Eagles – Eagles Live (Album Review)

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Eagles – Eagles Live (Album Review)

Live performances are a mixed bag. This is a key reason why I avoid going to concerts. I simply don’t want to come away disappointed, following a lacklustre performance. However, with an increase over the years in lip-syncing, the question regarding what constitutes a live performance yields intriguing results. However, what happens if the artist in question is such a perfectionist that they are determined to release a live recording that has its origins based in a series of live performances but thanks to excessive overdubbing can no longer really be regarded as a live performance. Well, the Eagles did just that on their first live album, released in 1980, Eagles Live.

Now, as much as I love this release, it pales in comparison to the sonic prowess of Hell Freezes Over. That said, Eagles Live is thoroughly enjoyable as it has the spit and polish that only studio overdubbing could accomplish. It is disappointing to acknowledge that this release needed significant post-recording modifications in order to bring it up to the Eagles’ demanding standards. While I lament the obvious notion that this isn’t completely a live performance, I also applaud the work done here as the Eagles were facing internal turmoil during this release, resulting in the overdubs being done in different studios, in different locations, across the United States. It’s honestly a miracle that any live album resulted and it showcases just how good the production team was in getting the sound so good with such obstacles in their way. There is little doubt that the modern era of digital recording has made these types of multi-location collaborations easier and more fluid, but Eagles Live plays so fluidly that only the most observant fans will notice the additional production elements. The rest of us will enjoy the album for what it is. A compilation of the Eagles very best songs, played live but perfected in the studio.

Hotel California (July 29, 1980, Santa Monica) is an exceptional song, but this rendition sounds concealed and while the performance is worthy of inclusion, you’d think with all the post-production aspects of this release that this would sound significantly better than it does. Regardless, if you want to hear what I believe to be the very best version of Hotel California, then you need to check out the recording on Hell Freezes Over. That said, it’s Hotel California; what’s not to like?

Heartache Tonight (July 27, 1980, Santa Monica) is, as I’ve mentioned before, an exceptional song and this live rendition is no exception. I subjectively enjoy this rendition more than the studio release on The Long Run, as the treble is dialled back on this version and subsequently is less shrill than the original. A minor detail, yes, but one that is important to me and may be important to you as well.

I Can’t Tell You Why (July 28, 1980, Santa Monica) is simply glorious. I don’t know about you, but I could listen to Timothy B. Schmit on vocals all day. Yes, this rendition, as many are on this live album, is very close to the original studio release, but when music is this enjoyable, it ceases to matter as I just sit back and enjoy the experience.

The Long Run (July 27, 1980, Santa Monica) isn’t one of my favourite Eagles’ songs and this live rendition doesn’t really change that opinion, although the brass instrumentation is fantastic. Overall, it isn’t fundamentally bad, it just isn’t a song that I feel I need to listen to. That said, I won’t skip it when it comes on.

New Kid In Town (October 22, 1976, The Forum) is, for me, similar to The Long Run. Although, I do have to say that I thoroughly enjoy this rendition. Again, the treble region has been rolled off and I don’t know about you, but that is appealing to me as the music just sounds right with a slightly reduced treble range.

Life’s Been Good (July 29, 1980, Santa Monica) is a killer rock and roll song from Joe Walsh’s solo catalogue, first appearing on But Seriously, Folks, that offers a flawless transition on the album. Given the egos associated with the Eagles, I find it refreshing to see that Walsh’s solo efforts didn’t go unnoticed.

Seven Bridges Road (July 28, 1980, Santa Monica) is a cover of the Steve Young classic. Young’s original is fantastic, but the intermingling vocal harmony of the Eagles takes Seven Bridges Road to another level of sonic perfection. Either way, whichever edition you listen to, you’re bound to love this song.

Wasted Time (October 22, 1976, The Forum) is one of my all-time favourite Eagles’ songs. Absolutely brilliant and a welcome addition to this live album.

Take It To The Limit (October 20, 1976, The Forum), on this live release, is stronger than the original on One Of These Nights as the mix, this time, just sounds right. Whereas, I’ve always felt the mix was a little unbalanced on the original studio release.

Doolin-Dalton (Reprise II) [October 21, 1976, The Forum] is a lovely, albeit brief, interlude.

Desperado (October 21, 1976, The Forum) is, as I’ve mentioned before, one of their greatest songs and is translated to the live performance masterfully; albeit with a little post-production. Nevertheless, it is an exceptional song and I consider this rendition to be one of the very best versions of the song I have ever heard the Eagles perform.

Saturday Night (July 28, 1980, Santa Monica) has, as I’ve mentioned before, perfect harmonics that make for a lovely song that flows perfectly from Desperado.

All Night Long (July 27, 1980, Santa Monica) is another Joe Walsh solo classic. I absolutely love it!

Life In The Fast Lane (July 31, 1980, Long Beach) is fantastic. That rhythm and riff are incredible but I’m not a fan of this live interpretation as I feel the studio release, on Hotel California, is significantly stronger. In some ways, however, this live rendition may be the most live song from this album as the differences are more pronounced than that heard on other songs.

Take It Easy (July 27, 1980, Santa Monica) is always great and closing out this live album with it is perfect as it encourages me to listen to the album again and stay within the Eagle’s catalogue.

Overall, Eagles Live is an extraordinary release that while not entirely live, is a welcome addition to the Eagles’ back catalog. While one may decide not to listen to, or purchase, this album because of the overdubbing throughout, I would argue that it can still be enjoyed and quite frankly given I dislike live performances that are lacklustre, I’m glad a little spit and polish can be applied in order to improve the audio quality and performance. There is nothing worse, in my opinion, than hearing a live performance sound so different to the studio release that you question if the live record was recorded by a cover band. That said, lip-syncing acts have to be abolished as it’s an insult to the concert goer who attends primarily for the atmosphere associated with a live performance and pays extensively for that privilege. By comparison, the individual who buys or listens to a live album knows instinctively that some production has gone into the final product and unless you’re into the bootleg scene, acknowledges that live is not necessarily as live as the artist, record label, and associated marketing would like us to believe.

Eagles Live is available to own on CD and iTunes.

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Slash (feat. Miles Kennedy) – Made In Stoke 24/7/11 (Live Album Review)

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Slash (feat. Miles Kennedy) – Made In Stoke 24/7/11 (Live Album Review)

Following the highly successful Self-Titled Slash album, from 2010, Slash hit the road with Myles Kennedy as lead vocalist. Kennedy certainly has the vocal chops to deliver a wide range of styles and subsequently was the perfect choice as vocalist. Also joining them on this outing was Bobby Schneck on Rhythm Guitar, Todd Kerns on Bass, Backing Vocals, and Lead Vocal on Doctor Alibi, and Brent Fitz on drums. Kerns and Fitz have remained with Slash and Kennedy through their subsequent albums and touring schedule, being dubbed as The Conspirators. It’s certainly a solid lineup and as you listen to the performance, you get a sense of energy and cohesion that is usually reserved for bands that are at the apex of their careers. Yet, here, on an early outing, this is no garage band wannabe stadium headliner that was thrown together merely to capitalise on the success of the eponymous album and Slash’s back catalogue. Of course, this album was recorded in front of a modest audience of 1,500 at Victoria Hall in Stoke-on-Trent in England. Nevertheless, you don’t get a substandard performance and while it may sound different to that of a stadium-sized concert, the intimate location results in audible audience interaction that goes beyond the standard concert screaming and cheering as you can easily hear the audience singing along to many of the songs and chorus lines. It adds to the performance and the intimate feeling of being there vicariously.

While I obviously wasn’t in attendance, I am fortunate enough to have the 3LP Green Vinyl edition that looks as amazing as it sounds. The records aren’t your standard 180-gram releases; probably 140-gram, but this is never a negative aspect for 180-gram is more about marketing than quality. You can have a paper thin record and it can smoke a thick behemoth any day of the week if the mastering and pressing process was handled with respect. 

