Moxy – Moxy (Self-Titled) [Album Review]

Released in 1975, Moxy’s self-titled debut is a classic recording, offering a raw and energetic display of classic hard rock elements. It’s one of those albums that is best heard in its intended linear structure for as powerful as the individual songs are, the musicianship, throughout, is top-notch, thereby creating a tight, cohesive sound that propels the album forward with relentless energy. There certainly isn’t a bad song to be heard on Moxy, nor is there a B-side. Perhaps it is the concise (sub-40 minute) runtime of the album, but if you put the time aside to appreciate this record, from start to finish, you won’t be disappointed.

Part of the appeal is the fluidity throughout as each song is perfectly positioned within the album’s overall structure. The result is that you really shouldn’t judge an album by its cover for the stark design, while striking, doesn’t detract from the album listening experience. In many respects, one could suggest that Moxy put all their creativity into the music, rather than the artwork; an aspect that has been repeated numerously with black cover art designs adorning exceptional albums throughout the years. Regardless of intent, one thing is for certain, Moxy would have looked magnificent on the shelf at a local record store and, thankfully, this classic album has once again been reissued on vinyl. While I don’t have a copy of that 2022 reissue, mainly because it costs AUD$94, the Lossless Apple Music Stream is stunning.

As for the provenance of the streamed version, Apple and the record label haven’t provided that information, but it’s reasonable to assume the stream is derived from one of the CD reissues as it isn’t an Apple Digital Master and is delivered at the CD equivalent 16-bit 44.1 kHz. While that may be a deterrent to some, ignoring the stream would be ridiculous for it’s superbly mastered with plenty of headroom that allows you to pump the volume and rock out. This is one example where there would be little benefit to having a remastered edition for it’s already, sonically, impressive. The soundstage is well developed, with clarity and depth that allows each musical element space to breathe, whilst also ensuring the entire record is presented as a rock powerhouse. Of course, you don’t have to take my word for it, take a listen to the stream below, as you peruse my thoughts on each of the eight songs, and I’ve no doubt you’ll be impressed by the music emanating from your sound system.

Fantasy is a musical masterpiece and is the perfect song to boldly open this exceptional release. Whether it’s the overall rhythm, Buzz Shearman’s extraordinary vocals, or the catchy guitar riffs, Fantasy is, without a doubt, one of their all-time greatest tunes.

Sail On Sail Away shifts the tone to a bluesy-country twang, before launching into a killer rock number that further showcases Moxy’s musical diversity and skill. I know I use this term too often, as do so many others, but when you listen to Sail On Sail Away, you can’t help but note that they don’t make music like this anymore. While I’m not suggesting that all modern music should replicate the music that came before it, imagine if we could have more music like this in the modern era. There are some notable examples, such as Rival Sons and The Cold Stares, but they’re the exception rather than the standard. My only criticism of Sail On Sail Away is that the fadeout is a little too abrupt, otherwise, it’s an incredible tune.

Can't You See I'm A Star is an anthemic rocker that exudes charisma and attitude. With its driving rhythm providing a solid foundation for the addictively good guitar riffs and Shearman's commanding vocals, even the most hardened of critics will be drawn in when listening to Can't You See I'm A Star.

Moon Rider kicks things up a notch with some of the very best guitar riffs you’re likely to hear from the 70s. It’s so compelling that I’d suggest it, and the entire album, offers some of the very best rock and roll of the 70s. Exceptional!

Time To Move On is lyrically catchy but as incredible as Shearman’s vocals are, they are the reason why this song will leave you speechless. It is the musical bed and overall performance of the band that truly shines and no more is that evident than during the spectacular mid-song jam session.

Still I Wonder, with its infectious groove and memorable hooks, will grab you from the very first moment. Yes, it’s a little more of a straightforward rock number, compared to the other songs on the album, but that isn’t a critical perspective for the song is magnificent. It just isn’t as multilayered as many of the other songs from the album. However, if all you’re after is a killer rock and roll tune, that you can play your air guitar along to, you’re going to love this hard rock number.

Train is a hard-hitting rocker with a relentless rhythm and gritty guitar riffs. Propelled by thunderous drumming and blisteringly determined guitar playing, amongst other musical aspects, Train is somewhat of a hidden gem and one that keeps getting better the more you listen to the album, especially as it pertains to the closing guitar solo and Shearman’s magnificent vocal delivery throughout the final moments of the tune.

Out Of The Darkness is an uplifting rocker with a driving beat and soaring melodies, featuring powerful vocals and an electrifying guitar performance. It’s so good that you’ll either feel compelled to play the album again or sit and contemplate the music you’ve just heard; the definition of a perfect album closer.

Moxy may have been a debut release but it’s also a classic slice of 70s hard rock that still holds up today as there isn’t a B-side to be heard. From its infectious hooks to its blistering guitar work, it's an album that should be played loud and enjoyed to the fullest. If you haven’t already, consider adding it to your music library for this is one release worth owning.

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Journey – Journey (Self-Titled) [Album Review]

Released in 1975, Journey’s eponymous debut marked the beginning of a musical journey that would contribute to the sound of arena rock in the late 70s and 80s, yet this album is somewhat different in that it is jazz meets progressive rock; a combination that gives the record a compelling uniqueness.

While the sonic presentation of the album has a greater focus on the instrumental aspects, than their later albums would, this release laid the groundwork for the band’s subsequent rise to fame and set the stage for their signature blend of melodic rock, soaring vocals, and intricate instrumentation. It wasn’t, however, a commercial success but is amongst their greatest recordings and is a top-tier release from the mid-70s.

From the first track to the last, the complex musical arrangements and extended instrumental sections have created an album experience that should be heard within that context. While we’ll delve into the individual songs shortly, this is one album that is best heard in its intended linear structure. Perhaps this was apparent at the time of release for the only song to be released as a single was To Play Some Music; a tune that is good, but not great and is, arguably a poor showcase of Journey’s ability to convey human emotion through audible art.

While there are few criticisms to note, it wouldn’t surprise me if some listeners don’t enjoy this release due to the extended song lengths that, admittedly, could have been shortened. Nevertheless, Journey is an experience in and of itself and the lossless Apple Music stream goes a long way to ensuring that you’ll thoroughly enjoy the music. Every aspect of the mix is clear and the soundstage is well-defined. Perhaps the strongest praise that can be made is that it just sounds right; a very technical declaration, naturally, but one that signifies just how well this album was recorded, mixed, and mastered. Apple Music doesn’t indicate the provenance of the album but it’s fair to say that this CD counterpart is about as good as the album is going to sound sans a remastered/reissue campaign. Additionally, the sonic presence of the album is so well delivered that I simultaneously don’t want a remaster as, again, it sounds just as it should; perfect!

