness to the track, but it’s the combination of all elements that makes The Last Time one of the most stunning songs from the record.

Moonlight Lady injects a Latin flair into the album with its rhythmically vibrant melodies. The infectious groove makes it difficult to sit still and you’ll find yourself toe-tapping and head-bopping along to this most beautiful tune that draws inspiration from Iglesias’ Spanish roots.

When I Fall In Love (with Stan Getz) was a perfect choice for this landmark record as the legacy of this song is nothing short of astounding. This interpretation retains the song’s timeless appeal, with Iglesias adding a level of warmth and sincerity that makes his rendition unique. Add to that Getz’s magnificent performance and you’re left with one of the most pleasant songs ever recorded.

Me Va, Me Va is another song that sees Iglesias return to his Latin origins as this lively upbeat number has an infectious energy that will see you on your feet dancing along to the addictive rhythm. It’s thoroughly enjoyable, and perfectly positioned within the tracking of the album, as it gives a brief burst of excitement and is the quintessential album-only tune.

If (E Poi) is a bilingual track, blending English and Italian, but wasn’t originally intended to be when written by singer-songwriter David Gates and made famous by Bread. Nevertheless, If (E Poi) is a lovely ballad with a tender melody that works perfectly with Iglesias’ vocal style. The language switches are done so seamlessly, that you likely won’t notice, but it adds depth and elegance to the song. Granted, it might irritate those of you who appreciate the human vocal for its literal interpretation, but for those of us who consider the vocal to be akin to another instrument in the mix, this interpretation is simply magnificent.

To All The Girls I've Loved Before (with Willie Nelson) is a cover of the Albert Hammond classic. As lovely as the original was, Iglesias and Nelson took the song and made it their own. The result of this collaboration was a chart-topping hit across the globe and it’s fair to say that it’s the best rendition, to date, of this exceptional song.

Bonus Track

I Don’t Want To Wake You is frustrating as the album’s original linear structure was flawless. Nevertheless, I Don’t Want To Wake You is a lovely tune, even if it doesn’t add anything to an otherwise perfect album. While bonus material encourages people to purchase reissues, and I can appreciate the appeal from both the artist/label and fan perspectives, I do wish they’d come on a separate disc or be released in a separate compilation for my aim is to always appreciate the album in its original linear structure. That said, I Don’t Want To Wake You closes the 2006 remaster nicely and compels me to play the album again.

There is no doubt that 1100 Bel Air Place was a pivotal album in Julio Iglesias’ career, cementing his status as a global star. It was, however, the blending of pop ballads, Latin influences, and collaborations with iconic artists such as Diana Ross and Willie Nelson that gave the album its broad appeal. As it pertains to 1984, it is one of the very best albums released, but it’s also a highlight of the 80s as a whole and is one of the most beautiful records released in all of music history.

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Joe Jackson – Body And Soul (Album Review)

There are albums and then there is Body And Soul; a masterpiece in every sense of the word.

Released in 1984, Joe Jackson’s Body And Soul is amongst his finest recordings and is one of the greatest albums ever released. With a blend of jazz, pop, and Latin influences, Body And Soul showcases Jackson’s continued evolution as a songwriter and arranger. The album’s sound is heavily inspired by big band jazz and classic pop orchestration, giving it a unique and compelling presentation. Body And Soul is, ultimately, so diverse that to pigeonhole it into a particular style or genre would be to do it a disservice for this is a timeless classic that sounds as fresh today as it did upon release.

Striking is one way to put it for the music isn’t the only aspect of this release to impress. Yes, I’m referring to the cover art and the boldness of the simple, yet utterly perfect design. Jazz fans will likely point out that the concept is hardly original as it emulates Sonny Rollins’ 1957 release, Sonny Rollins, Vol. 2, but imitation is the greatest form of flattery and Jackson pulls it off. Of course, had it not been for such an extraordinary collection of music, one could suggest that Body And Soul’s artwork wouldn’t be nearly as endearing, but when the music complements the artwork so well, the combination is the very embodiment of the album experience.

Of course, no matter how exceptional the artwork is, it is for nil if the recording, mix, and mastering of an album are lacking in any way. Body And Soul doesn’t disappoint, in that area, as it’s a textbook example of how to properly produce an album. Every element in the mix is perfectly positioned and the sonic reproduction is heavenly. Yet, I’m not referring to the numerous audiophile-grade editions that have been released, as I have not heard them, for I am simply referencing the Lossless Apple Music stream.