The tri-fold gatefold is stunning and when you hold this record sleeve in your hand, you know exactly why you’re a vinyl collector for no digital counterpart can ever be this immersive. iTunes LP tried, but the listeners didn’t care, nor did the record labels or the artists; the end result is a feature that is no longer being supported. It’s a missed opportunity, but if I were working for Apple or one of the record labels, I’m sure I’d sink countless millions into things like iTunes LP, whether it made financial sense or not. It’s a shame though, that the dollar value must dictate what music lovers receive. Nevertheless, Slash’s Made In Stoke 24/7/11 is one vinyl release you should own if you’re a fan of the artist/band. The records themselves are quiet, flat, and well pressed and mastered. No, this is not going to sound as good as a highly produced studio album, but it certainly gives the feeling of a live performance better than many other live albums I own. For that aspect alone, I applaud this release and while I don’t find myself gravitating to it on a regular basis, when I do, I thoroughly enjoy the experience and ponder if I should pick up the concert Blu-ray release to go along with it. 

Interestingly, in my younger years, I used to love watching recorded live performances. As I’ve aged, however, I find myself less compelled to sit and watch, preferring to relax and listen. It’s a strange dichotomy that I can’t explain and perhaps I’ll have to give some live performances a chance again to see if I can reinvigorate the interest in watching the performances. Perhaps I’ll start with The Rolling Stones’ From The Vault: No Security San Jose 1999 as the Stones have made the concert available on Apple Music. I don’t know about you, dear reader, but I wish Slash and all other artists and record labels would offer this kind of value-added proposition. Of course, I’m not sure if I’d watch them all, but I know many people who would find significant value from such an inclusion. While I’d love to be able to at least rent Made In Stoke 24/7/11 from iTunes, unfortunately, the only Slash concert available to the Australian market, on iTunes, is the 2014 performance Live At The Roxy. Hey, you never know, I may just review that someday as well. Until then, let’s get back to the review of Made In Stoke.

LP 1 – Side A

Been There Lately was a really strange song to commence the performance with. It was never the strongest song from Slash’s Snakepit and it’s therefore unexpected. That isn’t to say that this live rendition isn’t good as it’s arguably better than the original, but there are many stronger songs from that era that I would have selected. Speed Parade would have been perfect as the opening song, in my opinion. Perhaps, even, Dime Store Rock would have been a better choice.  

Nightrain is an absolute classic and a personal favourite. This live rendition doesn’t shift far from the original, and that’s a good thing, but it has its own personality and is thoroughly enjoyable. I have to say, Kennedy does a wonderful job, on vocals, with all the classic Guns N’ Roses songs. 

Ghost has a killer rhythm and is textbook Slash. Kennedy does a good job with the song that was originally recorded with Ian Astbury. While I can understand the unwillingness to open the live performance with Ghost, given it was the opening track for Slash’s eponymous album, it would have been ideal and would have flowed perfectly into Nightrain. Although, Ghost also flows smoothly into the Snakepit original Mean Bone.

Mean Bone isn’t a bad rock and roll track. It has a classic vibe to it but fails to stand out and subsequently doesn’t offer much to write home about. Nevertheless, it works well for the live performance and is a value-added proposition for those of you that may have not been exposed to the Snakepit era. 

Back From Cali is Kennedy’s song and it’s astonishingly good. While not intended to be, Back From Cali is the perfect song to close out side one, ensuring that the live performance is full of energy and the listener feels compelled to keep listening to a live performance that simply gets better as the show goes on.

LP 1 – Side B

Rocket Queen is a favourite of mine, but that could be said about all songs from the Appetite For Destruction era. They haven’t aged and remain as relevant today as they were when recorded. A sign of good music? Yes, I believe so! 

Civil War is an incredible song and the band performs it stunningly with Kennedy doing a solid job of interpreting the song for his vocal style, but as much as I enjoy Civil War, I would have much preferred to hear the band perform November Rain. Of course, Slash didn’t co-write November Rain, as it was a Rose-only composition, and subsequently, it makes sense that it hasn’t made an appearance. Although, that closing guitar riff is spectacular.

Nothing To Say is brilliant and Kennedy really nails this interpretation, resulting in a song that leaves me divided because I equally enjoy this rendition and the original version featuring M. Shadows on vocals. It’s a great fast-riffed rock and roll tune. Yes, some may suggest that Slash’s style is better suited to his core blues-based rock and roll riffs. While I wouldn’t completely disagree with that point of view, the man is a legend and can certainly shred without issue. 

LP 2 – Side A

Starlight is beyond belief good! It honestly leaves me speechless as it’s nothing short of a masterpiece. Just sit back, turn the volume up, sing along, and enjoy. I know I do!

Promise is an incredible song and while Chris Cornell was the perfect choice for the original studio recording, Kennedy performs it perfectly, showing yet again just how talented he is as a vocalist. Yes, it could be argued that he is merely singing a variety of blues-based rock and roll songs and therefore the shift isn’t that dramatic, but one must remember that the original songs were written with and for other vocalists and vocal styles. The result is Kennedy pays tribute to the original vocalists, makes the song his own, resulting in pure perfection. I dare say there are very few vocalists who could adapt to so many varied styles in a live performance and absolutely nail them all.

Doctor Alibi was a killer Lemmy Kilmister song and Kerns has covered it perfectly. Seriously, if Motörhead ever wanted to tour again, following the unfortunate passing of Kilmister, they should pick up the phone and call Kerns. No, he’s not a Kilmister imitator, but his vocal prowess is most certainly appropriate for the Motörhead sound. Either way, Doctor Alibi is a killer rock and roll tune. 

Speed Parade is your classic meat and potatoes rock and roll song. Full of attitude with a riff and rhythm that is addictive and appealing to the rock and roller within.

Watch This was lacklustre on the eponymous Slash album and I was a little worried about it being included in the live performance. However, the worry was largely unnecessary as the live performance adds a little grit to the instrumental that wasn’t present on the studio recording. That said, it still isn’t exceptional and is quite frankly nothing to write home about, but this rendition is, at the very least, a better interpretation of the original composition. 

LP 2 – Side B

Beggars & Hangers On is one of the greatest songs Slash has ever written and recorded. I’ve always loved it. Eric Dover did a fantastic job with the original and as much as I enjoy Kennedy’s vocal prowess, I really feel that Dover’s is superior as the song just isn’t quite as strong with Kennedy at the helm. That isn’t to say he did a bad interpretation, it’s awesome, it just isn’t up to the same standard of the original and I wonder what Kerns would have sounded like performing this song as he nailed the gruffer vocal delivery on Doctor Alibi. 

Patience is a truly lovely song and this is a beautiful rendition of the Guns N’ Roses classic. 

Godfather Solo flows perfectly from Patience and has arguably become a Slash trademark. Having performed it for years, I dare say there isn’t another guitarist, in the world, that can express the song as elegantly as Slash does; on an electric guitar that is. Absolutely sensational! That said, I would suggest that Slash has become a little self-indulgent regarding the length of this solo. Certainly, he has earned the egotistical right to play that guitar for as long as he likes, I’m just wondering how captivated the fans remain throughout. 

LP 3 – Side A

Sweet Child Of Mine is another seamless transition, especially if you listen to the album via CD or Apple Music. Unfortunately, if you’ve got the vinyl release, you’re not going to notice this continuity. Nevertheless, Sweet Child Of Mine is exceptional and Kennedy can belt this classic out just as well as Rose has over the years. This is the type of song where Kennedy’s unique vocal style really shines. 

