The Bar-Kays – Money Talks (Album Review)

Billed as an EP, Money Talks is one of those albums that you’ll wish you added to your collection sooner than you did. It’s pure funk, with no filler, and is a great example of the genre in action. Despite its compelling nature, however, Money Talks failed to set the charts on fire. Yet, as you listen to the album, you’ll find that, upon its release in 1978, it was perfectly suited to the existing zeitgeist. Yes, dance floors were filled with disco grooves, but Money Talks compels you to get on your feet and dance to the funky rhythm.

Money Talks isn’t a traditional album as it’s comprised of songs recorded between 1972-75; before the collapse of Stax Records. Granted, it was only released to capitalise on the success The Bar-Kays were having on their new label, Mercury Records, but Fantasy Records, the new owner of Stax’s back catalog, turned this collection of tunes into a masterful release.

Prior to these songs being recorded, The Bar-Kays would go through a significant personnel change following the sad passing of four founding members in 1967. Carl Cunningham (drums), Jimmie King (guitar), Phalon Jones (saxophone), and Ronnie Caldwell (electric organ) died in the same plane crash that killed Otis Redding; they were Redding’s backing band. Ben Cauley (trumpet) was the only survivor of the crash and along with James Alexander (bass), who wasn’t on the same flight, courageously reformed the band. A great loss, certainly, and one that should never be forgotten. 

Money Talks would be released some eleven years following that fateful crash and it’s amazing to hear the upbeat joy and happiness on this EP following such a devastating blow. There’s no doubt in my mind that Money Talks pays homage to the lost bandmates and if you listen closely you’ll hear the spirit and influence of Cunningham, King, Jones, and Caldwell throughout. 

Funk, however, wasn’t at the core of The Bar-Kays in their early years and while it wasn’t entirely void on earlier albums, such as Soul Finger and Coldblooded, The Bar-Kays had a greater focus on soul, rhythm and blues, with a rock vibe at the time. Subsequently, the transition to pure funk seems, upon reflection, to be the perfect transition. This is, however, one of those grey areas where music genres overlap somewhat. One person will listen to the early albums and hear funk present throughout, and they’d be correct, but there is a difference between a funk influence, or featuring funk elements, to being pure funk. I don’t proclaim to be an expert in the variances of musical genres, for I prefer listening to music for its emotive elements rather than wondering if it fits into a particular style. Nevertheless, genres exist for us to connect and compartmentalise similar recordings and there is often overlap. The question that really needs to be asked is do I prefer The Bar-Kays’ origins or their funk era more? For me, it has to be the funk-era recordings and in the case of Money Talks, it gets me moving in the same way as Stevie Wonder’s Hotter Than July does. 

Of course, the music doesn’t reach you if the sonic quality isn’t up to par and this is one exceptionally recorded and mixed record. The lossless Apple Music stream is a lovely facsimile, but this is one record that ideally needs to be enjoyed on vinyl. While I’ve yet to pick up a copy myself, I note that Stax Records, in conjunction with Vinyl Me, Please, reissued the EP in 2020. Unless you can source, or already have a nice original release, it seems that this reissue is the one to get; based on the reviews. 

Returning our attention to the Apple Music stream, one issue that I feel is worth mentioning is that the sound is a little thin. To improve the presentation of the album, you’ll need to increase the bass. As someone who lived through an era where Equaliser (EQ) dials were present on all audio equipment, I find the modern-day software offerings to be substandard and too aggressive with little to no wiggle room outside of the preset options. Purists will argue that such sonic manipulation should be outlawed, but I want to listen to the music in the manner that best suits my tastes.  

An additional reason, outside of sonic quality, for picking up the vinyl counterpart is the artwork. While The Bar-Kays’ debut, Soul Finger, has the greatest artwork of any of their releases, Money Talks is right behind it. I’ve always enjoyed these artistic, cartoon-styled, covers as I feel they present a different viewpoint and connection to the music. Plus, they look cool when displayed! 

Holy Ghost sets the tone for the entire album with a purposeful groove that will get you moving from the get-go. It’s an incredible tune that bookends this release perfectly with the extended Reborn edition closing out Money Talks. Although, as with the song Money Talks, I’m a little torn on the mid-song dip. I get the intent, but I can also imagine the song sans this element.

Feelin’ Alright is an absolute classic tune and this cover is no exception and has to be one of the greatest renditions I’ve ever heard. Originally recorded by Traffic, Joe Cocker’s interpretation is likely the most well-known and is exceptional in its own right, but there’s something special about this particular recording. While it doesn’t deviate too far from Cocker’s rendition, the differences are appreciable from this listener’s perspective.

Monster slows the tempo slightly and some may suggest the introduction is akin to music that is often played in the background for adult entertainment, but I wouldn’t know anything about that! Nevertheless, once Monster reaches the 1-minute mark, it settles down and becomes an incredible instrumental tune. If you’re listening to Money Talks on vinyl, Monster closes out Side One and is utterly perfect in that regard and makes for a perfect late-night listening session whereby you don’t feel the need to flip the album over. 