With all that in mind, dear reader, join me as I explore the songs that make up this exceptional, yet underrated, release.

Of A Lifetime opens the album with an incredibly dynamic fusion of rock, jazz, and progressive elements that set the tone for the entire record. Gregg Rolie’s vocal is the perfect accompaniment to the musical bed, as is Neal Schon’s sensational lead guitar riff, but it’s the combination of all musicians that makes this song one of the very best that Journey has ever recorded.

In The Morning Day is a bluesy rock number that includes an infectious groove and catchy melody. Rolie’s vocal is perfectly suited to the song, and the era, but don’t get too comfortable because around the midway point, In The Morning Day turns into a high-spirited psychedelic number that, despite shifting the tone of the song, is thoroughly enjoyable.   

Kohoutek slows the tempo somewhat with an audible journey that is best heard firsthand for the atmospheric aspect, along with the multiple layers of the song, require significant unpacking that words alone cannot adequately convey. Kohoutek is also the most progressive jazz tune, bordering on jazz fusion, from the album and the shifts may, or may not, appeal to everyone. My only criticism is it makes the song a little long, but if we focus on the jazz aspect, and the associated jamming elements of the genre, then the length and complexity make perfect sense.

To Play Some Music is, as I eluded to earlier, a solid tune but one that I wouldn’t consider being single material. It isn’t bad, it’s just an album-only tune.

Topaz opens with a marvellous sonic presentation, the musical shifts, throughout, are a little rougher than I’d ideally like for if you allow yourself to listen in a relaxed manner, you’ll likely be shocked when the tempo shift occurs. Yes, you get used to it the more you listen to the album, but it’s still there and mildly bothers me each time I listen to this song.

In My Lonely Feeling / Conversations is a musical marvel and Aynsley Dunbar’s drumming on this tune is sensational. Of course, the whole band is on fire with Schon’s lightning guitar riffs and Rolie’s smooth vocals being amongst the highlights of what can only be referred to as another of Journey’s most underrated tracks.

Mystery Mountain is the perfect album closer, one that blends the elements of rock, jazz, and blues, thereby creating a song that is not only memorable but one that will encourage you to listen to this self-titled debut again, for Journey can never be listened to only once.

Overall, Journey's self-titled debut is a strong introduction to a band that would go on to become one of the most successful rock acts of the late 20th century. While it may not have achieved commercial success, it did lay the groundwork for the band's future success and remains a testament to their musical talent and creativity. With its blend of melodic rock, virtuosic instrumentation, and emotive vocals, Journey is a classic album that deserves a place in every music lover's collection.

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Fleetwood Mac – Fleetwood Mac (Self-Titled, 1975) [Album Review]

Released in 1975, Fleetwood Mac, the band’s second self-titled album, marked a pivotal moment in Fleetwood Mac's history as it presented a transition from their blues roots to a more commercially successful sound that included a new lineup that featured Lindsey Buckingham and Stevie Nicks alongside remaining band members, Christine McVie, John McVie, and Mick Fleetwood. While everyone points to Rumours as their magnum opus, and from a sales perspective it is, Fleetwood Mac is a far stronger album with a slower overall styling that really embraced the mid-70s soft rock scene.

It’s important to note that this is the second eponymous album by Fleetwood Mac, the first being their self-titled debut release from 1968. While it is far from common to have two self-titled releases, given the lineup and structural changes of the music Fleetwood Mac had made with this 1975 release, it makes perfect sense as they were essentially relaunching the band.

While early 70s era Fleetwood Mac fans would undoubtedly have been perturbed with regard to Bob Welch’s departure, and another lineup change, the dynamic interplay between the remaining and new band members is remarkable. Buckingham's guitar work is masterful, blending intricate fingerpicking with powerful riffs, while Christine McVie's keyboards add depth and texture to the arrangements. Stevie Nicks' distinctive vocals soar on tracks like Rhiannon and Landslide, infusing them with emotive intensity. John McVie and Mick Fleetwood, however, should not be overlooked for a song is only as good as its rhythmic backbone; one in which these two master musicians constructed perfectly.

Naturally, the songwriters and musicians are the focal point of the record, but credit has to be given to legendary producer Keith Olsen who co-produced and engineered this release. His production style can be heard throughout, yet it doesn’t detract from Fleetwood Mac themselves. The result of this collaboration is an album that, so many decades later, remains a wonder, in and of itself, for it strikes a perfect balance between the raw energy of the band's live performances and the studio sheen that was characteristic of the era.

With well over 7 million copies sold, Fleetwood Mac was a monster of an album that would only be outsold by Tango In The Night (over 15 million), and Rumours (over 40 million), and has subsequently been reissued countless times. With almost 300 different known editions, it’s somewhat impossible to declare which version is the best. Therefore, this is one time when I appreciate the lossless Apple Music stream for I need not concern myself with tracking down the very best version as my ears have already told me that I thoroughly enjoy the edition delivered via the streaming service.

Should I wish to further entangle myself, however, in different versions, the 2004 remaster and 2018 Deluxe Edition are also available on Apple Music, but in briefly comparing them I find that I prefer the release labelled with 1975 as the published date. It, coincidentally, is also the release containing the Dolby Atmos version of the album; a mix that I don’t feel compelled to listen to for this album is beautiful in the original stereo mix. Interestingly, however, it isn’t an Apple Digital Master, for that particular labelling has been given to the 2004 remaster. The problem I have with that edition is that it is mastered too loud, whereas my preferred edition, which is shared below, is lovely and smooth with a warmth that one would usually expect from an analogue medium.

Your preferred version, however, may differ from mine but I have found my preferred edition and any further exploration would only cause additional confusion, particularly when you factor in the Atmos release and the plethora of physical counterparts. The good news is that you too can sample the available editions, via streaming, and decide for yourself as to which digital version is more pleasurable. But first, join me as I take a look at the songs that make up this exceptional release.

Monday Morning opens the album with an infectious upbeat tempo that sets the stage for the entire album. Buckingham’s vocals are divine and are amongst his greatest vocal performances.

Warm Ways shifts the tone somewhat, but the mellower lush presentation, following Monday Morning, isn’t a shock to the senses as Warm Ways has an inviting atmosphere. While it isn’t Christine McVie’s strongest song, Warm Ways has a lovely musical accompaniment that is perfectly suited to the era and her vocal styling.