Slither is a favourite from the Velvet Revolver era and while I’ll always associate this song with Scott Weiland, Kennedy pays homage to the original and makes it his own. Yes, I should stop comparing the efforts of Kennedy to the vocalists that came before him, as I’m not doing that for the other musicians, but the vocal element, as an instrument, is so pertinent in music that it is difficult to separate the memory in one’s mind to the performance one is currently listening to. Perhaps that is why I dislike cover bands as I feel, despite their best efforts, they are subpar compared to the memory of the classic songs they sing. That said, I am the first to admit that not all covers and cover bands are bad, some can be better than the original, but it is the exception rather than the rule. 

LP 3 – Side B

By The Sword is epic and Kennedy absolutely nails it. 

Mr. Brownstone is one of my all-time favourite Guns N’ Roses songs. The beat is tribal and the rhythm addictive. I love it! 

Paradise City rounds out this live performance and while it would have been nice to see the album end with one of the songs from Slash’s eponymous album, Paradise City is a showstopper and one of the very best songs ever written and recorded. That riff, those lyrics, and that rhythm are sensational. If you need a textbook example of a perfect rock and roll song, I dare say this is it. Without a doubt, Paradise City leaves me compelled to listen to Made In Stoke 24/7/11 again and stay within Slash’s back catalogue.

Overall, Made In Stoke 24/7/11 is a sensational live performance that any fan of Slash and his musical cohorts should check out, if not own, as it is most certainly worth your time. Including music from Guns N’ Roses, Slash’s Snakepit, Velvet Revolver, and Slash’s iconic eponymous release, longtime fans, such as myself, will undoubtedly find something to love about Made In Stoke 24/7/11

Made In Stoke 24/7/11 is available to own on Vinyl, CD, and iTunes

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Legs Diamond – Self-Titled (Album Review)

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Legs Diamond – Self-Titled (Album Review)

If you’re into rock and roll, especially the sort that came out of the California music scene in the late 70s, then you’re going to love this eponymous debut album from Legs Diamond.

I often sit and wonder why one band is more prominent than the other. How did they connect with the social consciousness of the time? Was a band who didn’t receive the recognition they deserve merely out of time? Well, Legs Diamond failed to set the world on fire but would later gain a dedicated following that would result in them reforming and continuing to tour and record to this day; along with various breakups throughout the years. Subsequently, you can be forgiven for having never heard of the band, but thanks to the modern era of music streaming, we can all explore and enjoy the music that was merely out of time, for Legs Diamond is certainly no diamond in the rough and is one of the greatest 70s hard rock albums I have ever heard. How Legs Diamond is not a household name is beyond comprehension, but join me as we explore their eponymous debut. You can thank me later!

It’s Not The Music kicks the album off with a rhythm that is out of this world. If you’re not head bopping and toe tapping from the first note, you’re listening wrong. With numerous influences, including Pink Floyd and Deep Purple, Legs Diamond’s It’s Not The Music is not only a song that should go down in history as one of the grooviest 70s rock anthems, but it is the perfect song to open the album with. So good!

Stage Fright has a killer guitar riff and flows perfectly from It’s Not The Music. It’s full-on 70s west coast rock and roll that will require you to dust off your air guitar. I love it!

Satin Peacock is your classic blues-based rock and roll tune. Turn that volume up and enjoy, I know I am.

Rock And Roll Man is an epic song that reminds me fondly of Black Sabbath’s Ozzy era. This is one seriously good album!

Deadly Dancer is another great song that is very much inspired by Deep Purple and as a Purple fan, that isn’t a bad thing.

Rat Race is full of groove. Yes, you can again hear the influence of Deep Purple, but Legs Diamond creates a sound that is so unique and perfect that it is only reminiscent of Deep Purple in spirit. Regardless, Rat Race will have you head bopping and toe tapping to the addictive rhythm. 70s hard rock doesn’t get much better than this!

Can’t Find Love is a little over-produced at the beginning of the song and really doesn’t start until almost two minutes have elapsed. However, once the song gets going, it’s a riff and vocal driven masterpiece and is literally one of the best songs on the album.

Come With Me closes the record out with the same energy that has permeated throughout the entire album; although I’m not fond of the fade out as I feel commencing the fade on the vocal was a mistake. Nevertheless, there is absolutely no doubt that I will listen to Legs Diamond again and stay within Legs Diamond’s rather extensive catalogue.

Overall, Legs Diamond is not only an exceptional eponymous debut, but it is one of the greatest 70s hard rock albums to have ever been recorded and released. How I wish I could have been a fly on the wall during these recording sessions as the album is mixed and mastered beautifully. So well, in fact, that I’m blown away by the dynamics and soundstage present via the Apple Music stream. While I’d love to track down a vinyl copy, and likely will at some time, this digital release is absolutely amazing and will showcase the very best your speakers or headphones have to offer. It also provides further validation that lossy music can sound exceptional if it has been recorded, mixed, and mastered properly. An incredible album from start-to-finish!

Legs Diamond is available to own on CD and iTunes.

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Apocalyptica – 7th Symphony (Album Review)

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Apocalyptica – 7th Symphony (Album Review)

It’s cello-metal time!

Yes, the world has collided and those of you who are die-hard classical music fans may wish to look away. Similarly, the metal heads may also have a difficult time coming to terms with just how perfect metal and classical overtures and instrumentation work together. Certainly, Metallica proved just how well the mix could be applied when they performed their exceptional live concert, S&M, with the San Francisco Symphony, in 1999. It’s a classic performance and one of the best recordings Metallica has ever released. It’s certainly better than their latest live effort, Helping Hands...Live & Acoustic At The Masonic. I love Metallica, but this album is only slightly better than their Lou Reed collaboration, LuLu. Regardless, Metallica has been an inspiration for the Finnish cello-metal band Apocalyptica and you should really check out their 1996 release, Plays Metallica By Four Cellos. It’s exceptional and one can only wonder if upon hearing this album, Metallica decided to test the waters with their own classical interpretation three years later. Whether or not this was the case, S&M is one of the greatest live albums and performances of all time and Apocalyptica has grown beyond covering their idols, becoming a band that has not only stood the test of time but commands the respect of the classical music lover and metal head alike.

Released in 2010, 7th Symphony is Apocalyptica’s seventh studio release and fast became one of my all-time favourite albums. This review is based on the iTunes/Apple Music standard edition as that is the one that I’ve been enjoying for years. Interestingly, however, as much as I adore this album I’ve yet to add it to my physical collection. Given it was released on various formats, it amazes me that I’ve never taken it to the next level. My only reasoning is that I thoroughly enjoy the digital edition that I purchased so many years ago and as such it makes me wonder if obtaining the vinyl release, amongst other possibilities, is really that important. The music collector within says it most certainly is, but the music lover says if you like the way it sounds, don’t buy another copy. I don’t know about you, dear reader, but I have countless examples of different formats sounding at odds with each other, as if you’re listening to an entirely different album. Sometimes it is subjectively better, other times it is just different. Yes, I’m aware of how different masterings can sound and that each format has its own unique sonic elements, but that doesn’t always mean that vinyl is better than digital or vice versa. Subsequently, I say, enjoy the music you have and if you’re not grooving with the sound, then perhaps you should look for an alternative format/mastering to see if a subjectively better release is available. Of course, as I say that, I’m looking at the cello-shaped USB edition of the album...I want it! Yes, I know I contradicted myself. It isn’t the first time and it certainly won’t be the last. It is the bane of the music collector and as much as one can enjoy the process, it is an addiction just like any other hobby.

Addicted is certainly one way to describe my love of 7th Symphony. By and large, the album as a coherent piece of musical art is superbly crafted and I welcome you to join me as I take a look at the songs that make up Apocalyptica’s 7th Symphony.

At The Gates Of Manala is a sonic wonderland and is the perfect song to open the album with as you know exactly what to expect from the rest of the album when you listen to this song. That isn’t to say that Apocalyptica repeats themselves, for they are certainly diverse, but what is immediately apparent is that this record, in particular, is going to be a little more on the symphonic heavy side than some may assume. That isn’t necessarily a bad thing and there are more mellow tunes throughout 7th Symphony, but At The Gates Of Manala, and the entire album, is one that takes no prisoners and if you’ve never heard anything by Apocalyptica, up until now, I’ve no doubt you’ll be hooked listening to this instrumental song. I certainly was!

