Andy Gibb – Shadow Dancing (Album Review)

While the Bee Gees were already a trio setting the world on fire by the time 1978 rolled around, the Gibb Brothers’ youngest sibling, Andy was forging his own path, one that would ultimately lead to an incredible release, Shadow Dancing; Gibb’s second studio album. 

As you listen to Shadow Dancing, you get a sense that this could be an extension of the Bee Gees’ greater catalogue and that wouldn’t be a completely erroneous statement as four of the tracks were written in conjunction with Barry Gibb with the title track also being co-written by Robin and Maurice. Yet, to compare Shadow Dancing to the Bee Gees would be similarly erroneous on the behalf of the music-lover for Andy’s creative output should stand in isolation with nothing more than a tip of the hat for he was a consummate musician and songwriter in his own right. Of course, that isn’t how our minds work so throughout this review you’ll likely come across many correlating aspects. 

Musically Shadow Dancing is simply a fun album to listen to and sometimes that is all you need. Yes, the disco-era elements are present but with a touch of pop and soft rock, Shadow Dancing is an album firmly planted in the 70s that will interest all music lovers. Part of the appeal is due to the production of the album, undertaken by the production trio Gibb-Galuten-Richardson (Barry Gibb, Albhy Galuten, and Karl Richardson). While they were only active for approximately 9 years, the trio produced not only all of Andy Gibb’s albums but would also go on to produce Barbra Streisand’s highly regarded and successful album Guilty in 1980.

Sonically, the Lossless Apple Music stream is exquisite. Yes, it is essentially the mastering from the long-out-of-print CD release, but this is a perfect example of if it isn’t broken, don’t fix it. Far too often the music industry reissues and remasters music to varied levels of success. It is with joy that I can mention that Shadow Dancing has never been remastered, to my knowledge at any rate, and I truly hope it stays that way. 

Yes, I’d love to see the album reissued on a physical medium, for it has been absent for decades, but a remastering need not apply. A proper CD release would be lovely for the 2013 Japanese re-issue is the only one that I’m aware of that fully replicates the original artwork. The early 90s reissues on Spectrum were atrocious and should be avoided on principle alone. At least, in the modern era, we have access to this classic recording via streaming or digital download stores such as iTunes and the good news is it’s sonically impressive. It’s just a shame the liner notes aren’t included.

Shadow Dancing was the ideal lead single and while it obviously has Bee Gees vibes, as the trio joins Andy with regards to writing this song, it very well could have been a song taken straight from Spirits Having Flown. Subsequently, and needless to say, it’s a masterpiece!

If you’re interested in cover versions, may I suggest you check out the Dee Gees’ recording for The Foo Fighters performance, with Taylor Hawkins on lead vocal, is an incredible homage to this original. 

Why is a little more run-of-the-mill when compared to Shadow Dancing, but that often happens when you have an album that opens with such a strong lead track. As with Shadow Dancing, Barry's falsetto vocals can be heard throughout, but is this detrimental or complementary? To be completely honest, I find myself torn on this issue for as exceptional as Andy is, the inclusion of Barry here, and throughout the album, does amplify the recordings; even if it does take the spotlight away from Andy.

Fool For A Night is a hidden gem. Yes, it’s quirky but something is alluring about this particular song that makes me feel it should be considered a standard recording for artists to cover in the decades to come. It just has that laid-back feel that works well within the context of the Great American Songbook. 

An Everlasting Love is a great track and the mix and overall arrangement certainly stand out. Granted, An Everlasting Love has a dated sound, but it harks back to the era and therefore hasn’t truly aged. While An Everlasting Love would have been unlikely to have ever set the charts on fire, for it was never released as a single at any rate, it’s songs such as this that make the album experience so enduring.

(Our Love) Don’t Throw It All Away is one of the most beautiful songs ever recorded. Stunning doesn’t come close to describing the sonic brilliance heard here. Most casual fans of the Bee Gees would have heard this before as it was recorded during the Saturday Night Fever recording sessions but not released until 1979 on the Bee Gees’ compilation Greatest. Andy’s version, as heard on Shadow Dancing, would subsequently be the first time the music-loving public would be exposed to this song and his is an admirable performance. 

As to which version I prefer, I really can’t choose as they’re both complementary to each other. That said, I do appreciate the additional orchestral elements in the Bee Gees’ recording and the additional vocal layering adds a little more polish that is missing from Andy’s version. That said, I’d go as far as saying that I prefer Andy’s vocal, on this particular song, to Barry’s. Both are enjoyable and worth listening to and when I hear either, I never ponder if the other is better, except for at this moment when I’m actively listening in order to pen my thoughts. 

The Bee Gees would also perform the song live, as a tribute to Andy, throughout the One Night Only tour; a recording of which can be heard on the associated live album. While many will lament the use of backing tracks in live performances, this is one instance where it is perfectly suitable for it wasn’t only the Bee Gees that performed this song live as Andy was present, via a backing track, as photos and video of him were shown on the stage screen. It’s a beautiful homage to their brother, who passed away in 1988, and the Bee Gees performed the song masterfully. 