Money Talks picks up the tempo and will once again encourage you to get on your feet and groove to the rhythm. The mid-song stop, however, is a little disconcerting; until you get used to it, that is. 

Mean Mistreater is a sonic masterpiece. Yes, it’s a Grand Funk Railroad cover, and the original is excellent, but the sound stage’s depth and spaciousness on The Bar-Kay’s edition know no bounds. A perfect mix and one of the best songs, if not the best, on Money Talks. Larry Dodson’s vocal is of particular note here for he takes it right to the edge of his vocal range, yet ensures that it isn’t taken too far. This restraint ensures that Mean Mistreater is an incredible cover. 

Holy Ghost (Reborn) is the perfect bookend closer to Money Talks and if you already thoroughly enjoyed Holy Ghost, you’re going to love this longer version.

From start to finish, Money Talks is a groove-infested album that you’ll find yourself putting on repeat. Why it wasn’t more successful, and more well-known, is likely due to a lack of marketing, but there is no doubt at all that this is one of those hidden gems that deserves more respect than it is given. It really should be in every music lover’s collection; even yours! 

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Stevie Wonder – Hotter Than July (Album Review)

When you think of Stevie Wonder, you’ll often be drawn to Talking Book or Songs In The Key Of Life, but as I reflect on Hotter Than July I’m amazed that this was Wonder’s nineteenth studio release. Perhaps such shock is derived from the fact that so few of us have explored Wonder’s extensive catalogue of music, instead focusing on the aforementioned titles, and while Hotter Than July may not be a landmark release, like these other records, there is little doubt that it’s one of Wonder’s best albums.

The same could not be said, however, for the Hotter Than July 2011 vinyl reissue from Mobile Fidelity Sound Lab. It was cold, clinical, and lacked any resemblance to Stevie Wonder’s unique sound signature, depth, and overall spaciousness. Think for a moment about the worst recording you’ve ever heard and you’ll come close to that monstrosity. Even though this review is penned post the MOFI debacle, I had this experience years before and sold the record well before it became clear that the once highly touted reissue label was being less than honest with their process. Of course, it’s important to note that this was a Silver Series release; one that has always been declared as being mastered from a production master rather than the original master tapes. Still, with that in mind, it simply wasn’t good and I would strongly advise that you avoid it like the plague. 

As a result of being bitten once, I’m naturally a little hesitant to pick up another vinyl reissue of this album and have found that the lossless Apple Music stream, an Apple Digital Master, is exquisite with a sound reproduction that I feel is not only perfect for the style of music but arguably as good as this album is ever going to sound. There’s a warmth in the digital stream that was sorely lacking from the aforementioned vinyl reissue. Interestingly, Apple Music also has the non-Apple Digital Master edition; essentially a CD facsimile. That particular edition is comparable to the aforementioned digital master, but it’s a little shallower in the mid and low end and, therefore, as someone who appreciates a solid authoritarian thump to their Stevie Wonder music, the Apple Digital Master is just that little bit more refined and makes for a more immersive listening experience. Essentially, you’ll feel your body wanting to move involuntarily to the rhythm whereas the CD equivalent lacks that aspect and you’ll find yourself listening rather than being absorbed by the music. It’s a minor variation, but one that’s important to music lovers the world over.

Did I Hear You Say You Love Me is a perfect opener but wasn’t necessarily the best choice of song to launch Hotter Than July with. While I acknowledge my contradiction, I am a strong proponent that something can both be and not be at the very same time for it depends on one’s subjective feeling at the moment when the song, in this case, is being experienced. Subsequently, there are times when I consider it to be too harsh as an opener and other times when I consider it sets the tone of the album. Yes, dear reader, I’m a complicated man but if I’m not in a funk or upbeat mood, then Did I Hear You Say You Love Me will prevent me from listening to the rest of the album. It’s a divisive track, as will be my opinion of it, but at least we’re talking about it for it could simply be an adequate opener. 

All I Do is a fantastic song and while the backing vocals are recessed a little more than I’d like, Michael Jackson’s inclusion is notable and is a perfect complement to Wonder and the music itself. 

Rocket Love is a beautiful tune if you don’t listen to it for its literal meaning as it becomes a sombre song of love lost. Still, it’s one of my favourite songs on the album and I can generally block the lyrics from my mind when I listen to it, instead focusing on Wonder’s harmonies and allowing me to appreciate his vocal as if it were another instrument in the mix. 

I Ain’t Gonna Stand For It sees Stevie Wonder delve into Country Music territory, yet it’s masterfully performed and showcases just how exceptionally talented Wonder is. Seriously, few musicians could take cues from so many varied genres and merge them in a manner that not only makes sense but sounds as if it should have always been that way. Yet, Wonder knows no limits in this regard; a master musician!

Eric Clapton recorded the song, but as much as I generally appreciate Slowhand’s musicality, this cover is an abomination. 