End Of Me (feat. Gavin Rossdale) has incredible rhythm and while I’m not overly familiar with Bush, Rossdale performs this song beautifully. However, as good as he sounds, I’d love to hear Corey Taylor on vocals here. Yes, I may well have a man crush on Taylor, but the guy epitomises the lifestyle and genres he performs in. Nevertheless, Rossdale should be congratulated on a stellar performance and the backing musicality is off-the-charts. A great song and a wise choice for the first single from 7th Symphony.

However, Not Strong Enough (feat. Brent Smith), is the best song on the album. Smith has an incredible vocal range that is perfectly suited to the album. Interestingly, however, due to frivolous music industry practices, the Brent Smith original was unable to be released stateside and subsequently another version of the song was recorded with Doug Robb of Hoobastank. To be completely honest, both versions are spectacular but if I had to pick one, it would be the rendition with Brent Smith as I feel his vocal is more suited to the style of the song and backing musicality. Either way, Not Strong Enough is one of the greatest songs in Apocalyptica’s catalogue and I can only recommend you turn the volume up and enjoy. It has an attitude that will make you feel invincible; a positive confidence building element that is exclusive to the listening and appreciation of music.

2010 (feat. Dave Lombardo) is another killer instrumental and Lombardo delivers an exceptional drum track. Its speed metal meets rhythmic metal but performed with symphonic overtones. What’s not to like?

Beautiful is certainly more mellow but is absolutely stunning. I hope you haven’t turned the volume down for Beautiful needs to be heard as loud as you can play it without causing hearing damage or inducing audible distortion.

Broken Pieces (feat. Lacey Sturm) is a lovely song and Sturm delivers an exceptional vocal performance that in some ways reminds me of Avril Lavigne. Perhaps the only disappointment I have when listening to Broken Pieces is the crushed percussion elements as a result of brickwalling. This is quite a shame as all other songs sound dynamic with a broad soundstage, despite the album’s overall low dynamic range. That said, according to the Dynamic Range Database, Broken Pieces has the greater dynamic range in comparison to the rest of the album, almost double the other songs, yet when you listen to it, you wouldn’t agree with that finding

On The Rooftop With Quasimodo begins in a mellow tone, but that doesn’t last as this instrumental track grows in boldness before returning to its original mellow state mid-song, then returning to a heavier symphonic sound. The sonic shifts are done extraordinarily well and you won’t feel they’re disjointed as they blend masterfully together resulting in a song that tells a story through instrumentation alone.

Bring Them To Light (feat. Joseph Duplantier) picks up the pace and it’s a killer scream/speed metal track. The rhythm on Bring Them To Light really directs the song beautifully and Duplantier’s vocals are spot on. A sensational track!

Sacra is absolutely mind-blowing. The moodiness of the cello certainly comes out in this song and I couldn’t imagine a metal-infused cello track being more textbook accurate than this one. If you want to let someone here just what symphonic metal and the cello can sound like, this is most certainly the song to play for them. Perfect would be an understatement as Sacra really is beyond adequate description and has to be heard to be believed. Although, I’m not fond of how it transitions into Rage Of Poseidon.

Rage Of Poseidon has an opening that doesn’t compel me, but as the song progresses, the grinding rhythm takes hold and it becomes a valued addition to the album, ensuring that I’ll certainly play thestandard 10-track edition of 7th Symphony again and stay within Apocalyptica’s diverse and extensive catalogue.

Overall, 7th Symphony is an album that should be in everyone’s collection, be it digital or physical. It is compelling and while on the surface it may seem a little mismatched to the newcomer, it is absolutely perfect to those of us who believe the merging of musical genres is not only a good thing but is an essential element in the continuous evolution of music as a form of art.

As for the tracks not included on the standard edition, but present on varied releases in different regions, I have this to say:

Return Game is simply stunning and brings the cello right to the front of the mix, an element that I thoroughly appreciate. I really wish this song was included on the standard 10-track album.

Through Paris In A Sportscar is a solid tune. Nothing to write home about, but adequate nonetheless.

The Shadow Of Venus is a lovely song, but it does have the tendency to sound a little repetitive.

Spiral Architect is a Black Sabbath cover, first appearing on Sabbath’s Sabbath Bloody Sabbath from 1973. Let me be completely honest, just listen to the original Sabbath version of the song.

These additional four tracks, along with a DVD featuring performances from the Sibelius Academy, are all included on the Deluxe Edition. Thankfully, this additional content has also been made available on iTunes, as well as Apple Music, for those who wish to download or stream the content. The additional performances included are for the songs Beautiful, Not Strong Enough, End Of Me (if you’d like to see the official music video (feat. Gavin Rossdale), click here), I Don’t Care (an incredible song originally released on Apocalyptica’s 2007 release, Worlds Collide), Sacra, and Bittersweet. Yes, these additional elements can often be seen as bonus material that you’re unlikely to consume more than once, but I would encourage you to check it out as the songs are performed in an acoustic manner, showcasing just how seriously talented these musicians are. Tipe Johnson of the Finnish rock band, Leningrad Cowboys, provides the vocals on these acoustic performances and does a simply incredible job.

Apocalyptica’s 7th Symphony is available to own on CD and iTunes. A Deluxe Edition is also available on CD/DVD and iTunes.

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Device – Self-Titled (Album Review)

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Device – Self-Titled (Album Review)

David Draiman is a man with few peers and with such a unique vocal presentation it can be difficult to separate the man from Disturbed; a band that would catapult him to international fame. Fortunately, or unfortunately, depending on your philosophical bent, Disturbed entered a hiatus between 2011 and 2015, resulting in a series of side projects by the various band members. Bassist, John Moyer, would join Adrenaline Mob and form Art Of Anarchy, while Dan Donegan and Mike Wengren formed Fight Or Flight. Draiman, of course, went on to form Device with former Filter guitarist, Geno Lenardo. Device, while not completely dissimilar to Disturbed, in part due to Draiman’s unique vocal presentation, does have a greater electro-industrial sound than Disturbed that fans will undoubtedly adore.

You Think You Know is a hard-hitting start to the album and in some ways is reminiscent of Disturbed’s Believe era. Despite that, You Think You Know sounds fresh and unencumbered by the link to Disturbed. The rhythm elements are fantastic, but the drums are sadly a little flat, especially in the high-hat region. This is due, in part, to the over-compressed nature of the album whereby the dynamic range is brick-walled rather badly. When you listen to this song, and much of this Self-Titled album, it becomes apparent that the music is screaming to be heard with more separation and depth. Yes, the highly compressed nature of this style of music is somewhat of a trademark, but I feel it was taken a few steps too far and could have been dialled back a little to allow a greater sense of scope, rather than the wall of sound that is currently present. Nevertheless, I love You Think You Know and believe it is the perfect song to commence the album with.

Penance is stadium worthy as that rhythm will get you moving. Perhaps the only questionable aspect is the tempo. The chorus and overall musicality are perfectly timed, but I do wonder how Penance would have sounded if the vocal delivery was sped up a little.

Vilify is a great song, but the electro-industrial elements are a bit too in your face and sound as if they were added as an afterthought. Yes, I understand this is the style Device was aiming for, it just feels as though there are two songs here, instead of one coherent one.

Close My Eyes Forever (feat. Lzzy Hale) is amazing! I love it and could listen to it indefinitely. This is most certainly a song for my lost on a deserted island playlist. Lzzy Hale is one of the greatest rock/metal vocalists in the world today and the duet with Draiman has a sense of purity that could only have been made in heaven. As much as I love the Ozzy Osbourne and Lita Ford original, this edition takes the song to a new level while simultaneously paying homage to the original.

