ALBUM REVIEW: Michael Jackson - 'Michael'

The idea of polarized attitudes towards a posthumous Michael Jackson release is no more surprising than the circumstances of the release itself. Though new albums from deceased artists is not a new concept, it's arguable that Tupac Shakur's estate set the modern precedent, with numerous full albums of songs constructed around ever-decreasing samples and demoes of the man himself.

The appetite for Michael Jackson material is huge, and it's undeniable that Sony will be hoping for MJ to keep their music division in the black for many years to come. Whether or not Jackson will suffer similarly declining quality as the vaults are plundered remains to be seen - but make no bones about it, 'Michael' the first of many albums to come, is uniformly excellent and can stand amongst his most solid and consistent work.

As has already been addressed here, as in life, scurrilous rumours abound questioning the authenticity of the vocals and songs presented here - but facts are facts, and a fairly comprehensive press release from Michael Jackson's estate provides a rebuttal to such claims that only the hardiest of conspiracy theorists could ignore.

Michael Jackson's comeback had been a long time in the planning, with the gloved one hiring a slew of top-notch producers and collaborators for a series of studio sessions with a goal to releasing a modern, pop record befitting of the legacy of the greatest pop performer of all time. The album was to be his first since 2001's 'Invincible' - a record, much like it's predeccesor 'HIStory' who's release was marred by allegations and innuendo.

Unfortunately unlike the darkly-brilliant 'HIStory', much of 'Invincible' was slight, R&B influenced fair that found Jackson playing catch-up rather than innovating and pushing forward. Though it has it's defenders, the album was generally regarded to be a disappointment.
Many critics had given up on the idea of a MJ resurgence. Although he was found innocent in court, the press onslaught on his private life was unceasing and his reputation was too far gone, still tarnished in the minds of the general public. Added to that, his health seemed to be in a severe decline and by 2008 he had not performed a full concert in well over a decade. Few would bet on him being able to ever to mount a serious attempt at a comeback.

And yet in that same year, it seemed his fans returned in full force - perhaps it was just the right time - and when a surprisingly well looking Michael announced his proposed 'This Is It' shows for 2009, a record-breaking 50 concerts were quickly sold out at the enormous venue. Jackson was reportedly surprised and touched, and one can only imagine how this outpouring of affection was inspiring him to hasten work on his long awaited, similarly bombastic studio comeback. It's realistic to think, had the tragic events of June 2009 not occured, that we would be seeing that album right about now, completed fully in his vision. As it is, it is trusted Jackson friends and collaborators such as Teddy Riley and Akon who have been tasked with completing the work, following his signposts, notes and tracks. They have done the man proud.

Yes, he was a perfectionist, and yes it is unquestionable that the album we now have is markedly different than MJ's finished product would have been. But listening to the sheer quality of these songs - the hooks, the rhythms, the variations - it is difficult to believe that this is an album he would not have been proud of. At just over 40 minutes it is far more cohesive a listen than his previous 2 studio efforts (which while both having some inspired moments, both clocked in at over 70), and it's 10 track, all singles material format harkens back to his chart-obliterating 'Thriller'/'Bad' heyday.

Which is not to say that the album is retro or overtly nostalgic. Of course, the irresistable and much imitated vocal tics and yelps are present in full force, as is Jackson's unparalleled sense of melody, but this is very clearly a 21st century 'Michael'.

Track-by-track

1. Hold My Hand (featuring Akon)

First leaked in demo form back in 2008, this song instantly evokes classic unity ballads such as 'You Are Not Alone', albeit in a more upbeat, uptempo form. Akon's voice sounds terrific alongside Michael's, and its clear that they had a deep understanding of each others musical sensibilities. Since it's initial, premature release, a choir has been added (tastefully mind you) along with other bells and whistles. Curiously, a different vocal take of Michael appears to have been used ('things will get better' has strangely become 'things will be better' in each instance). This is a classic MJ anthem with modern R&B flair.

2. Hollywood Tonight

Latin influence can be detected in this allegorical tale of the pitfalls of fame. While this is, unsurprisingly, a recurring theme on the album (after all, it would be difficult to name anyone who had lived their life in the media's steely glare more than Jackson) it is tackled in a less isolated, angry way than on previous occasions. Funky and danceable with a great chorus, and probably one that the remix artists will be looking forward to tackling.