Blue Letter is an energetic rock number with Buckingham on vocals. It may not have been written by any member of Fleetwood Mac, but this Michael and Richard Curtis tune suits the album’s style perfectly.

Rhiannon is one of Fleetwood Mac’s most iconic songs for the mesmerising blend of folk and rock, along with Nick’s haunting and poetic vocals, is captivating.

Over My Head has a magnificent slow build to this breezy pop-rock tune. Christine McVie once again shines as Over My Head has catchy hooks and an infectious chorus that should have made it an instant classic. The backing vocal harmony, however, is a little campy, thereby causing distraction from an otherwise exceptional tune.

Crystal is a song that first appeared on Buckingham Nicks’ debut album; prior to them joining Fleetwood Mac. While this version is different, one thing is for certain, Buckingham’s vocal presentation is second-to-none and the backing vocals, particularly those provided by Nicks, are extraordinary as the musical bed allows your mind to drift into a sonic wonderland. They, most certainly, don’t make music like this anymore!

Say You Love Me has an upbeat, feel-good rhythm, that is amongst Fleetwood Mac’s most recognisable songs. The irresistible melody and sing-along chorus drive the song forward and make it impossible to not be moved by this classic tune.

Landslide is a magical piece of songwriting and audible art. Credit for this tune, naturally, has to be given to Nicks for it is her at her most vulnerable; an aspect that comes through crystal clear in her beautiful performance.

World Turning is a funky folk meets country groove-driven track that has a playful vibe and adds a dose of energy and spontaneity to the album. Despite being an album-only tune, it’s also a hidden gem and one that deserves more attention than it generally receives.

Sugar Daddy is a rock number that showcases the band’s blues roots. While the entire album is exceptional, Sugar Daddy is one song that, while it would be missed, should have been omitted for it sounds more like a demo than a fully-fledged song.

I'm So Afraid closes the album on a high note with Buckingham's searing guitar solos and raw, impassioned vocals. While there’s no shortage of exceptional songs written by Buckingham, I’m So Afraid is a personal favourite as it showcases that Fleetwood Mac can go beyond the blues-based pop-rock that defined their career and take on an even bolder composition that will leave you reflecting on this incredible tune whilst simultaneously wanting to spin the record again. Of course, in the modern era, it is easier than ever to put this song on repeat and it’s worthy of such appreciation because it is one of the greatest, and most underrated, songs Fleetwood Mac ever recorded.

Fleetwood Mac not only rejuvenated the band's career but also laid the foundation for the iconic lineup that would go on to create some of the most enduring music of the 20th century; along with this very record. With a blend of catchy hooks, heartfelt lyrics, and masterful musicianship, Fleetwood Mac is easily one of the greatest albums of the 70s. Whether you're a longtime fan of the band or new to their music, this album is essential listening for anyone who appreciates classic rock.

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Eloy – Power And The Passion (Album Review)

Released in 1975, Eloy’s Power And The Passion, their fourth studio album, is a masterpiece of progressive symphony rock that has to be heard firsthand to be fully appreciated. The musical structure and compositions are exceptional, yet the concept album approach doesn’t quite grab me. Granted, I appreciate the human vocal as another instrument in the mix, rather than a storytelling device, but the idea of a drug-fueled time traveller and an encounter with a wizard doesn’t grab me at all.

What does captivate me, however, is the cover art and music contained within this release. Eloy has always had captivating artwork, primarily targeted at the larger vinyl canvas. Yet, in a surprising omission, Power And The Passion hasn’t been reissued on vinyl since 1982. Those of you who aren’t enamoured with this legacy format may question what all the fuss is about, but I’d argue that Eloy is one of those bands that would see many collectors, particularly of their classic 70s era recordings, clamour for the chance to get updated copies of the albums they love; if for no other reason than to have an unadulterated piece of captivating visual art.

As it stands, the lossless Apple Music stream will have to suffice for the modern music lover as this CD counterpart is derived from the last CD remaster from the year 2000. Perhaps suffice is the wrong word to use because the sonic prowess of the lossless stream is magical. It may not be an Apple Digital Master, but it’s enveloping, with a soundstage that goes well beyond your speakers and is so impressive that I can see why another remaster hasn’t been issued. While I haven’t heard an original mastering of the Power And The Passion, when music sounds this good, I’m in pure sonic bliss and truly hope that the band, and record label, leave well enough alone. That said, this album, and Eloy’s classic era releases, are most certainly long overdue for being reissued on vinyl.

Introduction sets the stage perfectly for the songs that are to come. With its masterfully composed ethereal synthesised sounds and spacey textures, Introduction creates a sense of anticipation and mystery that flows beautifully into Journey Into 1358.

Journey Into 1358 is a killer tune with an incredible vocal presentation and musical bed that gives a sense of grandeur to the song.

Love Over Six Centuries is a lovely musical experience that is not only flawless and epic but must be heard firsthand in order to be fully appreciated. It’s so good, that it is easily one of the greatest songs Eloy ever recorded.

Mutiny, as with the other songs, flows so seamlessly that you could be mistaken for appreciating the album as a single body of work, and while I wouldn’t necessarily seek any song out on its own, as Power And The Passion is best heard in its intended album structure, songs such as Mutiny are so powerful that I could see them being easily added to a playlist, or played on repeat for hours on end.

Imprisonment has a rather creepy introduction but, thankfully, it doesn’t continue for it is one song that gives me the heebie-jeebies. After the anxiety has ceased tormenting my senses, Imprisonment comes into its own and while not a standout, it’s a solid album-only tune.

Daylight, in contrast to Imprisonment, is a little too campy and upbeat. It’s also fair to say that it’s my least favourite song from the album, but I can appreciate it in the record’s linear structure and the album wouldn’t be the same without it.

Thoughts Of Home is short but is an absolute masterstroke of creative genius with a composition that I never tire of.

The Zany Magician will encourage you to get out your air guitar for this is a killer rock number with attitude to burn. Not only is it memorable, but it’s one of the greatest songs that Eloy ever recorded. Yes, the vocal aspects could have been removed entirely, and it could have been a masterful instrumental number, but that aspect adds context for those who are following the story arc.

Back Into The Present doesn’t truly embrace the setup that was heard in The Zany Magician, but there are some redeeming qualities, such as that killer guitar solo.

The Bells Of Notre Dame is an ideal closer; one that permits contemplation whilst simultaneously encouraging you to play the record again. Incorporating aspects heard throughout the entire album, The Bells Of Notre Dame is nothing short of a sonic masterpiece.