Out Of Line (feat. Serj Tankian & Terry “Geezer” Butler) is a raw and riff-driven song full of attitude. Seriously, turn this song up to 11, you’ll thank me later.

Hunted started out promising, but I don’t like Draiman’s lyrical presentation on this song. Subsequently, I’ve got to call Hunted a B-Side.

Opinion (feat. Tom Morello) is a great left-of-the-centre song. The rhythm is disjointed, but that is where the magic happens proving that order and chaos can coexist.

War Of Lies is a solid track, but it’s nothing to write home about.

Haze (feat. M. Shadows) is enjoyable and while there are moments of brilliance, I don’t feel Shadows is presented as prominently as he should have been on this track as his input sounds a little lost in the mix. A shame considering just how exceptional he is as a vocalist. In all honesty, if you didn’t know Shadows contributed to this track, you’d be forgiven in missing his addition as there is very little sign of the vocal prowess the Avenged Sevenfold frontman is known for.

Through It All (feat. Glenn Hughes) is a sensational closing track that encourages me, like all good closing songs should, to listen to the album again.

While there are no major disappointments on this album, it is frustrating that this self-titled release was never issued on vinyl. The cover art alone demands a larger canvas and the greater dynamic range, provided by the vinyl mastering process, would be a welcome addition. Similarly, it frustrates me that the edition available to Australian audiences, via digital downloads, streaming, and CD, are limited to 10 songs. There are, however, three additional songs that have been made available on various editions of the album. A Deluxe Edition that includes a cover of Nine Inch Nails’ Wish and A Part Of Me. The Best Buy Exclusive also includes the track titled Recover. Are these additional songs any good? Well, I have reluctantly taken to YouTube to check out the tracks, despite the poor audio quality, and one can understand why they weren’t included on the core album. That doesn’t change the fact that in the era of streaming, these songs should easily, and legally, be available to fans the world over.

Overall, Device’s Self-Titled album is exceptional and while Draiman has stated that there is no intention to release more music under this moniker, I hope he reconsiders this position as this work complements his work with Disturbed in much the same way that Corey Taylor’s Stone Sour complements Slipknot.

Device’s Self-Titled album is available to own on CD and iTunes.

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Cher At The Amway Center, Orlando, Florida 1/21/2019 (Concert Review)

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Cher At The Amway Center, Orlando, Florida 1/21/2019 (Concert Review)

One of my best friends lives in Orlando and I try to visit her every year. When she lived near me we went to a few concerts together, including Peter Frampton, Elton John, and Tom Jones, as her husband really isn’t a fan of the music we like, and it gave my husband an excuse not to go with me. Now that my friend is in Orlando the only concert she’s been to with her husband is opera great Andrea Bocelli. Since I’m a huge concert fan we’ve decided to time my visit based on a concert we’d both love to attend. Two years ago it was Billy Joel. This year it was Cher. Billy was once again performing at the Amway Center in early January, and he always puts on a great show. But people, this is CHER! Not just a singer or actress, but an all-around entertainer. This was a show we did not want to miss.

If you know anything about Cher you're aware of her wild costumes, big hair, and stunning sets. At the Amway Center she did not disappoint. The show started with a video montage of Cher, from the 1960s to the present day, including clips with Sonny Bono, her former singing partner and husband, and her children. This was followed by Cher’s dramatic entrance, complete with orange hair and golden headpiece, singing one of her more recent hits, “Woman’s World.”

She took some time during the show to tell a few stories as only Cher can. She told the crowd about her “two night” 40th birthday, which was when she met one of her longtime boyfriends, Rob Camiletti. Her 15-minute story had the crowd laughing and applauding, especially after she announced that at 72 years old she wasn’t as good as she once was but was happy just to be there. Hey, if I look like that when I’m 72 I’ll find a stage somewhere and strut my stuff!

During the numerous costume changes, video montages and voice overs played on small tv screens on the set: Cher dressed as Elvis Presley and singing “Heartbreak Hotel;” Sonny and Cher performing “Little Man/All I Ever Need Is You.” The most poignant was Sonny singing his part while Cher sang live on “The Beat Goes On” and “I Got You Babe.”

Remember the “Sonny & Cher Comedy Hour” from the early 1970s? For me, it was must-watch TV. Sonny and Cher not only sang, but performed in silly skits. Cheesy by today’s standards, yet a fun memory.

The fans were truly loving Cher’s covers of ABBA hits: “Waterloo,” “SOS,” and “Fernando.” Cher was feeding off the crowd’s energy and they responded by singing and dancing along.

For the ending songs, “If I Could Turn Back Time” and “Believe” Cher was rocking an outfit very similar to the risqué body stocking she wore for the video of “Time” in 1989, though this time much more modest.

Fans were expecting a party at the Cher concert and they were not disappointed. While her voice isn't quite as strong as it once was Cher still knows how to work a crowd. She may be 72 years old but she still has a bright future ahead of her.

The opening act for Cher on this tour is Nile Rodgers and Chic. I have to confess the first time I saw Chic was…ahem…40 years ago when they played at my college. Yes, that’s how long I’ve been going to concerts, with a gap when my kids were young. Chic performed for close to an hour, which really wasn’t long enough. They started with the hits, “Everybody Dance,” “Dance, Dance, Dance,” and “I Want Your Love.” Nile Rodgers talked a lot about his history in the music business, as most people either know him from his work with Chic, or his work as a producer of many well-known artists: Duran Duran, David Bowie, Diana Ross, Sister Sledge, and Daft Punk, just to name a few. Rodgers, a cancer survivor who acknowledged music is what kept him going during his recovery, really got down and funky with Chic singing and dancing to their huge dance hits, “Le Freak” and “Good Times.” It felt like we were back in the late 1970s/early 1980s disco era, and I loved it. What a way to end the show!

Seeing Chic brought back some sweet college memories. Cher was just a lot of fun. And of course spending time with my BFF – priceless.

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The B-52’s – Self-Titled (Album Review)

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The B-52’s – Self-Titled (Album Review)

Released the year I was born, The B-52’s wouldn’t appear on my radar for a number of years, but Cosmic Thing and the addictive Love Shack would have a lasting impression on me as by 1989, my love of music exploration was already developing and I simply devoured their rock meets dance meets classic pop styling. However, it wasn’t until Mobile Fidelity Sound Lab (MOFI) reissued The B-52’s, Wild Planet, and Cosmic Thing on vinyl, via their Silver Label, that I once again paid serious attention to the new wave Artpop band and their entire back catalogue. 

One may wonder what I think of the B-52’s MOFI releases. Well, I’ve yet to pick any of them up as I have mixed emotions about MOFI’s silver label pressings. Of the two I own, Dead Can Dance’s Spiritchaser is remarkably good while Stevie Wonder’s Hotter Than July has just never sounded quite right, despite the pressing being perfect. Yes, dear reader, the mastering is key here and the style differences between the aforementioned records also need to be taken into consideration. That said, I’m once bitten, twice shy! Despite this, these B-52’s records remain on my lengthy wish list and we’ll just have to wait and see if/when I acquire them. If I do pick up these releases, you’ll be able to read about it here on Subjective Sounds. For the moment, however, the Mastered for iTunes edition, as streamed via Apple Music, is thoroughly enjoyable with a presentation that isn’t fatiguing or jarring on the senses. 

Planet Claire has an atmospheric start that is akin to any spy film you’ve likely seen from the era. As a fan of such films, this entrance captures my attention and is one of the very best songs to have ever led a debut album. I love it!

52 Girls, by comparison, is rather raw and underproduced. It isn’t fundamentally bad, but it really needed a little more spit and polish as the mix makes it sound like a demo, rather than a fully fleshed out recording. No more apparent is this than in the vocal tracking whereby it sounds distant and concealed in the mix. A B-side at best. 