3. Keep Your Head Up

Maintaining the overall theme of optimism through adversity, this Tricky produced slice of pop is Michael at his sweetest both vocally and lyrically and one of the most old-school MJ songs on the album. Probably the best track from the Cascio sessions.

4. I Like The Way You Love Me

This slice of heavily Motown influenced smooth R&B also saw a demo release, though this time at least an official one on 2004's box set 'The Ultimate Collection'. The album's most direct love song, it's finger-snapping rhythm and Temptations-style backing vocals make for a very enjoyable trip back to Jackson's roots. The song opens with a smile-inducing home-recording demonstrating Michael's not unremarkable beatboxing skills.

5. Monster (Featuring 50 Cent)

Likely to be many fans' favorite, 'Monster' is a stomping urbane powerhouse in the 'Thriller'/'Ghosts' vein, and boasts one of the albums most memorable choruses; "Monster / He's a monster / He's an animal". Tackling public perceptions head on was a cathartic experience in Michael's later music, but this is perhaps the most rewarding track in that oeuvre, marrying its sense of bitterness and injustice with relentlessly hard breakbeats and a memorable (and mercifully, not out of place) 50 Cent rap interlude. Apparently MJ had approached 50 Cent with a view to having him appear on the song prior to his death, although the erstwhile Curtis Jackson's contribution wasn't completed until after the fact. It is pleasing to know that songs like this one have been completed to Michael's specifications wherever possible, and the result is not just one of the very best songs on this album, but one of the greatest songs of his later career.

6. Best Of Joy

If any song on 'Michael' could be accused of being a little slight, it's 'Best Of Joy'. While it features some nice, intimate vocals it is dwarfed in it's mid-tempo, cheerful balladry by sharing disc (or download) space with the superior 'Hold My Hand' and 'Keep Your Head Up'. That being said, it was reputedly one of Jackson's favorite songs earmarked for his next album and is certainly justified in it's inclusion here if that was the case. Also it's 'I am forever, we are forever' hook will likely strike a chord with devoted fans. Here it serves as more of a bridge, tying the album together. Its backing is also more complex than initially appears, and so repeated listens can be quite rewarding.

7. Breaking News

This riff-laden press baiter was controversially unveiled as the album's first streaming track on Michael's official website and seems to have taken on a life of its own. For all the talk, it is a quintessential Jackson single - instantly memorable, catchy as hell and remarkably self-aware. It is also the first adult Michael song to mention Michael by name in it's lyrics, and this too seems to have been delivered in a slightly tongue-in-cheek fashion (listen to the backing vocals breathless 'Michael JACK-SON!') It's also one of the sets most dancefloor-oriented outings. This is the resigned yet resilient brother of HIStory's angry 'Scream' and 'Tabloid Junkie', but is better than either. Where 'Scream' puts a boot through the surveillance cameras, 'Breaking News' stares them back in their glassy eye and says "I'm watching you watching me". Crunchy, fresh and urgent, remember - it's not paranoia if they're really after you.

8. (I Can't Make It) Another Day (Featuring Lenny Kravitz)

Michael's rock output (other than the iconic 'Beat It' with it's revered Van Halen guitar solo) is often unfairly overlooked. Songs like 'Give In To Me' and 'They Don't Care About Us' are amongst his most searingly powerful. This time Lenny Kravitz is brought on board for both guitar and vocal duties for what amounts to a fine slab of hungry, yearning and hot-blooded rock with (you guessed it) a killer chorus. A very welcome detour.

9. Behind The Mask

For my money, the 'Michael' album's single greatest song, 'Behind The Mask' is unlike anything that has gone before in his catalog. Lyrically intriguing, vocally magnificent and musically sublime, few songs show off the man's incredible ear for melody and composition quite like this one. With Daft Punk-esque backing vocals, beats, hooks and melodies to spare, 'Behind The Mask' is so modern as to perhaps be a few years ahead of its time, and an instant rebuttal against any claims that this album should not be released. For a song this brilliantly unique to go unheard would be a tragic waste.