Yes, dear reader, the Apple Music stream is what I would consider to be perfect. So much so that when listening to this edition, I don’t feel that I’m missing out on anything, sonically, and therefore seeking out an SACD or Vinyl release seems quizzical, outside of the ownership and tactile aspects, of course. That isn’t to say that there aren’t sonic benefits, or differences, but it’s nice to know that the stock-standard CD-quality stream is exquisite. If nothing else, it ensures that all music lovers, regardless of how they wish to appreciate their music, can hear an exceptional version of this classic album.

The Verdict opens the album with flair and a dramatic brass section that sets the tone for the orchestral ambitions of Body And Soul. Jackson’s vocal is stunning, especially as it's positioned atop the piano backing before the lushness of the crescendo enters the mix. Subsequently, the verdict on The Verdict is that it’s a magnificent tune and an ideal opener for this legendary album.

Cha Cha Loco has a playful Latin element that is both lively and energetic. While different in style to The Verdict, the transition is seamless and the interplay between the musical bed and vocalists makes for a buoyant, danceable track.

Not Here, Not Now slows the tempo slightly with a ballad that is both reflective and melancholic in tone. The arrangement is subtle yet effective, with a soft piano, muted instrumentation, and a world-class brass solo that accompanies Jackson’s vocal delivery and can be best described as heavenly. Music doesn’t get much better than this and Not Here, Not Now is, without a doubt, one of Jackson’s greatest recordings.

You Can't Get What You Want (Till You Know What You Want) picks up the tempo with a jazz-funk vibe. The groove is infectious, driven by a punchy bass line and vibrant brass riffs, as well as some incredible vocal techniques that culminate in an irresistible song. Again, as is the case throughout the album, the sonic shift shouldn’t work but the album’s linear structure has been considered so thoroughly that this post-disco number is the perfect counterpart to the more sombre Not Here, Not Now.

Go For It continues the exploration of jazz with an upbeat frenetic energy, yet it’s the Motown-styled cues that are just as notable as the driving percussion and energetic brass. Add to this the urgency in Jackson’s lyrical delivery and you’ve got a song that is lively and a perfect album-only number that drives the record forward.

Loisaida stands out for its atmospheric qualities, with a moody, almost noir-like arrangement that is highly compelling. Yet, the absence of lyrics doesn't detract from Loisaida as the instrumental bed evokes imagery and emotions as only the greatest instrumental songs are capable of.

Happy Ending (feat. Elaine Caswell) offers a lighter, more pop-oriented sound with catchy hooks and upbeat rhythms. When you listen, in conjunction with the other songs on the record, Happy Ending feels like a departure from the album’s overall style, yet it’s the perfect tune at this point in the album’s sequencing. The bottom line is that it’s just a fun little duet with a killer chorus.

Be My Number Two is one of the greatest ballads that has ever been recorded. The stripped-back arrangement helps in this regard, allowing Jackson’s vocals to take centre stage for his voice is tender, heartfelt, and resonant throughout. While the entire album is flawless, when you have songs that are as beautiful as Be My Number Two, you know that you’re listening to something that can only be described as a masterpiece; an overused statement, granted, but one that most certainly applies to this magnificent tune.

Heart Of Ice starts delicately and slowly builds into a powerful orchestral arrangement that’s a perfect album closer; one that will either compel you to play the album again or contemplate the music you’ve just listened to. While much of the song is sans lyrics, once Jackson enters the mix, as almost an afterthought, it culminates in what, upon reflection, can only be described as pure perfection.

Overall, Body And Soul marks a high point in Joe Jackson’s career. The intricate arrangements, varied influences, and strong songwriting make it a standout release from the 80s. Jackson’s mastery in blending jazz, pop, and Latin styles results in an album that feels timeless, making it a compelling and rewarding listen. Not only is Body And Soul one of Joe Jackson’s most revered but it’s amongst the greatest records in all of recorded music history.

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Billy Ocean – Suddenly (Album Review)

Released in 1984, Billy Ocean’s fifth studio album Suddenly is a masterpiece; one that not only has a plentiful supply of hits and addictively good rhythms, but one that even by today’s standards, and upon nostalgic reflection, sounds vibrant and fresh. It also happens to be the album that would catapult Ocean to international success.