As If You Read My Mind is a sharp flow from I Ain’t Gonna Stand For It and while it delivers a shock to the senses, you quickly get past it and even expect it if you’ve listened to the album often enough, but it isn’t until the chorus that the song really comes into its own removed from the jolty transition. Wonder’s harmonica on this track is of particular note as it’s the perfect solo that’s also complementary to the song itself. As If You Read My Mind may not be a standout tune, but it’s funky and sometimes that emotive element is all a song needs in order to be thoroughly enjoyable.  

Master Blaster (Jammin’) has so much of a reggae feel to it, you’d swear it was a Bob Marley tune. As a fan of Marley, this tip of the hat is thoroughly appreciated and Wonder certainly captured not only the musical style but the core of what makes reggae music so compellingly addictive. While there’s a little of Marley’s Jamming influence here, Wonder’s funk and pop styling drove the song’s direction; the result of which is nothing short of exceptional.  

Do Like You returns us to your more traditional Stevie Wonder-styled song. While Master Blaster (Jammin’) was exceptional, Wonder has certain techniques that are standouts in their own right and when listening to Do Like You, the intricate layers of musical elements culminate into a classic Stevie Wonder song. Plus, that ending is not only hilarious but further validates that Do Like You is Stevie Wonder 101. Brilliant!

Cash In Your Face has a more mellow tone compared to Do Like You, but it’s appreciated as it gives the senses a chance to downshift. Cash In Your Face is a perfect toe-tapping head-bopping tune that also has a social element pertaining to racial inequality. I’d like to say that since 1980 the song is no longer relevant but that would be a blatant lie for discrimination is sadly alive and well. For all the influence musicians have, it is truly disappointing to note that societal changes move at glacial speeds, despite their endorsements. 

Lately is a magnificent, albeit sombre, ballad. Wonder has a stunningly beautiful vocal presentation and while it’s always present in his songs, it takes a ballad for it to come alive and for the approximate 4-minute runtime, you’ll swear he’s in the room with you for the mix perfectly places him on top of the musical backdrop. It really is a masterful recording and one of Wonder’s greatest songs. 

Happy Birthday can be seen as an upbeat politically fused song but regardless of the noble intent to honour Martin Luther King Jr., I find Happy Birthday to be the most cringeworthy song on the album; from an audible, not literal, perspective. The problem is that my mind has settled into the stunning Lately and the shift detracts from that relaxed reflection. Having listened to Hotter Than July countless times, over the years, you’d expect that I would be familiar with it and accept it, and to a certain extent I do, but I do wish that Happy Birthday was positioned earlier in the album.

There is little doubt that Hotter Than July is one of the better albums in Stevie Wonder’s extensive catalogue of music. Songs In The Key Of Life, however, is his musical opus, but Hotter Than July is difficult to ignore for its upbeat musicality will compel your interest well before his dictums do. Of course, that is Wonder’s gift for his music can be appreciated by those who look for deep lyrical meaning as well as those, such as myself, who wish to experience and enjoy music in a more ethereal manner that merges with the musical aspects of our soul. Stevie Wonder’s Hotter Than July is subsequently one of the more compelling releases of 1980 and should be in every music lover’s library. 

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Diana Ross – The Boss (Album Review)

The Boss was Diana Ross’ greatest musical achievement since her time in The Supremes for the addictive rhythm and blues styling encompasses disco, soul, and pop elements that ensured this 1979 release wasn’t only a statement for Ross but it was an album that perfectly captured the spirit of the era.

Short on length, but not on musicality, this tenth solo studio album from Miss Ross is arguably her greatest solo achievement for The Boss is all killer with absolutely no filler. Yes, her 1980 release, Diana, had some exceptional tunes but it wasn’t as consistently good as The Boss as there are numerous forgettable B-sides to be heard. Subsequently, The Boss has often been overlooked due to the commercial success of Diana and its hit songs; a shame as the music contained within The Boss will get you jiving as only Diana Ross can. 

It is imperative to mention, however, the husband and wife writing and production team of Nickolas Ashford and Valerie Simpson; best known for writing Ain't No Mountain High Enough and the breakout solo single from Ross, Reach Out and Touch (Somebody's Hand). There is little doubt in my mind that much of The Boss’ sound and presentation can be attributed to these two masters for as magnificent as Miss Ross is, musicians rarely achieve their masterpieces on their own. 

Of course, one cannot connect with the music if the sonic quality isn’t of the highest standard and in this regard, the lossless Apple Music stream, an Apple Digital Master, is nothing short of a masterpiece in mastering production. You’ll feel the groove, and experience moments where you’d swear Ross is in the room with you, all the time being in awe as to the detail presented in the soundstage throughout the entire album. I shouldn’t be surprised, however, as it’s a Motown release and they’re generally beyond reproach in this regard. In fact, the mastering is so good that I don’t feel the need to seek out a better copy; although Ross’ breathtaking beauty, on the front cover, would undoubtedly be the drawcard for picking the album up on vinyl. 