10. Much Too Soon

Every musician seems to have great songs that lie in wait for years at a time, simply because they don't 'fit' with whatever project they are currently working on. For Michael, 'Much Too Soon' was one of those songs, and consequently is the oldest song featured on this album. Dating back to the 'Thriller' sessions, which saw literally dozens of songs (including the gorgeous 'For All Time') excised from the final record, 'Much Too Soon' is as simple and sweet a song as he ever recorded. Almost folksy, with its lightly strummed guitars and harmonica (the first MJ song ever to employ the instrument) it is a plaintive, lost-love ditty that serves perfectly here as a quiet reflective album closer.

While other Michael Jackson albums will follow, this is likely the last album that can claim to have had any personal input from him. Likewise these chronologically represent the majority of his final recording sessions. Ominously, it has been suggested that Sony's next posthumous MJ project will comprise newly recorded 'duets' with current artists which if the uneven offerings on 'Thriller 25' are anything to go by will be at best, forgettable and at worst...well....

It's fitting then to see this as the final album. As a swansong, a comeback and a tribute, 'Michael' delivers the goods and serves as a reminder of just why Michael Jackson is so widely regarded as the greatest entertainer who ever lived, and the incredible legacy of music he has left behind for future generations to enjoy.

-Michael E.

Cowboy Junkies new album 'Demons'

Canada's Cowboy Junkies have just released Volume 2 of their 'Nomad Series', 'Demons', exclusively to their site's Clubhouse subscribers. The album follows this year's excellent 'Renmin Park' set and will be succeeded by a further 2 volumes before the end of next year.

The following comes from the Junkies' latest mail-out:

"We just want to let you know that we have finished Demons, Volume 2 of the Nomad Series. It’s an album made up of songs written by the late, great Vic Chesnutt. We are pretty proud of it and we have a sneaking feeling that you are going to dig it too.

The album will be available in wide release on February 15th, and it will be available through our site on January 18th. But in the meantime, if you have bought a Clubhouse Subscription, you can go, now, to the Clubhouse and download it and a seven song bonus EP."

Clubhouse subscribers are entitled to a number of special features, including downloads of over 300 rare and archival tracks from the band, and a forthcoming limited edition hardcover book.

For further details visit the band at www.latentrecordings.com

R.E.M. announce Live At Austin City Limits DVD release

Veteran alt-rock favorites R.E.M. recently reported that work on their forthcoming album is complete. A Spring 2011 release date is being targeted for what will be their 15th full length studio release.

In the meantime, the band have announced that New West Records will release R.E.M. Live From Austin, TX, the latest DVD from the acclaimed PBS Austin City Limits (ACL) television series, on October 26, 2010. Taken from the band's March 13, 2008 ACL concert, which has been edited into an hour TV show, the DVD contains an extended performance including three songs never aired on the original broadcast. The 17 songs have been re-mixed and re-mastered in LPCM stereo and DTS-HD 5.1 surround sound to provide the highest-quality concert DVD available.

R.E.M. Live From Austin, TX, captures the band "at a pivotal moment in their career," says ACL producer Terry Lickona. The DVD, Lickona adds, presents a band "still breaking new ground and still doing it their way." R.E.M. Live From Austin, TX clocks in at just over an hour and features songs spanning the band's career up to their most recent album Accelerate.

Austin City Limits, the longest-running music show in American television, will re-air the original broadcast of the performance on November 27th, 2010. Check local PBS listings for broadcast information.

Tracklisting:
1. Living Well Is The Best Revenge
2. Man-Sized Wreath
3. Drive
4. So. Central Rain (previously not broadcast)
5. Accelerate
6. Fall On Me (previously not broadcast)
7. Hollow Man
8. Electrolite
9. Houston
10. Supernatural Superserious
11. Bad Day
12. Losing My Religion
13. I'm Gonna DJ
14. Horse To Water
15. Imitation Of Life (previously not broadcast)
16. Until The Day Is Done
17. Man On The Moon

Visit REMHQ.com for more info/pre-order details.

LEONARD COHEN to release 'Songs From The Road',

FILMED IN 2008/2009 IN HIGH DEFINITION AND 5.1. SURROUND SOUND, AT VENUES IN CANADA, GERMANY, ISRAEL, SCANDINAVIA, SWEDEN, THE UNITED KINGDOM AND U.S.A.