Overall, Power And The Passion is a masterful work of progressive rock that continues to enthral listeners with its timeless appeal. While I may not be convinced of the album’s thought-provoking themes, the epic compositions ensure the album remains a classic of the genre and is a testament to Eloy's enduring creativity and innovation. Whether you're a seasoned prog enthusiast or a newcomer to the genre, Power And The Passion is essential listening for anyone who appreciates ambitious and adventurous music.

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Eagles – One Of These Nights (Album Review)

Released in 1975, One Of These Nights was the fourth studio album from the Eagles and their greatest achievement in the era prior to Hotel California’s release. It would also become the Eagles’ first number-one record, and without a B-side to be found, is best described as a masterpiece. Yes, One Of These Nights has forever resided in the shadow of Hotel California, released a year later, but in many ways, as much as I adore the latter album, I feel One Of These Nights offers music lovers a stronger all-round album experience. 

While the Eagles were one of those bands that consistently built upon the success of their previous releases, their ability to seamlessly blend various musical styles, including rock, folk, and country, not only demonstrated their versatility as musicians but also broadened their appeal to a vast audience. Add to that their songwriting mastery and what you have is a record whereby each track offers a compelling narrative alongside memorable melodies.

Of course, killer songwriting would be for nil if the vocal harmonies that the Eagles are renowned for were, in any way, flawed. Whether it's the soaring choruses of Take It To The Limit or the soulful interplay in After The Thrill Is Gone, the band's harmonies elevate each song to new heights, heights that are perfectly matched by their instrumental prowess. 

Even detractors would have to admit that the production values of the Eagles, throughout their entire career, have been exceptional. The recording, mix, and mastering of each album have been impeccably done thereby ensuring that every vocalisation is clear within the mix. Every instrument is given room to breathe and at no time is an element overwhelming in the mix. While the band members were exceptional musicians in their own right, credit has to be given to producer extraordinaire Bill Szymczyk. His work with the Eagles, amongst others, is legendary and he would produce five of the Eagles’ most well-received studio albums throughout the years. 

As the Eagles are one of my all-time favourite bands, it’s likely no surprise that I find myself fortunate to own the 2014 vinyl re-issue (RRM1-1039). Sonically, it’s lovely! You’ll get the analogue warmth that is a trademark of the vinyl format and you’ll also notice the instrumental and vocal separation is spot on, meaning it’s a solid edition to consider. Is it the best? Well, I can’t tell you as I haven’t had the opportunity to listen to other vinyl editions. What I can say is that I’m content with this vinyl reissue, and the associated Apple Music stream, and feel no need to seek out another copy of this classic album.  

Turning our attention to the Apple Digital Master on Apple Music, it also sounds thoroughly enjoyable. It’s a little muddier than I’d ideally like, particularly in the low-end audible range of Too Many Hands, but it’s a minor quibble that may not apply to you, depending on how you have your music playback system configured. If, however, I compare it to the vinyl reissue, the analogue format doesn’t exhibit the dull thud heard on the stream. Instead, Too Many Hands delivers depth to Don Henley's drum track, along with clarity and separation of Randy Meisner’s bass track, when listening to it on the turntable. It isn’t necessarily off-putting, but something that you should be aware of if you care about such minute elements. 

Regardless, it’s all about the music and with that in mind, join me as I explore the songs that make up one of the greatest albums the Eagles ever recorded.

One Of These Nights has an incredible introduction with a sultry groove that creates the backbone of the tune. Add in the haunting vocal harmonies, Don Henley’s magnificent lead vocal, and a memorable guitar riff, and this title track quickly becomes not only a standout but an instant classic. 

Too Many Hands is a gritty rock number that features a driving rhythm section and blistering guitar work that’s masterfully mixed with the Eagles’ trademark sound, incorporating country and soft rock elements, magical harmonies, and melodic mastery.  

Hollywood Waltz slows down the pace with this incredible melancholic ballad. The lush instrumentation, including subtle percussion, gives Hollywood Waltz a cinematic quality. While it was never destined to be a hit, and is subsequently an album-only tune, you’ll find yourself captivated as you sit and listen to the enveloping soundstage; one that would be sorely missed if this song had been omitted from the album.

Journey Of The Sorcerer can, and should only, be described as one of the Eagles’ greatest recordings. The mix of folk and country influences, driven by intricate acoustic guitar picking and a whimsical, almost mystical atmosphere, ensures that this song is not only memorable but is a hidden gem for those Eagles fans who have never delved into the album or gone beyond their greatest hits. 

Lyin’ Eyes is one of the Eagles’ most iconic songs, and for good reason as it has an addictive rhythm; one that you’ll find yourself toe-tapping and head-bopping along to. With its memorable melody, lush arrangement, and poignant lyrics, the song perfectly captures the complexities of human relationships and remains a timeless classic. 

Yes, the shift from Journey Of The Sorcerer to Lyin’ Eyes can be a little abrupt, for the modern digital music lover, as these editions don’t permit the longer pause that is present if you have a vinyl edition. Nevertheless, it doesn’t take long for the senses to adjust and by the time the first chorus is reached, you’ll be in sonic heaven, most likely singing along to the chorus. 

Take It To The Limit is a powerful ballad that showcases the vocal prowess of bassist Randy Meisner. As with Lyin’ Eyes, Take It To The Limit has become an anthemic number for the Eagles with a soaring chorus, magnificent vocal harmonies, and a musical bed that will encourage anyone to embrace, and overcome, life's many challenges. 

Visions is a lesser-known track on the album but is a solid album-only tune. 

After The Thrill Is Gone is a beautiful ballad with a stripped-down arrangement that ensures Henley and Glenn Frey’s vocal mix thoroughly explores the emotional depth of the tune.

I Wish You Peace is a stereo panning nightmare, when listening on headphones. Via a stereo, it fills the room and immerses you in the soundstage. Nevertheless, I Wish You Peace is a lovely closer that allows for both contemplation as well as encouragement to play the record again as it’s a gentle, acoustic-driven song that offers a message of goodwill and is one of Bernie Leadon’s greatest lead vocal performances. 

One Of These Nights is a timeless masterpiece that showcases the Eagles at the peak of their creative powers. With diverse musical influences, impeccable songwriting, and flawless production qualities, this album remains a classic that continues to captivate audiences around the world; particularly those who venture beyond Hotel California. If you're a fan of classic rock, or simply appreciate great music, One Of These Nights is a must-listen.

