Al Stewart – Year of the Cat (Rhino Reserve)

It’s arguably one of the finest sounding albums in history.  Al Stewart’s landmark 1976 set was meticulously produced by Alan Parsons and sounds terrific in analog.  We put the new Rhino Reserve edition to the test – comparing our original copy to this new one.

Strings, sax, synths, all lushly arranged, and Stewart’s inviting, relaxed delivery – it’s as if an old tour guide is taking you back to a magical time.

The album opens with “Lord Grenville,” and, right away you notice the acoustic guitars are bright and the bass is full. The orchestration really shine here.  With “On the Border,” one of the singles, the piano is layered with guitars, then synths – the track just builds and builds.  There’s a slight echo on Stewart’s voice, giving it an ethereal quality.

“Midas Shadow” – the Rhodes’ piano jumps from left to right, and back again – it’s hypnotic, while “Sand In Your Shoes” – there’s a surprising accordion that shows up in the left speaker, while a Hammond organ is in the right.  I love the double guitars, one in each channel near the end.  There’s so much warmth on this track – and it’s truly a great album to listen to with good headphones.

“Flying Sorcery” – the layers of acoustic guitars sound fabulous in analog.  It’s a doubled harmonica that shows up as the surprise here, while it’s harpsichord, fiddle, and mandolin that are the treats on “Broadway Hotel.”  “One Stage Before” – Stewart’s processed voice seems to float above you, and there’s a great guitar solo at then end.

Here, the best is saved for last – “Year of the Cat” is a tour de force.  Piano is in one channel, then a pulsing beat, warm bass, and strummed guitar, while Stewart spins a tale, name checking Peter Lorre, of a fleeting romance in an exotic location. There is so much going on here, you really don’t want it to end. This is music is truly transcendent.  

The 180-gram vinyl sounds fantastic – really impressed here.  

Year of the Cat is one of those examples where, if you have a decent copy and a good-sounding system, vinyl reigns supreme.  The pristine production, strings, guitars, sax, and other analog instruments really jump out in this setting.  Next to Dark Side of the Moon and Aja by Steely Dan, Year of the Cat from Al Stewart should be in every vinyl fan’s library – especially when they want to show off how good things sound.  The Rhino Reserve edition does not disappoint.  —Tony Peters

Todd Rundgren – Faithful (Rhino Reserve)

Solid set of covers and originals, back in print

Todd Rundgren’s long and winding career can largely be divided into two parts:  The first, 1970-72, he perfected pop songwriting in making music for other people. The second, much longer period, 1973-present day, Rundgren began making music for himself.  There are so many crazy twists and turns along the way, all while the artist follows his muse. Every once in a while, Rundgren comes back to pure song craft – and Faithful is one of those examples.

The album cover to his seventh solo outing is meant as an homage to the Beatles’ White Album, giving a hint to what lies inside.  Side one is Rundgren’s “faithful” recreations of six classic rock songs, all dating from 1966.  Side two sees him return to writing pure, unabashed pop songs on six originals.  Unlike some of his previous albums, here Rundgren is joined by several musicians, including his bandmates in Utopia.

Side one opens with the Yardbirds’ cover, “Happenings Ten Years Time Ago.”  Although they never really capture the rawness of the original, the searing guitars are really good. 

“Good Vibrations” is the real stunner: “faithful” is an understatement.  Somehow, he manages (without the aid of any digital Tom Foolery, I might add) to directly copy the original, intricate Brian Wilson production.  No one is going to mistake his singing for the Beach Boys – but the entire track is a bold move.  And, it paid off, with this version hitting the Top 40 charts.  

Of the two Beatles’ songs, “Rain” is pretty straightforward, and really isn’t too far of a departure from what Utopia would end up sounding like in its second incarnation.  “Strawberry Fields Forever” does a good job of aping the original arrangement, but it lacks the eerie quality of the Beatles’ verion.  

The other two covers, “Most Likely You Go Your Way (And I’ll Go Mine)” by Dylan, and “If 6 Was 9” by Hendrix are interesting curios, especially when Rundgren tries to sing like Bob, but neither are remarkable.

Side two is where things really take off.  “Black and White” is a heavy rocker with searing lead guitar work from Todd, while “Love of the Common Man” is his most pure pop composition since Something/Anything.  “When I Pray” has a sing a long chorus, while the 12-string guitar of “Cliche” is another highlight.