"Lover, Lover, Lover," "Bird On the Wire," "Chelsea Hotel," "Waiting for the Miracle," "Suzanne," "The Partisan," "Hallelujah," "Closing Time," and more - plus 20-minute "behind the scenes" interview feature

Separate DVD+CD and Blu-ray packages available at retail starting September 14, 2010, through Columbia/Legacy; Gatefold, 180 gram vinyl LP of the 12 audio tracks also available
In 1999, after an extended break from the spotlight, 64-year old Leonard Cohen returned to the recording studio and world stage with a passion. From then until now, his albums, concerts and DVD releases have informed a new generation. At the same time, Cohen has heroically fulfilled the dreams of his first generation of fans that have been following his career at Columbia Records since his debut LP in 1967.

Following the celebration of his 40th year as a Columbia artist in 2007 and coinciding with his induction into the Rock And Roll Hall Of Fame in March 2008, Cohen thrilled his fans by announcing his first tour dates in 15 years. He's gone on to play the most prestigious and beautiful venues in virtually every corner of the globe, mesmerizing and charming audiences with performances that were hailed as some of the best of his career. "When legend Cohen takes to the stage," raved Ireland's The Independent (June 2008), "it's no less than a cultural event of Biblical dimensions."

One dozen of Leonard Cohen's most famous songs from those recent world tour performances – at auditorium halls, festivals, arenas, and stadiums from Tel Aviv to London, from across Europe to the California desert and his native Canada – are now collected on SONGS FROM THE ROAD. The 12-song program filmed in high def and recorded in 5.1 surround sound will be issued in two separate packages: The DVD+CD package will be an oversized 2-disc softpak, identical to last year's Leonard Cohen Live At The Isle Of Wight 1970. The Blu-ray will be in a standard amray case. Both will be available at all retail outlets starting September 14th through Columbia/Legacy, a division of SONY MUSIC ENTERTAINMENT. A gatefold, 180 gram vinyl LP of the 12 audio tracks will also be released the same date.

As a bonus, the DVD and Blu-ray configurations will include a 20-minute "behind the scenes" backstage interview with the individual band members. The interviews were conducted by Leonard's daughter, Lorca Cohen.

The sets also feature two different sets of annotations. One is a rare album liner notes essay written by Leon Wieseltier, literary editor of The New Republic. The other is a detailed track-by-track insider's commentary written by Ed Sanders, who served as producer of the sound recording and editing, and producer and director of the video recording and editing. "I was there for every rehearsal," he begins. "I was at every sound check. I was present at every show."
Sanders' notes provides precious insight into the selection process for the twelve outstanding performances captured on SONGS FROM THE ROAD. For "Chelsea Hotel" (Royal Albert Hall, London, 11/17/2008), Sanders writes "Between sound check and show time Leonard would often play his guitar in the dressing room. In the early stages of this leg I would find him practicing 'Chelsea Hotel.' It came as a surprise to everyone (especially those on stage!) when at Rotterdam he launched into it solo after 'Tower of Song.' He continued to rehearse it with the band until the arrangement was ready. The version presented here is the second full-band performance. At the time I thought it was exceptionally compelling and I told Leonard so during intermission. He replied that he thought it went well; that he could feel the presence of a certain 'someone' as he sang it."

SONGS FROM THE ROAD is not only a tribute to Cohen's consummate artistry as a concert performer, it is also a tribute to his enduring worldwide popularity at this time in his career. The program complements his 2-disc DVD release of last year, Live In London, recorded on July 17, 2008, at London's 02 Arena, one of Europe's largest indoor venues. Live In London marked his first concert collection to be released since the 2001 CD, Field Commander Cohen: Tour of 1979. (Note: The O2 Arena selections on SONGS FROM THE ROAD are from November 2008.)
It is ultimately Cohen's ageless songs that draw faithful audiences – new fans and old – to his advance sold-out concerts. (The 2008 tour dates sold over 700,000 tickets alone, across 84 shows worldwide.)

SONGS FROM THE ROAD represents every decade of his life as a recording artist, from the 1960s ("Suzanne" from his 1967 debut, Songs Of Leonard Cohen; "Bird on the Wire" and his interpretation of "The Partisan" both from his second album, 1969's Songs From a Room) – to the '00s ("That Don't Make it Junk" from 2001's Ten New Songs).
Along the way, SONGS FROM THE ROAD revisits Cohen's 'greatest hits' from the 1970s ("Famous Blue Raincoat" and "Avalanche" both from 1971's Songs Of Love and Hate; "Chelsea Hotel" from 1974's New Skin For the Old Ceremony, and "Lover, Lover, Lover" from the 1979 Field Commander Cohen recordings) – the 1980s ("Hallelujah" and "Heart With No Companion" from 1984's Various Positions) – and the 1990s ("Waiting for the Miracle" and "Closing Time" from 1992's The Future).