By the time Suddenly was released, the post-disco era was in full swing. While Disco-styled music was quickly becoming a thing of the past, Disco elements, merged with R&B and Soul influences ensured that artists such as Ocean had a unique sound unlike anything that had come before. Yes, we could point to artists such as The Jacksons and Stevie Wonder and look at their 70s-era releases and suggest that they had already achieved a post-disco styling, despite being right in the middle of the movement, but suggesting that would detract from the wonder that is Suddenly, for this is one album that shouldn't be overlooked as it’s a landmark release of the 80s. Suddenly is so impressive that it plays like a greatest hits release for there isn’t a dull tune to be heard. While every song didn't have the potential to set the charts on fire, when the linear structure of an album is this strong, even the album-only tunes become essential recordings.

While songwriting and the musical style were a crucial element in the success of Suddenly, and its corresponding single releases, the recording, mix, and mastering are second to none. Despite being a multi-million seller, Suddenly has received minimal attention post-release. It’s as if the now-defunct Jive Records (distributed, currently, via Sony Music Entertainment) forgot that they had released the record. However, while it is difficult to come by on physical formats, unless you seek it out on the secondhand market, the one benefit of a lack of interest from the record industry has meant that the existing mastering remains untouched.

While the Discogs listing states it as being remastered, and it would have needed to have been for the label to include the bonus tracks for the Expanded Edition, there’s no indication as to who had undertaken the remastering process. Regardless, they’ve done an exceptional job for the sonic qualities of the recording are so pleasing that you’ll simply become immersed in the music. Seriously, take a listen to the lossless Apple Music stream (a CD counterpart of the 2011 reissue); it’s a sonic marvel. Ocean is front and centre and the soundstage is as deep as it is wide. The result is you’ll be enveloped in music as the songs won’t merely emanate from your speakers. Every musical aspect is given room to breathe and the result is that Suddenly is one of the best-sounding records from the 80s.

Caribbean Queen (No More Love On The Run) is a stunning album opener and if the rhythm doesn’t get you, that saxophone will; thank you, V. Jeffrey Smith. With a catchy synth riff and pulsating beat, embodying the essence of the 80s, there’s little wonder as to why Caribbean Queen became not only a massive hit but Ocean’s most successful. A little of Michael Jackson’s influence can also be heard, in the musical backing, so fans of his will likely find this song extremely compelling.

Mystery Lady slows the tempo slightly but don’t let that deter you for this mid-tempo number has a smooth, jazzy feel, and a laid-back rhythm that is Ocean 101.

Syncopation is, perhaps, one of the most interesting song titles one could come up with, yet it works perfectly for Ocean’s pronunciation style. That aside, Syncopation is a beautiful tune that, despite being an album-only number, is a contributing factor as to why Suddenly is such an incredible album experience from start to finish.

The Long And Winding Road is a Beatles’ cover from their 1970 release Let It Be and is one of the most beautiful interpretations of the song I’ve ever had the pleasure of hearing. It remains true to the original, but with Ocean’s style and a touch of the 80s to go along with it for good measure.

Loverboy is an atmospheric dream come true, as it applies to the song’s introduction, for the multi-layered presentation is superb. Ocean’s vocal is exceptional here, particularly during the bridge, but it’s the chorus and the musical accompaniment that sets Loverboy apart from the other songs on the album. The driving rhythm, with its mixture of pop and rock stylings, will quickly meld with your soul as this is one catchy tune.

Lucky Man has a somewhat relaxed groove, following Loverboy, but this mid-tempo number with its smooth bassline and subtle synth elements is a thoroughly pleasing tune. It’s a quintessential album-only number and all songs need not be a standout for an album, such as Suddenly, to be exceptional.

Dancefloor will compel you to get on the Dancefloor for despite having two left feet, this song permeates my soul with its funky rhythm.

If I Should Lose You is a lovely mid-tempo album-only tune that further confirms Ocean’s exceptional vocal talents. While the backing musical bed is fundamental in its approach, its arrangement is thoroughly pleasing to the senses, thereby allowing you to lose yourself within the music.

Suddenly is a true masterpiece. Ocean’s vocal prowess is on display and his tones are so smooth, and recorded so well, that you’ll feel as if he is in the room with you, singing this beautiful ballad. It’s an ideal closer, one that offers reflection whilst also encouraging you to play the record again as Suddenly is one album that is easily put on repeat for it’s nothing short of exceptional.

If there was one album that could adequately showcase 80s-era post-disco pop to a new music lover, Suddenly would be that album. Impeccably recorded with a series of songs that meld together beautifully, Suddenly is not only one of the greatest albums Billy Ocean ever recorded, but is amongst the best albums released in the 80s; particularly in 1984. If you don’t have this album in your music library, ask yourself why not as it’s a timeless classic.