No One Gets The Prize opens the album majestically before introducing the disco elements that will see you on your feet. Yes, when listening to No One Gets The Prize, nostalgia is strong but that’s not a bad thing for it brings a smile to one’s face, and isn’t enjoyment exactly what music is all about? 

I Ain’t Been Licked is one of the best tunes on The Boss. Ashford and Simpson outdid themselves here as it’s not only perfect for Miss Ross, but it flows fluidly from No One Gets The Prize.

All For One has a classic Motown sound with a focus on the vocal and harmony regions of the song. Some may lament the slow down in tempo, given the first two songs were disco-driven, but one cannot ignore just how beautifully delicate All For One is. 

The Boss returns us to the 70s dance floor following the aforementioned respite. It’s so groovy that you’ll not only find yourself on your feet, but you’ll be wanting to turn the volume up to 11. Seriously, try sitting still when listening to The Boss; I dare say it would be an impossible task. 

Once In The Morning has a mid-tempo vibe that, while not as strong as The Boss, is the quintessential B-side we all end up adoring. 

It’s My House is a sonic wonderland with numerous layers of detail to appreciate. Subsequently, the musical accompaniment and mix are nothing short of perfection, but it is in its inferred meaning of independence where this song really shines and becomes a landmark Diana Ross tune. 

Sparkle is perhaps the only song from The Boss that doesn’t sparkle. Yes, I went there. Look, Sparkle is a lovely album song, but it does create a lull in the linear flow of the album. That said, Diana has quite a few songs that fall under the same banner so those of you who are dedicated Diana Ross fans may not see that as an issue, but the more casual listener will likely find this deep cut to be a little too removed from the rest of the music on The Boss. 

I’m In The World is a lovely closer. Yes, it’s mellow but it’s musically fluid and highlights Ross’ vocal capacity like no other song on the album does. What a magnificent artist and what a perfect closing track that allows for contemplation while also encouraging the playing of the album again. 

There is little doubt in my mind that Diana Ross’ The Boss is her greatest solo album for it is a cohesive release with exceptional songwriting and production values. Diana (1980) may have been more successful, with more recognisable hit songs, but as an album, it wasn’t as strong as The Boss; one of the greatest albums released in 1979. 

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Amy Winehouse – Back To Black (Album Review)

Released in 2006, Amy Winehouse’s second and final studio album, Back To Black, achieved critical acclaim and catapulted Winehouse to superstardom overnight. Few would doubt her vocal prowess for her uniqueness is on par with Nina Simone, Billie Holiday, and Ella Fitzgerald; to name a few of the soul queens of yesteryear. Back To Black may well have been approached as a tribute to the 60s era, hence one could question my correlations, but I stand by these connections as the three aforementioned soul queens are as unique to each other as they are to any other artist, from any era. It is this uniqueness that allowed Winehouse to not only stand out from the crowd but to become immortalised through her music. 

Naturally, Winehouse was not alone in her endeavours and while her vocal prowess and writing ability are truly a gift to all music lovers, it’s true to say that Back To Black would have lost the soul element had it not been for the incomparable Dap-Kings, amongst other players, that created a compelling musical sound signature across the entire album. 

Arguably more important still was the contribution of co-producers Salaam Remi and Mark Ronson; two musical geniuses in their own right but two who would put everything they had into the composition and collective nature of this release. The combination of all elements was akin to lightning in a bottle and the production is done so well that the untrained listener won’t hear a deviation in production styles, despite it being there. Interestingly, Remi and Ronson didn’t connect in person but in speaking with Apple Music’s Zane Lowe for the 15th Anniversary Essential Album recording, Remi stated that “I give all of the vision to where she (Amy) was at with it and her interpretation of what she wanted to do.” It’s this kind of cohesion, and these kinds of producers, that ensured Back To Black became an iconic recording. 

Thematically, Back To Black was driven by Winehouse’s turbulent relationship status at the time as well as her addictions. Yet, Back To Black doesn’t sound glum for it’s a thoroughly enjoyable musical experience to behold; especially if you don’t pay too much attention to lyrical interpretation and instead focus on the vocal as an instrument.  

While some may lament the short runtime of Back To Black, there’s no filler to be heard here. Sure, some songs are better than others, but just as I never pick a particular song to listen to, from Back To Black, I never start the album without finishing it, for this is one release that deserves to be heard in its original sequencing. 

Speaking of listening to the album, if you’ve only ever heard the stereo mix of Back To Black then the Dolby Atmos mix may take you by surprise for it’s different. It may take a few listens, but if you give it time you’ll notice and begin to appreciate the spaciousness of the soundstage. The Atmos mix, in particular, is no longer limited by overzealous dynamic range compression thereby making for a more relaxed listening experience. Winehouse’s vocal is also more prominent in the surround mix as the tapering on the end of her enunciations is simply magnificent. The other aspect that rings true is the level of detail throughout the various musical layers that breathe new life into the songs that we know and love.

