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Outside of the core fan-base and the Bryan Adams faithful there’s trepidation in receiving, playing or reviewing a new album by the multiple award winning Canadian singer songwriter. Because for nigh on twenty years and since the indifferent and critically panned 18 til I Die, it’s been a mixed bag of releases and formulaic traits followed by the almost mandatory double of acoustically performed hits and a covers album. Get Up however marks the return of the Bryan Adams & Jim Vallance song writing partnership, the collaborative team responsible for the biggest successes of the Bryan Adams catalogue outside of the mega-hit phenomenon '(Everything I do) I Do It For You.' But just as pivotally Get Up was produced by Jeff Lynne, who also co-wrote one of the songs with Adams. Lynne, who clearly had a major part to play in song arrangements and the overall feel of the album, has given Get Up a 50s rock ‘n’ roll and 60s pop meets Traveling Wilburys sound, exemplified by opening number 'You Belong to Me,' a two-and-a-half minute slice of rockabilly poppin’ fun. Similarly 'That’s Rock and Roll' is the best song the Traveling Wilburys never wrote, 'Do What You Gotta Do' (the Adams & Lynne penned song) is more akin to a Jeff Lynne number sung by Bryan Adams, the charming 'Don’t Even Try' is Beatles-esque in nature and 'Brand New Day' is an infectious piece of chiming guitars pop.

But it wouldn’t be a Bryan Adams album without a ballad or two and 'We Did It All' and 'Yesterday Was Just a Dream' work extremely well here, primarily because the former carries that tried and tested Jeff Lynne trademark sound and the latter is simply a fine, slow and reflective number from the Adams & Vallance songbook. The rockier side of Bryan Adams is catered for via the mid-tempo swagger of 'Go Down Rockin’ and the pacier but poppier 'Thunderbolt.' Keeping Get Up short and sharp (nine new tracks totalling 27 minutes) also works in the (mini) album’s favour, but where it fails is by including acoustic versions of 'Don't Even Try,' 'We Did it All,' 'You Belong To Me' and 'Brand New Day.' That might add another 11 minutes to proceedings but they bring little else to the album, other than helping to highlight Jeff Lynne's role in the final product. Which leads to the obvious conclusion that a better way of extending the album's length would have been for Bryan Adams to rerecord some of his classic material with Jeff Lynne's production and arrangement.

That would have made for a far more interesting addition to what is still Bryan Adams best album in nearly twenty five years, albeit a very different beast from the musician who used to enjoy Waking Up the Neighbours. Ross Muir FabricationsHQ. Better Late Than Never is certainly a good title to reflect the slow and at times difficult process of making this AndersonPonty Band album a reality but it better represents the fact Jon Anderson first approached Jean-Luc Ponty about the prospect of working together back in the 1980s. Thirty years on and that meeting of two creative musical minds has finally happened. Their first official performance as a collaborative pairing was the live show filmed and recorded at the Wheeler Opera House in Aspen, Colorado in September 2014; now via a successful Kickstarter funded campaign comes the studio produced album and a deluxe edition with DVD (containing a videography documenting the making of the album along with some footage of the Wheeler Opera House performance). Better Late Than Never contains and presents some of the best moments from the live show but mixed and produced as a studio album – although there are a few 'it's live' giveaways such as Jon Anderson's introduction to the Jamaican reggae version of 'Time and a Word.'

'Time and a Word' is one of five YES songs to feature and two Jon Anderson numbers are also included ('New, New World' and 'Soul Eternal,' the latter originally recorded with San Francisco world-beat prog band Azigza) but this is a truly collaborative project. The Jean-Luc Ponty instrumentals 'Rhythms of Hope,' 'Mirage' and 'Renaissance' have been rearranged and retitled as 'One in the Rhythms of Hope,' 'Infinite Mirage' and 'Renaissance of the Sun' respectively. The pieces now include Jon Anderson’s vocal passages on love, light or oneness (recurring traits of Anderson’s in recent years); each incorporates Anderson’s lyrical textures so well you would swear this is how they were originally envisioned. Jean-Luc Ponty’s expressive violin lines also lead, rhythmically accompany or play counterpoint to Jon Anderson’s colourful vocals (best exemplified on the slow and floating 'A For Aria'), giving many of the numbers an added dimension.