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Spandau Ballet – Heart Like A Sky (Album Review)

Released in 1989, Heart Like A Sky is Spandau Ballet’s sixth studio album; a record that is an often-overlooked gem that encapsulates the band's sophisticated pop and new wave sound. Delivering a mix of introspective lyrics and a highly polished production, Heart Like A Sky showcases that even though it was to be the band’s final studio release, of completely original material, it’s amongst their best recordings with a song selection that plays akin to a greatest hits release. Granted, the album failed to set the charts on fire, but success at the cash register is often a poor indicator of quality.

Speaking of quality, the album artwork is exquisite and while released during the era when the vinyl record was declining in popularity, this is one album deserving of a reissue on the larger vinyl format. Interestingly, the reissue label, Music On CD (the CD counterpart to Music On Vinyl) re-released the album in 2017, yet no vinyl release was forthcoming. This omission was most likely due to the lacklustre sales performance of the album, but I believe that all music should be reissued on both formats as it not only appeases fans but has the potential to deliver the album to an entirely new audience; one that may be experiencing it for the very first time.

Turning our attention to the production values of the record and the lossless Apple Music stream, a CD-equivalent counterpart, it sounds simply exquisite. One can appreciate the recording, mix, and mastering, for 80s-era music is seldom this sonically pleasing. You’ll be met with an encapsulating soundstage, one that is perfectly balanced and allows each musical element space to breathe. Most importantly, however, it screams of Spandau Ballet’s style. With that in mind, dear reader, join me as we take a look at the music that makes up this hidden gem.

Be Free With Your Love opens the album vibrantly with its upbeat tempo and catchy chorus. Tony Hadley’s vocals are, as usual, exceptional but it’s the culmination of all aspects that make Be Free With Your Love such a compelling opening that is also perfectly suited to the sounds of the late 80s.

Crashed Into Love is a melodious number characterised by its lush instrumentation, as well as Hadley’s emotive delivery. It is, however, the bridge and chorus that grab me each time I hear this classic tune for it’s thoroughly pleasing to the senses.

Big Feeling is layered with the synth-driven elements that categorised the 80s. That isn’t a bad thing, unless you’re not interested in 80s nostalgia, but the catchy hook, sleek production, and blend of electronic and traditional rock elements highlight the band's versatility.

A Matter of Time is a slower, more contemplative song with a minimalistic arrangement that allows Hadley’s soulful vocals to take centre stage. It is, subsequently, one of the most beautiful tunes Spandau Ballet ever recorded and one of the very best songs released in the 80s.

Motivator brings the album back to a more upbeat tempo and while it isn’t a jolt to the senses, following the exceptional A Matter Of Time, Motivator is most certainly an album-only tune. That shouldn’t be seen as a negative aspect for songs like Motivator are essential in ensuring the album experience is memorable.

Raw is a standout track with its blending of elements of rock and funk, with a bold and edgy 80s new wave sound. It’s addictively good and you’ll no doubt find yourself toe-tapping and head-bopping along to the song.

Empty Spaces has a melancholic tone with a haunting melody that will resonate with your senses. Hadley’s vocal presentation is, again, flawless and perfectly positioned in the mix and the musical bed is layered beautifully, ensuring that you’ll not only hear each element perfectly, but upon repeat plays, you’ll likely come away from Empty Spaces with a greater appreciation for the tune and Spandau Ballet.

Windy Town is a mid-tempo number with a breezy melody. It’s a standout track and that’s partly due to the addition of The Phantom Horns for their inclusion ensures that Windy Town goes beyond what one would consider to be a Spandau Ballet tune.

A Handful of Dust is a stunning closing song that will not only leave you in a contemplative mood but will encourage you to play the album again. Featuring a rich and layered arrangement, with Hadley’s evocative vocals, A Handful Of Dust is another hidden gem that ensures Heart Like A Sky is the sum of its parts, rather than merely a series of haphazardly thrown-together tunes.

Heart Like A Sky is, truly, a testament to Spandau Ballet's musical prowess and artistic growth. The album blends catchy pop melodies with deeper, more introspective themes, showcasing the band's ability to evolve while staying true to their roots. Each track offers something unique, contributing to a cohesive yet diverse listening experience that is equally memorable. If you’ve yet to experience Heart Like A Sky or have dismissed it over the years, give it a play for you may find, as I have, that this album is one of the most underrated releases of 1989.