As for the stereo lossless Apple Digital Master edition, on Apple Music, it is as you’d expect if you’ve heard the album before—muddy (partially due to the intentionally added reverb), shrill, and lacking soundstage depth. Even the High Fidelity Pure Audio Blu-ray release that I was fortunate to have owned suffered the same fate. It was often suggested that it was the CD version upscaled, rather than a true high-fidelity source file; an aspect that doesn’t seem to be addressed to this day in the lossless and high-resolution stereo editions on Apple Music. Subsequently, the Dolby Atmos stream is now my preferred version for it addresses some of these aforementioned issues and offers fans a much smoother and more detailed presentation that is far more enjoyable to listen to. 

Rehab opens Back To Black perfectly as it sets the tone of the album from the first note. While many will point to Winehouse’s struggle with addictions, and perhaps dislike Rehab for its off-the-cuff approach to a very serious issue, Mark Ronson told Apple Music’s Zane Lowe that during the composing of the song, “Winehouse wasn’t doing any drugs and that he felt that those days were in Winehouse’s past.” If nothing else, Ronson’s statement offers a unique insight into the writing and recording process of this autobiographical signature song. 

You Know I’m No Good has an incredible bass intro akin to numerous hip-hop classic loops, but it is the jazzy appeal of the song that will touch your soul. Winehouse’s vocal is front and centre and the mix is utterly perfect with the musicians filling the remainder of the soundstage as if they were performing live in an out-of-the-way jazz club. The horn section is magnificent, particularly in the solo, but I can’t help but wish it were a little more gritty. Without a doubt, You Know I’m No Good is one of the best songs on Back To Black.

Me & Mr Jones is, when contrasted with You Know I’m No Good, not as strong as it should be. It simply comes down to its style. It’s well-written, but the mix is a little challenging to listen to at times resulting in a shock to the senses whereby your mind and body are unsure of which rhythm element it should be attaching itself to. The jazz aspect is appealing but not all jazz is created equally and while some will thoroughly enjoy this approach, other jazz fans will find it to be too erratic. 

Just Friends is a great off-beat vocal track that is perfectly suited to the inspiration of the album and Winehouse’s overall style. The horn section, however, is really the driving force, but that could also be said for the bass and drum elements. Yet, it is the piano and guitar components that sing most to me as I listen to Just Friends. 

Back To Black is magnificent! Mark Ronson created the quintessential piano backbeat that makes Back To Black not only memorable but iconic, allowing Winehouse to lay down some of the greatest vocals in recorded music history. Music doesn’t get much better than this; a truly wonderful experience for any music lover.   

Love Is A Losing Game showcases Winehouse at her smoothest and is a lovely tune. It has that old-time feel to it, with a dose of nostalgia, but as that is the purpose of the album, to be reflective and somewhat timeless, then Love Is A Losing Game ticks all the required boxes. 

Tears Dry On Their Own picks up the tempo with a very light musical tone that ensures it’s captivating despite its somewhat sombre lyrical style. It can also be seen as a homage to Marvin Gaye & Tammi Terrell’s Ain’t No Mountain High Enough.

Wake Up Alone has an incredible introduction. Close your eyes and take a listen for it instantly transports you to the moment of recording; as if you were there in person. Such a beautiful song but the drumming is a little too distant in the overall mix. Understandably, other musical elements are more important here, along with Winehouse’s vocals, but a decibel increase on the drum track would have been appreciated. 

Some Unholy War is bass heaven; thank you, Salaam Remi! Additionally, the intermingling of Winehouse and the backing vocalists are magnificent and another throwback to the 60s. A modern classic!

He Can Only Hold Her is one of the songs that’s a throwback tune. I’m sure that if someone unaware of Winehouse listened to this track, they’d assume it was from the 60s era for that Motown-styled backing vocal is simply exceptional. While I’m unsure if they had any influence on the song, I hear a little Crusaders throughout He Can Only Hold Her. 

Addicted is a solid closing track but I feel Back To Black would have been the better closing song. If you switch the two, the album wouldn’t sound right, but I much prefer the outro featured on Back To Black. That said, Addicted is perhaps a perfect bookend to Rehab as they share a similar approach with regard to tempo. However, in defence of Addicted, the closing few notes are a pure masterstroke. 

Back To Black is a landmark release and as solid as Winehouse’s other recordings are, there’s something very special to be heard here. Subsequently, as a piece of musical art and emotional expression, Back To Black is a timeless addition to any music lover’s library. 

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The Weeknd – Dawn FM (Album Review)

Few contemporary artists excite me the way The Weeknd does. The R&B/Soul legend evokes the 80s with a synth-pop style that is exhilarating with a unique modern twist.

Of course, The Weeknd is no nostalgia act and continues to go from strength to strength with each subsequent album. While Dawn FM may be less of a coherent musical experience, for the flow is interrupted by the radio-style concept, this approach will undoubtedly appeal to those who are after more than The Weeknd’s usual groove-infused music, but it impacts fluidity across the album. 