All of that leads up to “The Verb ‘To Love’” – a 7-minute, magnum opus exploration on that famous, four-letter word.  It’s Todd at his most confessional – something only hinted at in his last few albums.  Its lush arrangement, with synth, strings, and background vocals, is one of Rundgren’s greatest accomplishments on record.  Even the final, goofy track, “Boogies (Hamburger Hell),” works.

The 180-gram vinyl was cut at the Mastering Lab by Matthew Lutthans and sounds nice and quiet.  The biggest difference from my original copy is the low end – you can really hear the punch in the kick drum on “Happenings” and the fullness of the bass guitar on “Rain.”  Also, the acoustic songs on side two on my original seem a little brittle – here, tracks like “Cliche’” and “Love of the Common Man,” seem more even and warm.  

One final note – the lettering on the album cover is raised (as was the original White Album).  My original isn’t that way, so nice touch there.

The covers are fun and the originals are some of his best. Faithful is surprisingly good.  —Tony Peters

Elvis Presley – EPiC: Elvis Presley in Concert – Original Motion Picture Soundtrack (RCA/Sony)

The soundtrack captures the excitement of the fantastic movie

Baz Luhrmann’s phenomenal EPiC: Elvis Presley in Concert movie was a technical wonder in both video and audio restoration.  We argue in our movie review, that it’s the single greatest Elvis movie ever.  Sony has recently issued the companion soundtrack on a 2-LP vinyl edition, and it’s definitely worth picking up.

The Australian filmmaker is known for his artsy directing, so this collection is neither a proper live album nor a greatest hits package.  Instead, the soundtrack, like the movie, takes you on a journey.  He explains in the liner notes, that the goal was to bring you closer to Elvis, the person.  Through dialogue, remixes, additional gospel choirs, orchestration, and even new songs created from pieces of others, we get a Presley collection that actually sounds alive.

Starting with a dreamy snippet of “Can’t Help Falling in Love,” then, the theme from 2001: A Space Odyssey, and finally, “An American Trilogy,” the mood is anticipatory.  And then, the main event: ELVIS.   

Pounding drums open a psychotic version of “That’s Alright,” played much faster than when he first cut the song in the Sun Studios, 15 years earlier.  Dig how the percussion jumps from the left to right channel on “Tiger Man” – this is furious music, something Elvis is rarely given credit for making, especially this late in his career.

“Wearing That Night Life Look” is an interesting oddity – actually a mashup of “Wearing That Loved On Look” and “Night Life,” with bits of two other Presley tracks, “I, John,” and “Let Yourself Go,” to create, essentially a brand new song.  The instrumentation is modern, with the bass, very hot in the mix.  

I love the Elvis dialogue that runs in-between some of the songs.  His story about being on Ed Sullivan, right before driving into “Hound Dog,” is quite funny.  “Polk Salad Annie,” one of the real highlights of the movie, which shows Presley’s gift at directing his band, is just as powerful in audio form here. 

Things calm down for a soulful run though of “You’ve Lost That Loving Feeling,” before Presley picks up an electric guitar and shows off his chops on a medley of his own “Little Sister” with the Beatles’ “Get Back,” which works really well.  

“Burning Love” is the studio version, fused with the Royal Philharmonic Orchestra, but it’s been juiced up from the original.  “Love Me” is also a remix, just Elvis and the Jordanaires, with some weird echo and light, modern percussion, then drums kick in, and this is very different.  Another example is the vastly remixed “In the Ghetto,” featuring totally new instrumentation and snippets of Presley talking.  Each of these songs give old classics a new coat of paint.

There’s a searing take of “I Can’t Stop Loving You,” before a silly version of “Are You Lonesome Tonight,” which mentions losing your hair.

Presley loved his spirituals, and “How Great Thou Art” is spine-chilling good.  “Suspicious Minds” is sweaty grit, before closing with a tender “Can’t Help Falling in Love.”  

Also very powerful was the poem at the end of the movie, recited by Bono of U2, called “American David.”

The soundtrack features a couple of bonus remixes.  Especially nice is the PNAU version of “Don’t Fly Away,” which dates from the Elvis movie a few years back.  