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America – Hearts (Album Review)

Released in 1975, Hearts is a masterpiece of 1970s soft rock, showcasing America during their most prominent years. While it’s another impressive collaboration with George Martin, in the production chair, Hearts is most notable for seamlessly blending acoustic guitar-driven compositions with lush harmonies and subtle instrumental arrangements. The result is an album that, much like the rest of their 70s catalogue, is easy listening soft rock folk music that will appeal to just about any music lover. 

As previously mentioned, Martin’s contribution here, along with Geoff Emerick's engineering of the album, ensured that the production quality of Hearts was top-notch, with each instrument and vocal harmonisation meticulously arranged to create a cohesive and immersive listening experience. Hearts, subsequently, has a timeless appeal and while not presented as an Apple Digital Master, sounds lovely via Apple Music. It is, of course, up to Warner Records as to which edition of an album is delivered to Apple Music, but one would expect more with Apple Music not only supporting Hi-Res Lossless delivery but also Spacial Audio; particularly as Hearts had been released in the 70s as a quadraphonic edition alongside the stereo release.

Given the classic album status of this record, Warner may wish to keep additional versions in the archives for anniversary releases on physical media. However, one can’t help but wonder if this isn’t a missed opportunity for a Dolby Atmos mix need not apply as Apple Music fully supports Dolby Audio; a legacy surround format that can deliver up to 5.1 channel mixes via the streaming service.  

Given Hearts has been reissued for the audiophile fans amongst us, higher-quality versions of this album do exist. That said, some of these releases are now out-of-print and command significant prices on the secondhand market. Interestingly, however, Qobuz has a Hi-Res Lossless 24-bit / 192 kHz edition of the album available to stream or purchase so if attaining the highest quality reproduction is the most important aspect to you, you may wish to check out that version. As to why Apple doesn’t have access to the same version as Qobuz, I’ve no idea. It is yet another minor quizzical frustration that streaming-focused music lovers must contend with. 

Turning our attention back to the Apple Music stream and what you get is a CD facsimile that reproduces the album’s analogue-era warmth and fullness with lovely separation between instruments and a pleasurable stereo soundstage. While I’ve no doubt there are advantages to the other, aforementioned, releases, the stream is so lovely that I question if I need to seek out other editions. At any rate, it’s all about the music, so join me as I take a look at the songs that make up this incredible mid-70s release. 

Daisy Jane sets the tone for the album with its gentle acoustic guitar intro and soft melodic vocals. It’s one of America’s most beautiful ballads and the song's catchy chorus and lush harmonies ensure that it’s not only a standout from the album, but is amongst the greatest songs that America ever recorded.

Half A Man shifts the tempo slightly and while the initial shift presents a jolt to the senses, you quickly meld into the soft rock elements that are, in some ways, reminiscent of Alice Cooper; particularly in his solo ballad-styled 70s and 80s recordings. Whether or not Half A Man is an exceptional song will be determined by your subjective tastes, but it’s ideal for the era in which it was released as the upbeat horn delivery and backing vocals pigeonhole it perfectly to the sounds that were prominent during the mid-70s. 

Midnight is captivating with its dreamlike haunting melody and atmospheric instrumentation. The vocal harmonies are stunning and when merged with the musical bed, it makes for a standout tune that’s a hidden gem of, not only, America’s back catalogue, but of the 70s. 

Bell Tree flows beautifully from Midnight as this song continues the serene atmosphere with gentle acoustic guitar melodies, subtle percussion, and delicately delivered vocals. It may not be a standout, but it’s songs such as Bell Tree that make for an exceptional album experience. 

Old Virginia has folk-focused instrumentation that combines seamlessly with America’s vocal delivery and harmonies; a beautiful song! 

People In The Valley features a more upbeat tempo and rhythmic groove than the prior songs, yet the catchy chorus and infectious melody make it a compelling listen and showcase America's ability to craft memorable pop-rock tunes; even if it presents a minor shock to the senses when listening to the album in its linear structure.

Company is an interesting tune for it isn’t the greatest song America ever recorded, yet there’s an intriguing aspect to it that I can’t quite explain. It isn’t a B-side, nor is it filler. It does, however, work perfectly within the flow of the album and I like it; even if I can’t communicate why. 

Woman Tonight, with its energetic rhythm and infectious groove, is a standout tune as the musicality is off-the-charts good. While it doesn’t seem that it should work on paper, the Caribbean and reggae-influenced undertones work surprisingly well with America’s style.

The Story Of A Teenager slows things down again and while I don’t mind the uptempo numbers, more melodic tunes, such as this one, are much more well-aligned with America’s vocal-focused presentation.

Sister Golden Hair is, arguably, the most iconic track from Hearts. Featuring a catchy guitar riff, and memorable chorus, Sister Golden Hair is a timeless classic and a standout within the classic rock sub-genre. 

Tomorrow is the perfect song to follow on from Sister Golden Hair as it doesn’t detract from the brilliance of the previous track but is magnificent in its own right. While the musical bed is stunning, it is the harmonious vocal delivery that makes Tomorrow an exceptional tune. 

Seasons is an interesting closer as part of me would suggest that Tomorrow would have been a stronger final track, if for no other reason than to allow the listener time for contemplating the music they’ve just heard. Instead, Seasons will pique your attention with its theatrical nature that sounds as if it would have been better placed in a different sequenced position. Nevertheless, Seasons is a lovely album-only tune that will encourage you to play the record again. 

With its memorable melodies, heartfelt lyrics, and impeccable production, Hearts continues to captivate audiences and stands as a testament to the band's enduring legacy; one that has its peers but one that sees America at the very top of the folk-rock movement of the 70s. 

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Ringo Starr – Old Wave (Album Review)

It’s fair to say that Ringo Starr never quite received the recognition that his fellow bandmates, from The Beatles, did when embarking upon a solo career. Whilst he may have flown under the radar, the glorious thing about our modern music streaming world is that any music lover can easily experience classic albums, such as Old Wave, and decide if they’re worthy of adding to their collection. For me, it most certainly is. Showcasing a mix of musical styles and collaborations, Old Wave captures the essence of the 80s while incorporating elements of Starr's signature sound. It also just happens to be one of the very best albums Starr ever recorded and one of the greatest albums released in 1983.

Old Wave is Starr’s ninth solo studio release and is notable, in part, as Joe Walsh co-produced the record with Russ Ballard whilst also writing and co-writing many of the songs. Walsh also performed on the album and you’ll hear his signature licks throughout. Old Wave very well could have been called Ringo Starr meets Joe Walsh, but while purists may detest that proposal, Old Wave maintains a classic rock sound that, due to the combination of these incredible musicians, ensures that it is one of Starr’s most rocking releases.