What isn’t impacted by this radio-inspired concept is the Dolby Atmos mix on Apple Music. The fullness of sound is mesmerising and offers a significant improvement to the soundstage offered via the lossless mix. In essence, you’ll get more with the Atmos mix but stereo-focused music lovers won’t be disappointed. As you may imagine, I prefer the Atmos mix but thankfully you can decide which version you prefer when listening to Dawn FM on Apple Music. That said, Dawn FM doesn’t push the boundaries of the surround technology, but the fullness of sound leaves no gaps in the soundstage and while its implementation is subtle, it’s quantifiably more immersive than the stereo mix. Unfortunately, if you’re interested in listening to the Alternate World version of Dawn FM, the expanded offering is only available in stereo; an omission that’s a shame for those of us who appreciate the Atmos mixes and also long for more music from The Weeknd.

Dawn FM is a fantastic opener and is sonically impressive. As the song builds you get an immediate sense that something great is coming, but Jim Carey’s disc jockey contribution initially came as a shock. Nevertheless, it grows on you the more you listen to the album and Carey’s inclusion ultimately becomes appreciated throughout. That 103.5 Dawn FM sign off slogan is, however, incredibly annoying. I’d argue that there is a greater song to be heard in Dawn FM and I do hope that in a future release we may get the full version of the song without the radio talk.

Gasoline transitions beautifully from Dawn FM and is the star of the show. There’s a David Bowie influence to be heard here but Gasoline is unmistakably unique to The Weeknd and will become a long-lasting hit, as Blinding Lights has. Without a doubt, it’s the best song on Dawn FM with a new wave pop styling that provides an uplifting rhythm that separates it from its gloomy lyrical story. 

The music video is dystopian and a little despondent in places and while it’s gritty and evocative, ensuring I can’t look away, it captivates me in a similar manner as Beyoncé’s Lemonade did. While perhaps not as polished as Beyoncé’s approach, the live stream of 103.5 DAWN FM, originally broadcast on Amazon Music, is a wonderful visual accompaniment. If you’re after further complementary video content to Dawn FM, you could also check out The Dawn FM Experience on Amazon Prime Video.

How Do I Make You Love Me is rhythmic gold. The chorus is catchy and the beat will have the dance floor flexing. Perhaps my only argument against How Do I Make You Love Me is that I feel it is too short and that it could have been extended on the back end of the tune. Of course, it leaves you wanting more and sometimes that’s a better proposition. Besides, it does transition seamlessly into Take My Breath. 

Take My Breath demands you turn the volume to 11, if you haven’t done so already; it’s that good! No wonder it was chosen as the lead single. The moodiness of Take My Breath will captivate the senses, as will the synth dance-pop styling, and while I put Gasoline on par with Blinding Lights, Take My Breath is another that fits that pairing with its disco-driving rhythm. The mix and overall vocal presentation will likely remind you of the Bee Gees and regardless of intent, as a fan of the 70s trio, I can only express how magnificent it is to hear a modernised interpretation of style that will once again permeate the zeitgeist.

The music video is one of the better modern visual accompaniments I’ve seen in a while with imagery that matches the music, tone, and dynamic of the song. As with many modern music videos, strobe lighting plays a role so if you’re affected by epilepsy, it would be advisable to stick to the music itself.

Sacrifice is musically gritty before becoming fully realised with a sound signature that reminds me of The Jacksons (think songs such as Torture, State Of Shock, and This Place Hotel (a.k.a. Heartbreak Hotel). Of course, Sacrifice is the song that is most similar in vocal presentation to Michael Jackson’s Off The Wall and Thriller era recordings as well. It’s a great song and if, like me, you’re thinking that you’ve heard this rhythm before it may be that you’ve heard Alicia Myers’ I Want To Thank You as it was sampled for Sacrifice; a wise decision if you ask me. 

The music video adequately highlights the transitional life process alluded to throughout  the concept album and its connection to the Take My Breath music video is overarching storytelling magic. 

A Tale By Quincy isn’t a song, but a spoken reflection by the great Quincy Jones. While I applaud the inclusion and meaning behind it, it breaks up the album to a distracting extent. Yes, it signifies a changing of style for the second half of Dawn FM is mellower than the first half of the album, but I’d argue that it creates too much uncertainty in the listener’s mind.

Out Of Time is a lovely modern ballad. Jim Carey returns as the DJ towards the end of the song and while it isn’t detrimental, I would argue that it would have been so much better without the vocal DJ radio talk. Of course, it fits with the overall transitional feel of the concept album, but let’s just hope that an alternate version, featuring only the song, is eventually released for Out Of Time is worthy of such independence. 

As you listen to that backbeat that The Weeknd’s song is built on, you may be unaware that it is another sample, this time from Tomoko Aran’s 1983 release Midnight Pretenders; a magnificent song in its own right! 

Here We Go… Again (feat. Tyler, The Creator) is a solid song, but there is too much vocal processing applied for my liking. 

Best Friends has a solid rhythm that connects perfectly with your soul and while the vocal approach is similar to that of Here We Go… Again, Best Friends sounds far more natural thereby allowing the listener to simply appreciate the song without questioning its production.