Dance This Mess Around is a little left of the centre, but that isn’t necessarily a bad thing. It just takes a little getting used to. 

Rock Lobster is responsible for the mess and masterpiece that is John Lennon and Yoko Ono’s Double Fantasy. I’m not a fan of Ono’s tracks on that album and while Lennon heard a similarity between Rock Lobster and Ono’s music, I don’t as I find Rock Lobster is musically and lyrically compelling. I could listen to it on repeat indefinitely. Whereas, I struggle to listen to Double Fantasy in a linear manner. Regardless, Rock Lobster is an absolute classic. 

Lava is one of my all-time favourite B-52 songs. I love the double entendre and the blues-based rock styling. That said, does anyone else hear a little Stevie Nicks influence in the vocal on this song?

There’s A Moon In The Sky (Called The Moon) is fantastic and logically witty. While it isn’t the strongest song on the album, I thoroughly enjoy it.

Hero Worship is a solid B-Side, but there is a better song hidden here just waiting to be revealed. While I don’t agree with artists re-recording their songs, in an attempt to change the mistakes based on years of reflection, there are songs, such as Hero Worship, that I would love to see The B-52’s re-record. 

6060-842 has a catchy rhythm and lyric. Yet, just like 52 Girls and Hero Worship, it sounds underproduced and is subsequently a B-Side that offers nothing to write home about.

Downtown is a cover of the classic made famous by Petula Clark. Honestly, it isn’t a great cover and it subsequently doesn’t compel me to listen to the album again. A shame considering the rest of the album, even the B-Sides, do encourage me to listen to the album on repeat. 

Overall, The B-52’s is an incredible and thoroughly enjoyable debut that is mostly polished with the sonic cues that would ultimately catapult The B-52’s to increased popularity as they further refined their sound. Is it worth owning? Well, to be completely honest, I’m unsure. There are some truly exceptional songs on this release with a few B-Sides interspersed. It is these B-Sides that cause conflict in my mind, although I will acknowledge that the more you listen to the album, the more it grows on you. Therefore, it is possible that I’ll grab a vinyl reissue at some stage, but the price would need to be right.

If you’d like to own The B-52’s Self-Titled debut, it is available on Vinyl, CD, and iTunes (Mastered for iTunes).

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A-Ha – Hunting High And Low (Album Review)

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A-Ha – Hunting High And Low (Album Review)

Few debut albums reach the commercial success a-ha had with Hunting High And Low, yet I dismissed it as just another campy 80s synth-pop release that wasn’t worth exploring. Well, dear reader, I was wrong, but you have to promise not to tell my better half as she has always enjoyed a-ha and whenever she spoke about them my sarcastic response was a-ha, yeah, a-ha! Don’t worry, I did the same with Wham!, yet I absolutely adore their music today. Many who know me well know that I can be fickle, but I also feel that we should never be entirely closed off to experiencing new music, outside of our comfort zones, for one never knows just where that experience can lead. In this case, it has led to a true appreciation of a band that I had previously ignored. 

Thanks, in part, to streaming, one can now explore a world of music beyond their own tastes and Apple Music’s 2015 Remastered Version, also Mastered for iTunes, is sonically pleasing without a single digital artefact to worry about. Remastering often gets a bad wrap, even here on Subjective Sounds, and while I can’t comment on how the album originally sounded, this Apple Music stream sounds just right. While I’m keenly interested in picking up Hunting High And Low on vinyl, along with their career perspective, Headlines And Deadlines: The Hits Of A-Ha, I’d be perfectly satisfied with this digital stream. It’s really that good!

Take On Me may be a-ha’s most successful song, but it is also the campiest and the one which probably kept me at arm’s length for so many years. It isn’t bad, but I do feel that it has been excessively played and that can, unfortunately, create boredom and disdain for an otherwise solid song. All one needs to do is look at how loathed Celine Dion’s My Heart Will Go On and Aerosmith’s I Don’t Want To Miss A Thing are to know that overplaying of a song can ruin it. 

Train Of Thought has a great rhythm and reminds me in places of Elton John and Grace Jones. Subsequently, I love it!  

Hunting High And Low is absolutely stunning. While stylistically different from the first two tracks, Hunting High And Low sounds familiar while taking a-ha in a completely different direction musically, showing just how talented these musicians are. 

The Blue Sky returns the album to a more synth-pop styling and while solid, I’d class it as a B-side. It has a sound that is very alternative and one which I feel takes a few listens to fully appreciate. Still, it isn’t the strongest song on the album, but there is a solid tune hidden here, if only the tempo was shifted a little and the lyrical delivery was more in-line with the musicality.  

Living A Boy’s Adventure Tale is great! You’ll want to turn the volume up when listening to this. The soundstage is incredible and that initial gradual build is extremely compelling. 

The Sun Always Shines On T.V. is one of my favourite songs on the album. Yes, it is borderline campy, just as Take On Me is, but it has been played to a less excessive degree. Plus, it rocks! Turn that volume up and you’ll be amazed at just how enjoyable The Sun Always Shines On T.V. is. It’s a stadium filler if there ever was one. 

And You Tell Me isn’t a bad ballad-styled track, but I’m unsure how I really feel about it. In one way I thoroughly enjoy it, but in another I question myself as to why. I also feel it is a little too short. Nevertheless, Hunting High And Low wouldn’t be the same without it. 

Love Is Reason is a classic B-side. It isn’t bad, but that repetitive chorus does become tiresome. Great musicality, however. 

I Dream Myself Alive is a solid tune. Nothing to write home about, but worthy of inclusion.

Here I Stand And Face The Rain has a very unique opening with the vocal delivery. I do thoroughly enjoy the acoustic styling, however, when the synth elements enter the mix, they do so in a manner that is complementary, thereby ensuring fluidity. Without a doubt, Here I Stand And Face The Rain compels me to listen to Hunting High And Low again and stay within a-ha’s catalogue of music; exactly what a closing song should compel the listener to do.

Overall, Hunting High And Low is an incredible debut and an album that represents some of the very best music in both the synth-pop and new wave eras. Yes, it retains an 80s feel, but that isn’t necessarily a bad thing and to be completely honest, the album hasn’t aged nearly as badly as one would have thought. 

Hunting High And Low is available to own on Vinyl, CD, and iTunes (Mastered for iTunes).   

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10,000 BC – Original Music By Harald Kloser And Thomas Wander (Soundtrack Review)

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10,000 BC – Original Music By Harald Kloser And Thomas Wander (Soundtrack Review)

Allow me to paint a picture for you. A book inspires a film and the film inspires a soundtrack. Yes, dear reader, I am one of those people that explores every element surrounding something that interests me. 

10,000 BC, despite receiving mediocre reviews, remains one of my most beloved films. Sure, I could talk about the technical and historical inaccuracies along with the quizzical hypothesis, but I’d much prefer to be drawn into the mystique, a mystique which opens my mind and allows me to explore other possibilities than those expressed in the mainstream history books. Yes, you could probably call me a little gullible, but to be honest no one really knows exactly what happened all those millennia ago and subsequently there are a lot of educated guesses. Hence, I like to remain broad-minded and after watching 10,000 BC, I wanted to know more. 

Thanks to the ever-accurate Wikipedia, I found out that director extraordinaire Roland Emmerich based the film partially off Graham Hancock’s exceptional Fingerprints Of The Gods. So, I had to read the book. The film captivated me and I needed to know more. It’s a stellar read and one that I highly recommend if you are interested in Pseudoarchaeology. No, dear reader, I’m not a crackpot, I just like to keep an open mind. Plus, it makes for great dinner conversation!

Anyway, I have a tendency to listen to music as I read. While reading a music biography will have me going through the entire works of a particular artist, other non-music related non-fiction or fiction books are generally accompanied by whatever I feel in the mood to listen to. Well, in this case, I thought I’d try the soundtrack to 10,000 BC and while it’s logically disconnected from the book, it kept the interest in the book and the subject paramount in my mind. That said, the book is a page-turner, but it doesn’t hurt to have a little encouragement along the way.