While Starr’s previous album, Stop And Smell The Roses (1981) already has a place in The Worst (And Most Disturbing) Album Covers Of All Time, Old Wave almost qualifies for inclusion. Only a mugshot would have been more intriguing and while the art direction is relevant to the album’s title, and the throwback photo further adds weight to a counterposition of the new wave movement that was sweeping the social consciousness at the time, it’s just not a piece of visual art that you’d display proudly.

The music is, of course, another thing entirely and thankfully it’s exceptional. As it pertains to sonic quality, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite. It’s so good that as I listen to the album my mind is not drifting and wondering whether or not the album would sound better via a vinyl or CD release. Yes, dear reader, sometimes the stream can be that good.

In My Car opens the album with a catchy melody that will see you toe-tapping and head-bopping along. With a synth-driven upbeat style, In My Car is perfectly suited to the era and quickly becomes an earworm that you’ll be listening to long after the album has stopped spinning. Joe Walsh went on to record the tune in 1987, but I truly believe Starr’s is the superior version as Walsh’s is a little too overproduced, and pop-driven, for my liking. Whereas, the rock-edge on Ringo’s edition is sensational.   

Hopeless has a killer country-inspired twang to it and its quirkiness is perfectly suited to Starr’s persona. Again, you’ll find yourself involuntarily moving to the rhythm, but that’s part of the appeal for Hopeless is anything but.

Alibi is a fantastic song but, as much as I thoroughly enjoy it, this is one song that would have been perfect had Starr collaborated with Paul McCartney, for it has his manner written all over it. Nevertheless, Walsh provides a more than adequate accompaniment and that’s, really, quite an understatement for Alibi may not be a standout tune, but when you have songs as compelling as this one, you’ve got an exceptional album experience.

Be My Baby has an offbeat rock edge to it that is simply superb. Your senses may struggle to connect with a particular aspect of the song initially, but once you sync with a specific element, Be My Baby comes into its own and is one of the best songs that Walsh has ever written.

She's About A Mover is a fun little cover. If it sounds familiar, you’ve probably heard the original performed by the Sir Douglas Quintet. Regardless of which rendition you appreciate more, She's About A Mover is a timeless tune.

I Keep Forgettin’ is another cover and as much as I love the Chuck Jackson original, there’s a broodiness in Starr’s presentation that makes this my preferred edition as it has a little more attitude in its presentation. The mix, as is the case throughout the entire album, is also exquisite and is a textbook example of how to correctly mix for stereo. Incredible!

Picture Show Life is a fun album-only tune that is suited perfectly to the album.

As Far As We Can Go is a beautiful ballad-styled tune. Don’t get me wrong, it isn’t Starr’s greatest vocal achievement and you’re unlikely to seek it out on its own, but it’s a value-added proposition for those of us who appreciate fluid album structures.

Everybody's In A Hurry But Me shifts the styling considerably, but that's hardly surprising when you’ve got Eric Clapton and John Entwistle performing on the song as well as being co-writers. There’s plenty of Clapton’s Slowhand to be heard here as well as the jamming elements you’d often associate with The Who. In truth, Everybody's In A Hurry But Me is more akin to a demo than a fully-fledged tune, but none of the musicians featured here had anything to prove and have earned the right to be self-indulgent.

Going Down is a perfect closing tune that will encourage contemplation as well as compelling you to play the album again. With Walsh’s screaming signature guitar sound, this is one thoroughly enjoyable rocker.

Old Wave is best described as a hidden gem within Starr’s extensive discography; offering listeners a diverse and engaging musical experience. It may not have been commercially successful, but that metric has rarely been an accurate indication of creative quality. What Old Wave does offer fans, and music lovers alike, is a window into Starr’s enduring talent and musical evolution as it delivers some of the most enjoyable music from the early 80s.

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Petra – Not Of This World (Album Review)

Petra's Not Of This World, released in 1983, stands as a landmark rock album that seamlessly blends powerful messages with some exceptional music.

While Petra is billed under both Christian and Inspirational rock genres, you’ll note that I referenced Not Of This World as a rock album and for good reason; I don’t listen to music for its lyrical interpretation. I, instead, prefer to enjoy the human vocal as another instrument within the mix. The benefit of that, in this case, is that I’m not influencing my love of the music based on the interpreted meaning of the lyrics. Granted, not everyone appreciates music in that manner, but I only mention it because if you’re opposed to Christian-based music, you’re going to miss out on some of the very best rock music from not only the 80s, but from all of recorded music history.

Visually, the album’s artwork is stunning and perfectly suited to the era and the vinyl format; the leading distribution medium for music during the early 80s. Thankfully, modern music lovers can still access this classic release as it was reissued beautifully on CD in 2021 and vinyl in 2022. That said, both releases are nearly impossible to pick up in Australia, with both commanding high prices when available. So, until I can track down one of the two physical releases, streaming will have to suffice.

Speaking of the stream, the Apple Music version is a direct CD-quality counterpart to the CD release from 1988 and is dynamically pleasing. Turn the volume up and you’ll be met with a rocking album that has an ample soundstage, clarity and definition between all music elements, and enough mid to low-end bass to please even the most ardent stadium rockers.

Whether or not you find yourself interested in Inspirational music, one thing is for certain; Not Of This World is nothing short of an incredible rock and roll album. Therefore, dear reader, join me as I take a look at the songs that make up this landmark release; from my own unique music-focused non-lyrical perspective.

Visions (Doxology) opens the album admirably as the instrumental journey builds throughout this piece. If you’re into science fiction, you’ll likely appreciate and instantly connect with the audible vibe of Visions (Doxology), but it would be also fair to say that this instrumental opener is somewhat superfluous. It does, however, make for a worthwhile bookend to the final track Visions (Reprise).

Not Of This World sets the tone for the entire album with a highlight on Petra’s harmonies; some of which challenge the greats, such as the Eagles, for supremacy. That aside, this title track is one of the most beautiful songs to come out of the 80s.

Bema Seat picks up the tempo and while it may initially be a jolt to the senses, it quickly comes into its own, particularly when the song enters the chorus. While it may not be a standout tune, it’s a quintessential album-only song that drives the record forward; one that, in this case, is perfectly aligned with the era.