Is There Someone Else? segues fluidly from Best Friends but I’d suggest that it didn’t need to be seamless. My reason is that it creates a sonic shift towards the end of the Best Friends thereby making it frustrating to play on repeat or add to a playlist. That said, the more I listen to Dawn FM the more I have to acknowledge that this is an album that isn’t a collection of songs, but a collective single work of musical art; the very definition of a concept album.

Starry Eyes flows beautifully from Is There Someone Else? and is a sonic masterpiece. The mix is perfect, the mastering is superb, and The Weeknd is so present that you’ll feel as if he’s in the room with you. 

Every Angel Is Terrifying had promise, but the spoken direction of the song simply doesn’t appeal to me. It also shifts, musically, too much in the middle of the song. It’s filler, lacking in substance.

Don’t Break My Heart is unassuming in style and while it may not push the boundaries, sometimes a solid tune is all that is needed for Don’t Break My Heart is a lovely song. 

I Heard You’re Married (feat. Lil Wayne) has a great synth-pop hook and gets better upon each listen. I mention that because initially, I had felt the song was a little weak. Perhaps I was expecting more from a song featuring Lil Wayne, but when you take the time to listen to it repeatedly, the song unpacks itself and becomes a must-listen. That said, I can’t help but think that I Heard You’re Married would have been stronger without Lil Wayne’s contribution. 

Less Than Zero is what I consider to be the closing song on Dawn FM as Phantom Regret By Jim closes out the faux radio programming aspect of the album. Less Than Zero is simply stunning although the ending is a little too abrupt and a fade-out would have been appreciated. 

Phantom Regret By Jim is a solid poetical closer to this concept album. Some will love it but others will loath it as they’re left wanting more from The Weeknd. There is no doubt in my mind that this style of album will be contentious amongst fans but there is also no doubt that Dawn FM is an experiential moment in and of itself and Phantom Regret By Jim is part of that experience. 

So, is Dawn FM The Weeknd’s greatest release thus far? Yes, and no. Gasoline is most certainly the memorable track as Blinding Lights was from After Hours, but as a cohesive album experience from start to finish, After Hours is much more fluid. While I acknowledge the concept album style, and appreciate it for what it is, it still creates a somewhat disjointed musical experience whereby up to A Tale By Quincy, I would have considered Dawn FM to be amongst the best albums of 2022. As it stands, it’s a notable mention, most certainly, but I would love to see an edition released that highlights the songs sans the faux radio programming. 

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Aaron Neville – Warm Your Heart (Album Review)

Aaron Neville has long been one of my favourite artists ever since I heard his exceptional collaboration with Kenny G on Even If My Heart Would Break from The Bodyguard Soundtrack. Since then, I've always listened out for Neville's uniquely soulful vocals as there really isn’t anyone quite like him. 

Released in 1991, Warm Your Heart is arguably Neville’s greatest musical achievement. Of course, Neville will warm your heart with this incredible release, but finding a definitive edition proved to be challenging. 

Warm Your Heart had, of course, been recorded, mixed, and mastered with kid gloves, but I always found the original CD release to be a little less soulful than I’d like. It was a little shrill in places and a little too clean. The lossless CD-quality Apple Music stream similarly maintains the sonic brilliance of the recording, but the tonal warmth that makes this album so exciting and pleasurable to listen to was largely absent. Yes, that crisper sound signature may appeal to some listeners, but what I really needed was a vinyl copy with the warmth that only an analog format can deliver.

Unfortunately, I missed the 2013 vinyl re-issue by Original Recordings Group and while I had considered the SACD release, I decided that it was time to focus my attention on a singular format; plus streaming. Subsequently, when Analogue Productions reissued Warm Your Heart in 2020, I simply had to pick up a copy as it was one of my holy grail records. 

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The attention to detail that Chad Kassem’s Analogue Productions put into this release is beyond my ability to express in words for it has to be held and played to be believed. Yes, this release has a hype sticker that promises this and that but in this case, you can believe every word printed for this is how vinyl should sound. Detailed, smooth, and enveloping with an incredibly low noise floor ensuring that you will be swept away with the music. While it’s audacious to proclaim that this is how the artist intended it, I can say without a doubt that I’ve never heard the album sound better.  

Pressed at Kassem’s Quality Record Pressings pressing plant, Warm Your Heart is delivered across four sides having been pressed at 45rpm. Yes, it could have been a 33.3rpm release, as the original LP had been, but the track structure and overall flow of the album don’t suffer from a sense of repeated flipping. Perhaps it is that the music is so enjoyable, and the quality is beyond reproach, but despite a shorter runtime on each side, this is one 45rpm record that doesn’t make me feel as if I’m getting up and down continuously. 

As with many albums re-issued on audiophile labels, the music isn’t the only thing that is exceptionally well done. The tip-on gatefold jacket by Stoughton Printing is a piece of art in and of itself and while it adds considerable weight to the overall package, this Analogue Productions release is built to last a lifetime as it benefits from additional rigidity. The inner gatefold opens to display the liner notes, sans lyrics, in a highly legible font; an appreciable element for my ageing eyes. 