The superior sounding live footage, coupled with remixes of old songs and chatter from Presley himself, makes the soundtrack to EPiC: Elvis Presley in Concert an incredibly satisfying listening experience; the kind of thing you just want to drop the needle on, and listen away.  —Tony Peters

INXS – Kick (Rhino Hi Fidelity) (Rhino/Atlantic)

This album has never sounded better on vinyl

In the fall of 1987, the Australian band INXS issued their monumental album, Kick.  Their record label originally deemed it too “black” for rock radio, and rejected it, which seems incredibly silly today.  The 6x platinum record yielded four top 10 singles, lots of rock radio play and was the career defining album for INXS.

But, by 1987, vinyl was on life support, as the burgeoning CD was taking over the music industry.  I have an original copy of Kick and it really doesn’t sound that great.  The highs are shrill. And, since this is a dance-oriented album, the bass is a big part of things – and mostly it just splatters over the original LP.

Rhino has just issued Kick in their High Fidelity series and it’s a huge jump in quality – quite possibly the biggest improvement of any album in this series.  Right off, “Guns in the Sky” is nothing but midrange on the original.  On the new version, there’s much more fidelity.  

“New Sensation” just jumps out of the speakers on the Hi Fi version – there’s more stereo separation and dynamic range.  You can also hear more echo on Michael Hutchence’s  voice.  That’s followed by another smash, “Devil Inside.”  On my first pressing, the kick drum seems to overpower everything else.  The new version even things out, and that guitar is FULL!

The hits keep on coming with “Need You Tonight,” with more presence on Hutchence’s voice, and the stereo effects seem to breathe more.  The cymbals rolled off on the original – but here, they sound nice and crisp.   That segues right into “Mediate,” and you can really hear the deep bass on this new pressing.

“The Loved One” really sounded shrill on the original LP – it was the last song on the album.  Here, there’s much more dynamic range.

Onto side two, “Never Tear Us Apart” is another huge improvement.  Hutchence’s vocals are rich and full, the kick drum and bass blast you when they come in, and that fantastic sax solo really cuts through.  There’s more separation on the individual instruments on “Mystify.”  

Side two of my original copy of Kick sounds even worse near the end – it’s nothing but noise and no dynamic range.  On this Hi Fidelity version, you really feel the bass on the song, “Kick,” while “Calling All Nations” really sounds fabulous.  Again, “Tiny Daggers” being the final song on the album side, it’s much improved in this new pressing as well.

This edition is pressed on 180-gram vinyl, cut from the original analog master tapes by Kevin Gray at Coherent Audio.  The album is housed in a heavyweight gatefold jacket with a new essay from critic David Fricke.

The Rhino High Fidelity edition of Kick is the quintessential version of this classic album, and well worth the money.  Very impressed.  —Tony Peters

The Cranberries – Everybody Else Is Doing It, So Why Can’t We? (33^rd Anniversary Edition) (Island/UMe)

The Cranberries’ frontwoman Dolores O’Riordan passed away in early 2018 just as the band was putting together a 25th anniversary edition of their 1993 debut album, Everybody Else Is Doing It, So Why Can’t We?, released later that year via Island/UMe.  Today, to celebrate the album’s 33^rd anniversary, they have released the multi-platinum album across multiple editions (chief among them is the 3LP Limited Deluxe Edition, reviewed here) featuring bonus tracks, live versions, and a new 2026 stereo mix of the album by original producer Stephen Street.    

The album is led by “Linger,” the aptly-titled, everlasting smash single from the album that remains just as ubiquitous and important today as it was 33 years ago.  With its stirring strings and soaring vocals, the song was the perfect introduction to O’Riordan’s lilting and exotic vocals and the band, featuring Noel Hogan, Mike Hogan, and Fergal Lawler. Together they were inspired by the Cure and the shimmering guitars of the Smiths, to create a sound all their own, a world-conquering alternative rock sound that defied the humbleness suggested by the album’s title.  The second single, “Dreams” and the standout track “Sunday” are equally as gorgeous as the first single and just as melancholic yet blissfully cathartic.  Other standouts include, the upbeat “Still Can’t…” with its jangly guitars and insistent rhythm and the rocking, “How” with its tumbling drums and multi-layered vocals.       

The Limited Deluxe Edition features the newly remastered original album on the first disc, the second is comprised of the crisp 2026 stereo mix by producer Stephen Street and the third disc features previously released bonus tracks highlighted by an infectiously danceable remix of “Linger” by Ian Cook of CHVCHES.   Also included are live versions of the songs, “Linger,” “Dreams,” “Pretty” and “Liar” recorded live in London in 1994.  To complete the package, the new editions include an interesting oral history of the album with track-by-track notes from the band members and photo and notes about the artwork from photographer Andy Earl and designer Cally Calloman.    