"Throughout the show," Wieseltier concludes in his essay, "it was never clear whose gratitude was greater, Cohen's or the audience's. He seemed to find at every stop the sisters of mercy whom he immortalized in one of his oldest and most tender songs…. And now, wherever this precious man wanders, the famous blue raincoat notwithstanding, people sing 'hallelujah!' The Psalmist himself could not have asked for more."

Michael Jackson: landmark record deal announced

ESTATE OF MICHAEL JACKSON AND SONY MUSIC RENEW 30-YEAR RELATIONSHIP WITH LANDMARK RECORDING DEAL

New York, NY - Special Administrators for the Estate of Michael Jackson, John Branca and John McClain, and Sony Music will continue the label’s 30-year relationship with Michael Jackson and his music with a landmark recording deal, it was announced today.

With this new agreement, Sony Music’s Columbia Epic Label Group and Legacy Recordings will continue their term of rights to his catalog and also create new projects for Michael Jackson featuring the never-before-released Jackson recordings. The first project featuring unreleased music is expected for release in November 2010.

Rob Stringer, Chairman of the Columbia Epic Label Group comments, “Michael has always been a treasured member of the Sony Music family. We’re dedicated to protecting this icon’s legacy and we’re thrilled that we can continue to bring his music to the world for the foreseeable future.”

John Branca comments, “During his life, Michael’s contracts set the standard for the industry, reflecting his unique vision and talents that inspired and excited people in every corner of the world. By all objective criteria, this agreement with Sony Music demonstrates the lasting power of Michael’s music by exceeding all previous industry benchmarks. Each new generation produces countless new fans who appreciate Michael’s artistry, requiring a partner that has Sony’s wherewithal, business acumen and foresight to properly and respectfully showcase his genius well into the future.”

As a solo artist with Epic Records spanning three decades, Michael has sold hundreds of millions of records worldwide and released thirteen #1 singles. Jackson became one of a handful of artists to be inducted twice into the Rock and Roll Hall of Fame, won 13 Grammy Awards and received the American Music Award’s Artist of the Century Award. Sony’s Legacy Recordings has also created a number of successful projects such as the “Thriller” 25th anniversary album. The best selling album of all time worldwide by wide margin, “Thriller” showed the lasting power of Michael’s music by returning to #1 on the weekly sales charts in 2008.

John McClain comments, “Nowhere did Michael set the bar higher than he did with ‘Thriller,’ which nearly three decades after its release by Epic remains by far the best-selling album in history worldwide with music that transcends generations. We believe we have a partner in Sony that knows and appreciates Michael’s artistry as well as the passion of his fans. We look forward to continuing our partnership with Sony to preserve and enhance his remarkable musical legacy.”

This past fall, Sony Music released the #1 two-disc album companion to the motion picture Michael Jackson’s This is It ” which has sold over 5 million copies worldwide. Released by Sony Pictures, the film made history as the highest grossing concert film of all time and the recently released DVD took the #1 spot in DVD sales, breaking the record for first-week’s sales of a music film.

Source: Sony Music

Meat Loaf - Hang Cool, Teddy Bear

Meat Loaf
Hang Cool Teddy Bear

Coming April 2010

Some people think big. Some people think huge. And then there's Meat Loaf.

For the past 35 years, the man born Marvin Lee Aday has been a towering monument on the musical landscape. His legendary 1977 album Bat Out Of Hell transformed this former high school football player, nightclub bouncer and stage actor into one of the great American rock 'n' roll icons. That record, with its staggering operatic sound and impassioned vocals, has sold more than 43 million albums worldwide - still one of the biggest-selling records ever.

Meat Loaf's reputation as one of music's greatest artists was underlined by such masterpieces as Dead Ringer (1981), Bad Attitude (1984) and the Bat Out Of Hell sequels Bat Out Of Hell II: Back Into Hell (1993) and Bat Out Of Hell III: The Monster Is Loose (2006). Other artists might have tried to match his scale and copy his sound, but no one has come close.