Naturally, both records are presented in the highest quality anti-static inner sleeves and are so flat, and pitch black, that you’ll find yourself staring at them in awe. By now it should go without saying, but the record labels are perfectly centred and presented beautifully. This is most certainly a quality release and while you’ll pay a premium, if you love Warm Your Heart as much as I do, it is worth the investment for no other reason than I’ve found audio nirvana and no longer need to search for a better version. 

Louisiana 1927 is a perfect introduction to the body of work that is Warm Your Heart. Written by the incomparable Randy Newman, his sonic cues are most certainly present throughout, but it is the historical story of the Great Mississippi Flood of 1927, from the perspective of an unknown individual, that makes this a moving lament. Newman recorded it himself in 1974 and while Neville’s version is similar, Neville took it to new levels. It isn’t that Newman’s version is lacklustre, but Neville made it his own and his alone is the definitive recording of this beautiful song. That said, Russell Watson, Gary Brown, and Marcia Ball have all performed it beautifully within their respective vocal range. 

Everybody Plays The Fool has a fantastic mix of soul and funk and Neville presents a smoother interpretation than The Main Ingredient’s original recording. Of course, I would have loved to have heard Bob Marley record this tune as there’s a definite reggae groove lurking just below the surface but as that never happened, to my knowledge, Neville’s is the best interpretation of this song to date. 

It Feels Like Rain is simply gorgeous. Just listen and you’ll hear incredible musical layering with every element being transparent, ensuring nothing is concealed. This is how music should sound!

Somewhere Somebody has a killer groove that is perfectly recorded. Topically the search for love is highly relatable but at no time does Somewhere Somebody come across as your typical clichéd love song, it’s much more than that. Take a listen for yourself and you’ll understand what I mean.   

Don't Go Please Stay is a beautiful song with a gorgeous classical choral overlay. That said, I don’t like the audible jolt when the song starts following Somewhere Somebody, but that is a minor quibble as all is forgotten as the song moves through the first verse. 

With You In Mind is astonishingly good. Allen Toussaint wrote a masterful song and Neville, as is the case throughout Warm Your Heart, makes the song his own. Although, if you have the time may I suggest you give Toussaint’s original recording a listen; it’s that good and I really can’t decide which version I prefer, not that I really want to make that determination anyway. 

That's The Way She Loves is one of the greatest songs ever written and recorded, by any artist. As with With You In Mind, Allen Toussaint also penned this tune and Neville and co made it a masterpiece. That's The Way She Loves is so compelling, from a musical perspective, that it is one of those songs that I use to audition new gear because I know exactly how I would like it to sound and therefore it assists me to make sure that any investment is an improvement. 

Angola Bound is a little jolting after That's The Way She Loves. Thankfully, due to the 45rpm pressing’s need to flip, the shift between songs is less noticeable but if you’re streaming you’ll definitely notice it. It isn’t that Angola Bound is a bad song, it is just poorly positioned on the record. If I were doing the tracking, I’d likely have placed Angola Bound after Everybody Plays The Fool.

Close Your Eyes is a beautiful duet with Linda Ronstadt. Ronstadt was also the producer of the album and she did a fantastic job in my opinion. While Close Your Eyes doesn’t compare to Don’t Know Much, it’s wonderful that these two master musicians collaborated on more than a single song for they’re so perfectly matched. Of the numerous other renditions of Close Your Eyes, the only one that comes close is that recorded by Earl Lewis and The Channels in 1973. It’s perfect for the era it was recorded in but Close Your Eyes is another example of Neville taking a lovely tune and, with the help of Ronstadt, making it a timeless classic.

La Vie Dansante is a lovely tune, with a Caribbean style, and exceptional backing vocals that complement Neville’s lead vocal perfectly. 

Warm Your Heart is a solid track, but perhaps not one to write home about. It suits the album well, however, but I don’t believe it was strong enough to be the title track.

I Bid You Goodnight is a beautiful vocal-focused ballad that is amplified significantly by the magnificent intermingling backing vocals; a perfect mix.

Ave Maria needs no introduction. Neville pays respect to the song, and its legacy, and despite being covered by some of the very best vocalists the world has ever heard, Neville’s version would undoubtedly be in my Top 10.

Streaming Bonus Track:

House On A Hill is a toe-tapping, head-bopping, song that is slightly jolting following the relaxed nature of Ave Maria, but it is so good that I don't mind the shifting style. However, I am happy to report that it wasn’t included on the vinyl release as I feel Ave Maria is the perfect closer for Warm Your Heart. Similarly, it wasn’t featured on the original CD release but as a streaming-only and CD-reissue addition, I consider it to be a value-added proposition for fans. 

Warm Your Heart is superb from start to finish and should be in every music lover’s collection. If you can, I’d encourage you to pick up the Analogue Productions re-issue, but rest assured that this album is so good that it doesn’t matter which format/method you choose to enjoy it via; it’s a masterpiece! 

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