The problem is, when I finished reading Fingerprints Of The Gods, I also stopped listening to the soundtrack and while I have watched the film numerous times since, I can’t recall if I actually liked the soundtrack on its own, or if it was the connectivity of media that compelled my interest so many years ago. Therefore, I’d like you, dear reader, to join me on a journey of re-exploration as I take a look at the soundtrack and decide whether or not it can be appreciated on its own, outside of the influence of the film and Fingerprints Of The Gods.

Opening is, for lack of a better term, cinematic. It is the kind of audible introduction that ensures the filmgoer knows they are about to experience something special, something captivating, and something that will encapsulate them in sound and transport their senses to another world. I love it!

Mountain Of The Gods started out bold but the vocal incorporation that is included in the film detracts from the musicality. A shame in one way, but as a soundtrack it is somewhat understandable. 

Speech is simply stunning. It is one of my favourite tracks on the soundtrack and is glorious when presented in the film. Yes, I hear a little influence from the Transformers soundtrack and while that is not necessarily a bad thing, it shifts my focus. 

Evolet is a beautifully relaxing and uplifting composition. If only all music could be this good!

Mannak Hunt radically shifts the styling of the soundtrack, but it is, of course, in line with the film’s chronology. Mannak Hunt isn’t inherently bad, but I feel it was somewhat unsuitable for the film’s scene as I felt it didn’t accurately capture the hunting aspect of early man. Of course, I’d recommend you check out the film and ascertain this for yourself as it is highly subjective. 

Celebration simply exists. Nothing to write home about and while applicable to the film does little for allowing the soundtrack to be experienced independently. 

I Was Not Brave returns the soundtrack to a more relaxing, perhaps sombre, tone. It is this style that I thoroughly enjoy.

Night Of The Tiger is a fantastic score for the associated scene. While the random listener may not be able to appreciate it, the scene in the film, with the musical accompaniment, is edge-of-your-seat entertainment. 

Lead Them is a lovely composition and one that is inspirational. Although, I feel it could have been even bolder than it is as I feel it was being held back a little. 

Terror Birds has a terrifying entrance. This soundtrack really is a collection of sonic elements that are complementary when viewing the film, but are seriously disjointed when listening to the soundtrack in the film’s running order. Yes, that is how soundtracks are generally made, but it would be nice to see a soundtrack go down a less linear route, thereby allowing it to be appreciated as a piece of standalone musical art. 

Wounded Hunter is a sombre, but uplifting, piece of music that is simply beautiful. 

Food has a very nice vocal element that will appeal to individuals who appreciate World Music. Musically, however, it is limited and likely won’t appeal to the classical-minded listener. 

Goodbyes was another sonic element that worked perfectly in the film but doesn’t sit well on its own here.  

Sea Of Sand is epic! 

Wise Man is elegant but sombre. Perfect for the film.

He Was My Father is another composition that merely exists and is nothing to write home about. 

Mark Of The Hunter is a perfect score for the film but does nothing to evoke emotion within the listener. 

Free The Mannaks was a great scene in the film, but the epic nature of it fails to reach the listener of this soundtrack. Nevertheless, perhaps that is what a good score is all about, enhancing the film and not standing alone as a composition on its own. It would be nice if it could be both though.

Not A God portrays the same thought as Free The Mannaks.  

You Came For Me is stunning and connects with Evolet in tonality and purpose. I love this composition. 

The End follows on beautifully from You Came For Me. It is compositions like this that make this soundtrack so appealing, if only it had been presented in a non-linear manner. 

10,000 BC/End Credits closes the soundtrack out nicely, reminding me just how much I enjoy the film and encouraging me to go and watch it. While I don’t necessarily feel captivated to listen to the soundtrack again, there are some compositions here that are simply out of this world and perhaps the best approach for me moving forward would be to create a playlist of the songs I wish to hear, in the order that I wish to hear them. 

Overall, the 10,000 BC soundtrack is very much a soundtrack and unlike Dances With Wolves is not likely to be appreciated as a piece of classical-inspired music on its own. However, fans of the film or the works of Kloser and Wander will undoubtedly be captivated. There are certainly high and low points to be found throughout, but the music is captured so elegantly that you’d be hard pressed to be disappointed as it is sonically beautiful. While I’ll likely always keep this soundtrack in my digital library, never seeking out a physical copy, it will be appreciated whenever I simply want to audibly reflect on the film or read the follow up to Fingerprints Of The Gods; Magicians Of The Gods: The Forgotten Wisdom Of Earth’s Lost Civilisation

The soundtrack for 10,000 BC is available on CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes.

If you prefer streaming, 10,000 BC is available on TIDAL Hi-Fi and Apple Music.

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Icehouse – In Concert (Live Album Review)

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Icehouse – In Concert (Live Album Review)

Have you ever purchased an album by an artist you love, yet disliked it upon the first play? Well, I have, and this release was one that I just couldn’t get into. It didn’t matter that I had both the vinyl and CD editions, as well as an autographed placard of the album cover. I just didn’t connect with the live performance as I had hoped I would. Subsequently, both releases remained unplayed in my collection since their release in 2015. That, of course, changed when my son asked if he could have the CD edition for his own collection.

As I thought more about my son’s request, I found myself at an interesting crossroads regarding my love of collecting the music that brings me joy. Not only have I acknowledged that I’ll never be able to own all the albums I desire in my own personal collection, but I also acknowledge that it is somewhat foolish to have multiple copies of the same album as I find little joy in trying to decide which edition of an album I should listen to. It is the old Vinyl vs CD argument and rather than enjoying the music I find myself focusing on the formats; a rather tedious and often soul-destroying process that yields no enjoyment. A great example of this predicament is Dire Straits’ Brothers In Arms of which I have two copies; one vinyl, the other the 20th Anniversary SACD release featuring not only the standard CD edition but the HDCD, SACD stereo mix, and SACD 5.1 surround sound mix on a single disc. The vinyl edition is the incredible Mobile Fidelity Sound Lab release. Yes, all this jargon will likely drive non-audiophiles to the hills, with those remaining wanting to declare me insane; quite frankly I couldn’t blame them. It is insane and given I can only listen to one album at a time, I think it is time to cull down my collection and select the edition that brings me the most pleasure. After all, there is no point in listening to one version of the album only to wonder how a song would sound on another format. 

Of course, the big winner in all of this is my son. He was always going to inherit an incredible music collection, but I can start giving him some of my duplicates, knowing that he will enjoy them. Also, selfishly on my part, I get to see the excitement in his eyes and truth-be-told that is the greatest gift of all. Although, I didn’t quite say that when he woke up the entire household singing along to Electric Blue from the In Concert album, I had given him the night before. Still, I had a grin from ear to ear because I’m sure I did exactly the same thing when I first heard Electric Blue so many years ago. 

As I no longer have the CD release, my son will have to write that review, this review will be based solely on the vinyl release that is nothing short of spectacular now that I am no longer comparing it to the digital counterpart. 

Spread across three records and six sides, the entire near two-hour performance is presented on the most beautiful black vinyl you’ve ever seen. The label itself is gorgeous and while some may think of it a simple, I appreciate how it connects back to the ultra-successful Man Of Colours era; a theme that remains consistent throughout the artwork.  

Photographs and typography are simply gorgeous and the message from Icehouse front man and founder, Iva Davies, is a welcome addition. His acknowledgement of the work bassist Steve Bull put into making this release a reality is one of those rare moments in the music industry where credit is given where credit is due. Similarly, Davies also informs us through the liner notes that while this live album is not from a singular show, it matches the setlists that were performed throughout late 2014 and the subsequent best versions of each song were selected with no overdubbing or re-recording. The result is exceptional and it’s utterly flawless as the songs flow so smoothly you’d swear they were recorded on a single night in the same concert hall. 