This limited deluxe edition of Everybody Else Is Doing It, So Why Can’t We? should be considered the definitive version of The Cranberries’ most defining album and a lasting and loving tribute to the memory of Delores O’Riordan.    –Justin Kreitzer for Icon Fetch

Record Store Day: Mutemath – Mutemath (20^th Anniversary) (Rhino)

In case you missed it, Rhino Records reissued the self-titled debut album from Mutemath in celebration of its 20^th anniversary for Record Store Day this past April.  After being out of print on vinyl for over a decade, this exclusive release is presented as a 2LP set on sea blue vinyl and is expanded to include 3 tracks from their first EP titled, Reset.  

The Nashville-based alternative rock band was originally co-founded by singer/songwriter and multi-instrumentalist Paul Meany and drummer Darren King.  Meany’s previous band was the eclectic Christian band Earthsuit and he continued that experimental streak into Mutemath with a multi-layered sound that incorporates samples, synths and spacey psych-rock with soaring alt-rock melodies and off-kilter rhythms for an impressive debut.  

The album was led by the energetic hit single, “Typical” with its driving rhythm and pumped up guitar jangle; it proved to be anything but typical. Another standout is “Chaos” with its atmospheric guitars and synths that surround a steady yet offset beat alongside an infectiously-catchy sing-along chorus. 

Another standout, “Noticed,” reminds me of The Police, fusing a syncopated Sting-like vocal cadence over a krautrock-like beat.  Later, the slower, emotionally-driven “You Are Mine” dives into 60’s and 70’s soul influences and “Stare At The Sun” is mellow with Rhodes piano and a squelching beat.  With a stellar debut album and an explosive, improv-driven live performance, the band arrived fully formed and ready to conquer the world.  

Although Meany and King haven’t made music together since 2017, this 20^th anniversary edition of their debut album is a testament to their musical partnership; and with the D-side featuring “Picture”, “Stall Out” and the title track from their debut EP, Reset, it is the perfect collector’s item for fans. –Justin Kreitzer for Icon Fetch  

The Cure – Greatest Hits & Acoustic Hits (25^th Anniversary) (Rhino)

Goth rock pioneers The Cure will mark their 50^th anniversary as a band in 2028 but in the mean time they celebrate the 25^th birthday of their 2001 Greatest Hits collection and its companion collection, Acoustic Hits with an exclusive Record Store Day release via Rhino Records.  Both 2LP collections are available now on silver-colored bio vinyl for the first time and have been remastered by frontman Robert Smith.       

The Cure’s Greatest Hits compilation features 18 tracks that span from 1980 to 2001, chronicling the band’s steady climb into the highly-influential post-punk band that fans have loved for nearly 50 years. 

Opening with their first hit, “Boys Don’t Cry,”and its jangly yet steady guitar line and empowering lyrics; Smith and company created a sound that layered infectiously catchy pop melodies laced with melancholy and danceable post-punk rhythms.  Listening to Greatest Hits is a joyful journey through the band’s evolution of sound.  As their early work becomes more pop-centered and slightly less goth-centric, the band helped to usher in the New Romantic sound on their acclaimed 80’s albums, Kiss Me Kiss Me Kiss Me and Disintegration; with signature hits like, “Why Can’t I Be You?,” “Just Like Heaven,” “Lullaby” and “Lovesong.”  

MTV welcomed The Cure into the 90’s, introducing them to new audiences and their albums from that decade are well represented by the exuberant, infatuation-filled duo of “Friday I’m In Love” from 1992’s Wish and “Mint Car” from the 1996 album, Wild Mood Swings.  Both of the tracks stand out on the acoustic collection with arrangements that don’t stray too far from the path of the beloved originals.  Also included are the tracks, “Cut Here” and “Just Say Yes” which were new songs at the time of release in 2001 and they hold up well with the classics with their dance hall-ready rhythms and insistent melodies.        

The Cure is one of those rare bands that are so highly influential that most of the bands existing today would not be who they are without the sound that The Cure curated.  These two sets – Greatest Hits and Acoustic Hits – are the perfect starting point for new fans and a cherished collectable for longtime fans.  —Justin Kreitzer for Icon Fetch