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Michael Bolton – Soul Provider (Album Review)

Released in 1989, Soul Provider, Michael Bolton's sixth studio album firmly established him as a powerhouse in the adult contemporary and pop-rock genres. Known for his raspy yet soulful voice, Bolton delivers a collection of songs that balance power ballads with upbeat tracks, showcasing his vocal prowess and passionate delivery. Most importantly, there is a focus and level of cohesion not heard on his earlier releases. While some will lament the soppy love song style of Soul Provider, no one can deny the success this formula generated for this exceptionally talented musician.

Sonically, Soul Provider is amongst the very best recorded, mixed, and mastered albums of the era. Every aspect has been carefully considered and is perfectly aligned with Bolton’s overall style. The result is a record that is thoroughly enjoyable to listen to, so much so that even the lossless Apple Music stream offers a pleasant listening experience that will appeal to even the most ardent audiophiles. Granted, as with all albums, Soul Provider won’t appeal to everyone. However, for those of us who do appreciate the album, it is easy to understand why it has sold more than 12 million copies; for it is exceptional.

Soul Provider, with its soulful melody and heartfelt lyrics, launches the album superbly. Kenny G features prominently on saxophone and the song is, most certainly, stronger for his inclusion; especially when it comes to his short, but magnificent, solo.

Georgia On My Mind pays homage to Ray Charles’ legendary interpretation of the song. Bolton’s rendition is emotionally charged, with a rich orchestral arrangement that further highlights the timeless nature of the song. Georgia On My Mind may forever be associated with Ray Charles, but Bolton’s is one of the best interpretations; another being Willie Nelson’s from his 1978 release, Stardust.

It's Only My Heart is one of the strongest songs on the album, yet it wasn’t released as a single. Of course, when you have a selection of songs as strong as those featured on Soul Provider, some naturally have to remain as album-only tunes and in this case, It's Only My Heart is a hidden gem. Yes, it is 80s 101, but unless you dislike 80s-era recordings, that isn’t a bad thing.

How Am I Supposed To Live Without You is, arguably, the most well-known song from the album for it wasn’t only a massive hit for Bolton, but this powerful ballad also saw incredible success for Laura Branigan when she released it as a single in 1983. The song's poignant lyrics, lush production, and soaring chorus have made it a classic; one that resulted in Bolton winning a Grammy Award for the song in the Best Male Pop Vocal Performance category.

How Can We Be Lovers switches gears with this upbeat, catchy, pop-rock anthem. Featuring memorable guitar riffs and dynamic percussion, it's one of the more radio-friendly tracks on the album and one of Bolton’s greatest recordings.

You Wouldn't Know Love is an incredible rocking tune that suits Bolton perfectly for as strong as Cher’s Heart Of Stone album is, her rendition simply doesn’t have the oomph that Bolton could deliver; despite the same musical composition. Either way, if you haven’t already, this is one song that you will want to turn the volume up on for the only way to listen to You Wouldn't Know Love is at room-filling levels.

When I'm Back On My Feet Again is a beautiful song that speaks to the resilience and determination to overcome adversity. While Diane Warren penned it with her late father in mind, it’s such an inspirational tune that it can be applied to all, and any, challenges we face throughout our lives. Ultimately, Bolton’s performance is uplifting and he was the perfect vocalist for this song as his vocal reach will not only touch your soul but will envelop you in the hope of better days ahead.

From Now On is a duet with Suzie Benson that blends Bolton's powerful vocal with Benson's softer tones. The song is a heartfelt promise of commitment and love, with harmonies and an understated musical bed that adds emotional depth, allows the vocals to shine. From Now On is, arguably, a perfect mix and could be considered a textbook example of how to record and mix a duet.

Love Cuts Deep is another tune that showcases Bolton’s impressive vocal range. It’s a mid-tempo number with a rock edge and some incredible musical elements that drive the song forward. Yes, it’s an album-only tune, one that was never destined to be a chart-topper, but songs such as this ensure that the album experience is stronger than the hits alone.

Stand Up for Love is a beautiful closer with a dynamic arrangement that, again, highlights Bolton’s powerful vocals. Stand Up For Love will leave you in a contemplative mood whilst simultaneously encouraging you to spin the record again and is, therefore, the quintessential album closer.

Soul Provider, as an album, encapsulates Michael Bolton's strengths as a vocalist and songwriter. The mix of ballads and upbeat tracks showcase his versatility, while the polished production ensures each song shines. The emotional depth of his performances, combined with memorable melodies, makes this album a standout in his discography and one of the best albums released in the 80s; certainly in 1989.

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