Grave Robber is simply magnificent. That acoustic introduction is superb and while that alone could be considered the reason as to why Grave Robber is such a memorable tune, the slow build to the chorus is masterful. The chorus itself is addictively good and as much as I don’t listen to the lyrics for literal interpretation, I do find myself singing along to the anthemic chorus. Grave Robber is, undoubtedly, one of the greatest songs from the album and one of the best songs ever recorded, by anyone. Exceptional!

Blinded Eyes was always going to be a challenge, following on from Grave Robber, but that need not be a concern for Blinded Eyes continues the musical brilliance with some incredible guitar licks, magical interplay between musical elements, and a perfect vocal presentation with a small amount of processing that adds to the overall style of the song without going too far that it detracts from the hard rock edge of the recording.

Not By Sight flows perfectly from Blinded Eyes and is a testament to not only the musical prowess of the entire band, but also the chosen sequencing for Not By Sight continues the rocking edge laid down by the previous songs.

Lift Him Up shifts the atmosphere back to that of melodic soft rock. Yes, the song may be a little campy and while I tend to appreciate the human vocal as another instrument in the mix, when it comes to Lift Him Up, you really get the Christian values presented front and centre. That isn’t a criticism, mind you, it’s just an observation and may be a deterrent for some music lovers.

Pied Piper kicks things up a notch as it returns us to a harder rock edge. It’s another album-only tune that is perfectly positioned and suited to the era, but it’s also fair to say that you likely wouldn’t seek Pied Piper out, outside of the album’s structure. That said, I couldn’t imagine the album sans this track as it simply wouldn’t flow as well as it does.

Occupy is an interesting song as the musical bed, and individual elements, are somewhat more reserved. While I like it, a lot, it would be interesting to hear a remix of Occupy with a slightly bigger soundstage, greater musical separation, and a more bombastic rock presentation that I feel would have made it an even stronger song than it already is.

Godpleaser is a fantastic song that particularly stands out when the bridge and chorus enter the mix. It’s addictively good and while the campiness of the Christian values may be a distractive element to some, I find that it’s just a great little rocker.

Visions (Reprise) is a minor annoyance in so far as Godpleaser would have been a perfect closing track. Yes, I acknowledge the bookending style that Petra was aiming for, but more than ever I feel Visions could have been omitted from the album and it wouldn’t have been missed. It isn’t a bad track, far from it, but it would be fair to say that it doesn’t fit perfectly with the other songs from the album.

While Petra's Not Of This World showcases a blending of rock styles, thoughtful lyrics, and a commitment to exploring Christian themes, at its core it’s a rock and roll album that rock and rollers everywhere will thoroughly enjoy. If you’re not enamoured with the topical approach of the record, listen for the music and try to ignore the lyrical meaning for doing so will only enrich a well-curated rock music library.

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Billy Idol – Rebel Yell (Album Review)

Released in 1983, Rebel Yell is the second solo studio album from Billy Idol and not only bests his solo debut release but further solidifies his status as a prominent figure in the 1980s rock and new wave scene. With its dynamic blend of punk energy, new wave aesthetics, and anthemic hard and pop rock, Rebel Yell remains a classic in Idol's discography and is one of the greatest albums of not only the 80s, but of all time.

One of the key aspects that makes Rebel Yell so compelling is the top-notch production. Keith Forsey did a wonderful job in producing Idol by ensuring he skillfully brought out even more raw intensity and focus from not only Idol himself, but the entire band. Add to that Idol’s signature snarl, Steve Stevens’ electrifying guitar riffs, and a selection of killer songs and there’s little doubt as to why Rebel Yell is amongst Idol’s greatest musical achievements.

As you listen to the album, you’ll be pleasantly surprised for it features a series of well-crafted upbeat rockers with the occasional introspective mellower tune that ensures the album is anything but dull. Without a B-side to be found, unlike Idol’s 1982 self-titled release, Rebel Yell is akin to a single performance that is best heard via Apple’s Digital Master for the previous CD releases simply didn’t have the same presence as the lossless streaming counterpart. There’s a tonal warmth and fullness present on the stream that is lacking from the somewhat more clinical Expanded Edition CD release. Yes, the dynamic range was technically greater on the 1999 CD reissue and the album has since been compressed a little more for the latest streaming releases, but they simply sound right. It’s as if the music needed to be a little more dynamically compressed in order to get an additional oomph out of the recording. As to whether or not that style of mastering appeals to you, I find from my subjective perspective that I much prefer the bolder sound signature of the stream and I don’t feel that we lose any of the detail, spacial separation between musical elements, or soundstage as a result.

The stream is so impressive that I’d argue that it’s a fool’s errand to seek out any other copy. No, we can’t rely on streaming being there indefinitely, or that particular master never changing again to something a little less compelling. Hence, with that in mind, I’d be seeking out any physical release post-2017 as they should all have this new mastering. Of course, you can always purchase this particular release on iTunes or Qobuz if you prefer digital ownership. Just a quick note regarding the digital edition available via Qobuz – Flesh For Fantasy is listed as being the 1999 remaster. Perhaps it’s a typo, I’m not sure, but purists will likely find that information relevant. For everyone else, let’s take a look at the songs that make up this classic release.

Rebel Yell kicks the album off with a killer and distinctive guitar riff that sets the tone for the entire record. Idol's snarling vocals convey a rebellious attitude and the chorus is infectious but it's the song's anthemic quality and energetic rhythm that make this song a timeless classic.

Daytime Drama has a mid-tempo driving rhythm that merges well with Idol’s characteristic vocal swagger, resulting in a thoroughly enjoyable song that showcases Idol's confident, charismatic, and diverse vocal style.

Eyes Without A Face slows down the pace of the album magnificently. Yes, Idol is known for his rock numbers, but just like Alice Cooper, he’s got a softer side and a vocal presentation that, when delivering ballads, is nothing short of world-class. The haunting dreamy nature of the musical backdrop is similarly exquisite, but that guitar riff mid-song, and Idol’s intertwining rap, really showcase his versatility.

Blue Highway returns the album to a more upbeat tempo, featuring a driving rhythm and catchy hooks. Stevens’ guitar work, once again, shines and I dare say he’s one of the most underrated guitarists in music history for his licks are second to none.

Flesh For Fantasy is one of the album’s highlights, but there are so many that that could be said about any of the nine tracks featured on this landmark release. Nevertheless, the song's sensual and seductive undertones, along with Idol’s magnificent vocal performance, are amplified by Stevens' sultry guitar riffs, thereby making it one of Idol’s most memorable tunes.