Perhaps the only element that is a little disappointing for the vinyl release is the rice paper record sleeves as they have a tendency to scuff records and deposit additional pop and click inducing fibres into the grooves. Thankfully, my Pro-ject anti-static record cleaning brush solves that problem as does replacing the sleeves with anti-static inner sleeves; admittedly an additional cost, but one that I thoroughly recommend to all vinyl music lovers.  

The noise floor of the records, however, is incredibly low. You’ll be hard pressed to hear any surface noise, even when pumping the volume to ear-bleeding concert levels. The records have also been cut with audible quality in mind as there is no chance of inner grove distortion as each record ends before the dreaded inner grooves can become an issue. Yes, you’ve got to get up and turn the record over more frequently, but it is worth it for the additional sonic benefits. Plus, who doesn’t like a 3LP set? You really feel like you own something with a package that large and it reminds me fondly of my six-sided Wings Over America; another truly exceptional concert that I have on both CD and vinyl and will have to decide which edition truly brings me joy, gifting the other to my son. 

Anyway, without further ado, let’s take a look at the songs that make up Icehouse’s In Concert

SIDE ONE

Walls was an interesting choice to open the live performance. I’m unsure if I agree with the helicopter introduction. Yes, it works well, but how does it apply itself to the music? Given many of Icehouse’s recent live performances have been in theatres, I’m struggling to see the relevance. Nevertheless, Walls is an excellent song that has always been a favourite of mine since first being released on Icehouse and this live performance maintains the energy of the original, ensuring the listener knows exactly what to expect from the entire live album.

Mr Big has a sensational rhythm, but that chorus-driven drum element is a little too shallow for my liking. It isn’t bad, it’s just different to the way the original studio release sounds and my preferred live performance of this song can be found on Live From The Ritz, available on the 25th Anniversary CD+DVD release of Man Of Colours.

Love In Motion is sensational and while the Chrissy Amphlett duet was off-the-charts good; sadly Amphlett is no longer with us, but her legacy with the Divinyls lives on as does her spirit, captured on the 1992 re-recording of Love In Motion for the compilation album Masterfile. While Masterfile is long out-of-print, you can find this exceptional version of Love In Motion on White Heat: 30 Hits.Yes, Love In Motion was written and recorded well before the Amphlett/Icehouse collaboration, but she really added something special to the song and while I don’t think there was a ever a live performance of the song with Amphlett, she is remembered fondly when listening to this live rendition.

Crazy has one of my all-time favourite guitar hooks. So good! The live performance is perfect as it is reminiscent of the original studio recording, while being unique in its own right.    

SIDE TWO

Hey, Little Girl is a song that I have a love/hate relationship with. That’s a subjective viewpoint and not indicative of the song itself, but sometimes I feel this song is simply too campy and other times I thoroughly enjoy it. The live performance is excellent, minus the spoken word elements before the start of the song. However, if you really like this song, you’ll definitely want to track down a copy of the Hey Little Girl (’97 Remixes) as the remixes are seriously good on that long out-of-print maxi single. It also has one of the most unique CD designs I’ve ever seen as the CD is partially clear. 

Electric Blue is iconic; such an 80s song! It’s one of my favourites and you may remember earlier that my son woke up the household singing Electric Blue as it is also one of his favourites. Electric Blue makes you want to sing and while my son still gets some of the lyrics wrong, he’s giving it his all, not worried about how he sounds and how much taunting his sister dishes out to him. It would be a proud moment for this music-loving father if he did something music related when he grows up. If not as a career, certainly as a hobby. I’m thinking about an Icehouse cover band, what do you think, dear reader? 

Baby, You’re So Strange is a fun song and I love the live rendition on In Concert as it really takes the song to another level of moody and brooding musicality. 

SIDE THREE

Heartbreak Kid is lovely. Davies decision to talk about the history of the song, prior to commencing the performance, is invaluable as it’s fascinating to hear about the origins of the tune and see just how smoothly Davies transitions from a Bob Dylan impersonator to Iva Davies. Exceptional!

Dusty Pages has always been a favourite song of mine. It’s the best song off Sidewalk with the exception of Don’t Believe Anymore. This acoustic-based rendition is absolutely lovely and complements the original perfectly.  

Street Café had a great music video when first released in 1982. No, it wasn’t quite as epic as Great Southern Land, but this live interpretation is. It’s magnificent and a pleasure to listen to, as are all the acoustic-based songs on side three of the vinyl collection. 

Man Of Colours is Davies’ song, so I was quite surprised to find that Michael Paynter was the lead vocalist on Man Of Colours. His performance is absolutely stunning, but I still miss Davies performing this masterpiece. Sure, Davies is there in a backing vocal capacity, also allowing him to play the Oboe while Paynter vocalises the song, but it isn’t quite the same. That, of course, shouldn’t take anything away from Paynter as he is incredible, and I look forward to following his career in the years to come. He really did pay homage to the original while making it his own. 

SIDE FOUR

Miss Divine is one of the best songs off Code Blue and I have always thoroughly enjoyed it. However, I’m torn over this live performance as I feel it’s a little disjointed in the vocal department and that acoustic guitar strum is too forward in the mix. Of course, loving the original as much as I do, I could simply prefer the studio recording which I believe is impeccable. Subsequently, this live performance just doesn’t do it for me. 

Don’t Believe Anymore would have to be my all-time favourite Icehouse song. Okay, perhaps I have a few that that could be said about, but the saxophone element in both this live performance and the original studio release is nothing short of spectacular as it captivates me beyond belief. 

Great Southern Land is the quintessential Icehouse song and requires no hyperbole. 

SIDE FIVE

Can’t Help Myself has an addictive beat, but it’s one Icehouse song that I neither love nor hate. It merely exists. It isn’t a bad live recording, but it isn’t great either. 

Nothing Too Serious is one of Icehouse’s best and is certainly a highlight from Man Of Colours. It’s a great live performance but the tuning on those cymbals sound a little off as they’re very shrill. I’d love to say it is only on the vinyl edition, but I’ve heard it both on the TIDAL Hi-Fi and Apple Music streams.

We Can Get Together is another fantastic song from Icehouse and I’m consistently amazed as to just how good the debut, by Flowers at the time, really was. This live performance is incredible and has all the energy that one would expect from the song. Incredibly, while it may be over three decades old, We Can Get Together remains timeless.

SIDE SIX / FIRST ENCORE

Icehouse, of course, became the band’s name following the shift from Flowers to Icehouse in 1981. I don’t know about you, dear reader, but I’ve never heard a better version of Icehouse than that which appears on In Concert. Exceptional!

Cross The Border is another of my all-time favourites. It has a sensational rhythm and is the best song from Measure For MeasureThis live performance isn’t bad either. It doesn’t stray far from the original composition, but that isn’t necessarily a bad thing, especially when the song was perfect to begin with. 

/ SECOND ENCORE

Sister closes the live album nicely with the energy that has always existed in this song. It, without a doubt, encourages me to listen to the album again and stay within Icehouse’s extensive catalogue of music. 

In Concert is an exceptional live album with a selection of songs that cover the greatest eras of the band. However, it’s a little disappointing that nothing from Big Wheel or The Berlin Tapes was included. Satellite would have worked well before or after Nothing Too Serious. Heroes, the David Bowie song that Davies performs immaculately well, would have been perfectly suited to appear after Man Of Colours. Nevertheless, for whatever reason, these songs were excluded and while they are missed, it doesn’t detract from the astonishing performance and album that is In Concert. 

In Concert is available on VinylCD, the TIDAL Store (16/44.1kHz FLAC), and iTunes (Mastered for iTunes).

If you prefer streaming, In Concert is also available on TIDAL Hi-Fi and Apple Music.

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