Now, more than 30 years after he exploded onto the world stage, Meat Loaf is back with a new record, Hang Cool Teddy Bear (a title taken from a line in the classic Russ Meyer trash movie Beyond The Valley Of The Dolls). From opener Peace On Earth to closer Elvis In Vegas, its 13 tracks drag the classic Meat Loaf sound kicking and screaming into the 21st century.

"I wanted it big, I wanted it dramatic, I wanted a rock record," says Meat Loaf. "Yes, it sounds like a Meat Loaf record. But it sounds different too - it sounds new, it sounds fresh. It speaks to you in a different way."

Much of this newfound energy can be put down to Meat Loaf's working relationship with his new collaborator, producer Rob Cavallo (Green Day, My Chemical Romance Paramore, Fleetwood Mac). For the singer, it was a chance to work with one of the hottest producers around. For Cavallo, it was an opportunity to work with a childhood hero and a proper rock 'n' roll legend.

"Rob is the Number 1 rock producer in the world because he leaves his ego out of the equation and gives an artist his voice, making it sound better than the artist could even imagine," says Meat. "I was like a fisherman looking for a big mouthed bass. I put on the right worm. The first song I played to him, I hooked him. The second song, I nailed him."

The pair hit it off immediately, and this electrifying creative partnership immediately raised the bar several feet. Meat Loaf brought more than 40 songs to the table, which the duo whittled down to the 13 that appear on the final record, including the furious ‘Living On The Outside’ and hilarious first single LosAngeloser.

But there was one other piece to the jigsaw: Los Angeles-based screenwriter and director Kilian Kerwin, a long-time friend of the singer. As with every classic Meat Loaf album, Hang Cool Teddy Bear has a bigger concept. It was one of Kerwin's short stories that inspired the singer to come up with the album's striking narrative.

"It's the story of a soldier," reveals Meat Loaf. "He's been in battle and he's lying face down on the ground. He can't move, but he turns his head and starts to see blood run across the ground, and so he thinks he's going to die. They always say you see your life flash backwards you when you're about to die. But his life flashes forward - into what possibly could happen. He sees what his life could be - the good and the bad. The songs are the different scenarios he finds himself in. It's not always the same time or the same place - but it's always the same woman. But I don't want to give too much away - I want people to work it out for themselves."

To flesh out his vision, Meat Loaf enlisted a set of elite musicians to play on the album, including guitarists Tim Pierce, Darkness frontman Justin Hawkins (who co-wrote two songs for the album), Paul Crook and Randy Flowers, legendary bass players Chris Chaney and Kasim Sulton, genius keyboardist Jamie Mulhoberac and the world’s greatest rock drummer (just ask Rob Cavallo) John Micelli. Hang Cool Teddy Bear also features a stellar array of big-name guests, including Steve Vai (who appears on Love is Not Real), former Queen guitarist Brian May (who appears on Song Of Madness and Love Is Not Real), American Idol presenter Kara DioGuardi (who co-wrote and sings on If I Can't Have You) and Hollywood star Jack Black, who duets with Meat Loaf on Like A Rose.

But the most surprising guest is Hugh Laurie - the English actor famous for starring in Blackadder and hit US TV show House. It was while making a guest appearance on the latter that Meat Loaf met Laurie and discovered that he was a classically-trained pianist. What else could he do but ask the actor to play piano on the song If I Can't Have You?

"He was really nervous at first," recalls Meat Loaf. "It was strange seeing someone so confident on a TV set walk into the studio like he's a quivering mess. But he nailed it. He's talking about playing it with us if we ever go on American Idol."

"What I love about Hugh, Jack and Kara," says Meat Loaf. "Is that sometimes you get people coming to the studio, and they have their manager and a bodyguard and an entourage - it's this endless stream of people. The 3 of them, they just drove up to the studio in their own cars, no bullshit no fronts, just real people. And I love real people."

But for all the star guests, Hang Cool Teddy Bear is Meat Loaf's album – his own dirty little secret. More than four decades into his career, the man - and his voice - is as big, bold and important as ever.

"How do I keep the fire burning?" he asks. "I don't know. I just do. I'd bet in advance that if I sat with somebody in a room and said to them, 'I'll give you five pounds if you don't go 'Whoah!' after the first song', they'd forget about the five pounds and they'd go 'Whoah!'. You can't help it. And it's like that across all the songs. This record is spectacular!"