Catch My Fall is a mid-tempo song with a compelling combination of musical elements. That said, if there was a low point on the album, Catch My Fall would likely be it as there are times when I feel that Mars Williams’ performance on the saxophone isn’t suited to the song and that the chorus is a little run-of-the-mill. Perhaps it’s just a simple case that the other songs are so incredible, but Catch My Fall hasn’t aged well. That said, there are times when I thoroughly appreciate this tune so I have a classic love/hate relationship with this song.

Crank Call sounds as if it were taken from, or written for, a television show from the era; particularly the introduction. Nevertheless, once my mind gets past that aspect, I can’t help but rock out to this killer tune.

(Do Not) Stand In The Shadows has an upbeat and energetic sound with an infectious rhythm and catchy chorus. Yes, this is most certainly a song of the era, but it hasn’t aged and is just as exciting as when it was first released.

The Dead Next Door has a beautiful opening that in some respects reminds me a little of U2. Each time it comes on it signifies the end of an exceptional album and is the type of song that permits reflection as well as compelling me to spin the record again.

Capturing the spirit of the 80s with its bold and rebellious attitude, Rebel Yell is a timeless classic that blends various musical elements, from punk and new wave to rock and ballads thereby creating a cohesive and memorable listening experience. Idol's charismatic persona, coupled with the album's exceptional production and Steve Stevens’ magnificent guitar riffs, ensure Rebel Yell is a must-listen for fans of 80s rock and remains a testament to Idol's enduring influence within the music industry.

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The Rolling Stones – Black And Blue (Album Review)

By 1976, The Rolling Stones were already synonymous with rock ’n’ roll. Leaning even further into their blues-based rock styling, The Stones would also add influences from funk and reggae music, thereby showing their willingness to experiment with various styles. This adaptability has, arguably, been a core reason for their success throughout the decades, but it logically isn’t the only reason for the Stones’ continued relevance within the music industry.

Part of the shifting style can be attributed to Mick Taylor’s departure and the need to find a replacement guitarist. Black And Blue’s uniqueness, as a result, is that it became a testing ground for several very talented guitarists prior to the Stones bringing Ronnie Wood into the fold. Yes, Wood’s inclusion would forever change the direction of the Stones, but before that transition took place, the songs that Wood would play guitar on included Cherry On Baby, Hey Negrita, and Crazy Mama. He also appeared as a backing vocalist throughout the record, but the Stones also worked with guitarists Harvey Mandel (Hot Stuff and Memory Motel) and Wayne Perkins (Hand Of Fate, Fool To Cry, and Memory Motel); each to much success. The result of these varied collaborations is that Black And Blue is not only a standout within the Stones’ extensive discography, but is an eclectic mix of songs that make it one of the most compelling releases of all time. 

While there is no doubt as to The Rolling Stones' musical talent, Black And Blue is also notable as being self-produced by Mick Jagger and Keith Richards under the pseudonym The Glimmer Twins. Yes, it wasn’t the first time the Stones would self-produce themselves, but it’s their most impressive self-produced album. Naturally, that is a subjective opinion, but as you listen to the album, consider the strengths of the songs and the way they flow haphazardly throughout as the album’s sequencing shouldn’t work, yet it grows on you the more you listen to the record. 

Speaking of the listening process, while I was fortunate to have owned, for a period of time, the Studio Albums Vinyl Collection 1971-2016, I can say that while the half-speed master of Black And Blue was lovely, and I also didn’t mind the 2009 CD reissue, but the 2009 lossless remaster from Apple Music is in every way the physical counterparts’ ideal peer. Granted, the vinyl re-issue may have had a little more of a rounded sound, due to the format’s mastering requirements, but what’s telling is that every time I listen to Black And Blue, via the stream, I’m not missing the physical releases that I once owned. That may be blasphemy to some, but as the Apple Music release is also an Apple Digital Master, I find them to be incredibly enjoyable to listen to and in some cases, such as this, they match or exceed the physical counterpart. The takeaway is that regardless of how you choose to listen to this classic album, you’ll have a thoroughly enjoyable musical experience.

Hot Stuff kicks the album off with a disco/funk feel that makes you question if you’re really listening to a Rolling Stones album. Well, you are, and that genre-bending approach works exceedingly well; particularly as it embraced the musical trends of the 70s. No doubt, fans will forever be torn regarding Hot Stuff as it was quite the departure from their traditional blues-rock roots, but the guitar soloing throughout ensures that elements of their core styling remained intact. Perhaps the only criticism that can be directed at the song is that it’s a tad long and is, subsequently, a little repetitive.

Hand Of Fate brings the Stones back to their bluesy roots with a gritty and powerful sound. Keith Richards' signature guitar riffs propel the track forward, while Jagger's lyrics paint a vivid picture as the song's raw energy and relentless pace make it a standout blues-rock anthem.

Cherry Oh Baby shifts the sonic direction of the album, yet it’s extremely compelling and the detour into reggae demonstrates the Stones’ ability, and willingness, to experiment with different influences. If nothing else, Cherry Oh Baby adds an eclectic mix to an album that can’t easily be pigeonholed.

Memory Motel is one of the album’s highlights and is one of the greatest ballads ever recorded, by anyone. As the narrative and musical bed slowly unfold, you’ll be swept away by Memory Motel as it’s simply unforgettable. 

Hey Negrita was always going to be a tough sell following the smoothness of Memory Motel, but by the time Jagger’s lyrics enter the mix, the upbeat nature of the song transitions the mind to this solid album-only tune; one that is a little overproduced and would, arguably, have been more appealing had it been exclusively a rock-only tune.

Melody, with a touch of blues and jazz influences, again shifts the tone of the album but it works so well that you likely won't skip a beat when Melody comes on. It’s also a song that I dare say Charlie Watts would have thoroughly enjoyed recording; due in part to his love of jazz music.

Fool To Cry is another of the Stones’ incredible ballads and is a perfect companion to Memory Motel. There’s no doubt in my mind that Fool To Cry and Memory Motel are core reasons why Black And Blue remains a standout release amongst the Stones’ incredible discography. 

Crazy Mama closes the album on an energetic note with a blues-infused rock number that has some killer riffs, a thoroughly enjoyable overall rhythm, and dynamic vocals that, when combined, become a fitting conclusion to the diverse musical journey of Black And Blue.

No matter how you view Black And Blue, it stands as a testament to the band's enduring musical legacy. With a dynamic fusion of blues, funk, and rock, each track unveils a different facet of their versatile sound, yet there isn’t a bad song to be heard. Black And Blue, subsequently, remains a must-listen, showcasing the Stones' ability to adapt and experiment while maintaining their timeless rock essence and status as true pioneers within the music industry.

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