Despite a long legacy, with Barry Gibb in particular, Barbra Streisand’s rendition from Guilty Pleasures isn’t the greatest as the song simply isn’t suited to her vocal style. It likely wouldn’t have been a bad recording if Andy or the Bee Gees hadn’t recorded the song first, but it simply doesn’t work when superior recordings exist.  

One More Look At The Night is really dated to the era and reminds me of soundtracks from 70s television shows and films, but it’s a great album-only tune! 

Melody is the best song on the album, period! Melody should have been released as a single for it’s simply magnificent and I’ve no doubt that it would have reached the top of the charts.  

I Go For You has a great mix and is a solid tune. Don Felder’s guitar tracking on this song is thoroughly appreciated as it amplifies an otherwise average song.

Good Feeling is a slow build but you get that good feeling, pun most certainly intended, as soon as the chorus enters into the song structure. It isn’t a stand-out tune, by any means, but it is perfectly positioned within the album’s linear flow. 

Waiting For You is a lovely song to close the album on and much like Good Feeling, it would never have been single-worthy material but every song doesn’t need to be a hit to offer an appreciative album experience.

From start to finish, Shadow Dancing is an exceptional release that had it been an album released by the Bee Gees, it would have been an absolute chart topper similar to that of Spirits Having Flown. Of course, it’s never too late and streaming services allow us to enjoy this classic album and there is, therefore, always a chance that Shadow Dancing could still reach the success and recognition it deserves.

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AC/DC – Back In Black (Album Review)

Following Bon Scott’s unfortunate passing, it wouldn’t have been far-fetched to have seen AC/DC disband. After all, how could anyone match, surpass, or even complement Scott’s vocal prowess? I think by now we can all attest that Brian Johnson achieved those feats and was the ideal replacement. That said, it’s imperative that we remember Scott as a master vocalist, with a larger-than-life personality, that was pivotal in setting the stage for what AC/DC would ultimately become; an unbridled hard rock powerhouse that appealed to everyone.

As one of the best-selling albums in history, with sales exceeding 50 million units, Back In Black needs no fanfare, or even this review, for the album is a timeless classic. Some will declare it AC/DC’s greatest release, and I’d certainly put it towards the top of the list, but the strength of Back In Black is that it is a cohesive album experience. In fact, part of the appeal is that AC/DC was never drawn to the double-album hype, instead choosing sub 50-minute runtimes. Okay, so Black Ice is a 55-minute monster, but you get the idea. Back In Black comes in at 42 minutes and is the perfect length with never a dull moment or a B-side to be heard. 

Naturally, the band and Johnson need to be celebrated for such a masterpiece, but the production team with Robert John "Mutt" Lange, once again, in the producer’s chair ensured that Back In Black was a further evolution and the perfect followup to Highway To Hell. Lange was also pivotal in suggesting Johnson to the band; a suggestion that is arguably one of the most influential in all of music history. While it may be blasphemous to suggest such a thing, as I listen to Back In Black, I can’t for the life of me consider how Scott would have recorded these songs. Yes, we’ve heard Johnson sing Scott’s tunes live over the years, but my mind doesn’t work in the opposite direction. Well, except for You Shook Me All Night Long, but that’s likely a controversy that we’ll never truly have a conclusive answer to as it has been suggested that it, or certain parts of it, was penned by Scott. Nevertheless, had Scott not died, I dare say Back In Black would have sounded considerably different. Not bad, by any means, just different! 

While the music is iconic, so is the album artwork. You can’t help but think of Scott when you look at the cover art. It’s perfect!

What is also the definition of perfection is the (Hi-Res) Lossless Apple Digital Master. I’ve been fortunate to have owned the 2003 remastered CD and vinyl releases and both didn’t come close to the sonic reproduction I’m getting from Apple Music. The CD was a victim of the loudness wars but still sounded rather nice. The vinyl counterpart, however, suffered from inner groove distortion on the closing track for each side. It was the type of distortion that would irritate the senses every time I’d play the album. A shame, yes, but that is the nature of the format as it’s never quite perfect. While no format is without fault, the Apple Music stream is stunning with crystal clear sound, and an immersive and spacious soundstage, while also having the desired level of distortion that we all expect from AC/DC. 

Hells Bells has the greatest opening of any song or album ever recorded. Seriously, the haunting bell toll is next-level and the entire mix is utterly brilliant (thank you, Tony Platt). Add the exceptional guitar work from both Angus and Malcolm Young, and the contributions from the rest of the band, and you’ve got an exceptional tune by any standards. 

Shoot To Thrill is a monster tune. It’s the quintessential arena-filling song and remains as fresh in the modern era as it was when first released in 1980. There’s little doubt that Shoot To Thrill will exist in the social consciousness well after we’ve all taken our leave.  

What Do You Do For Money Honey offers listeners a seamless transition and therefore leaves little doubt as to why so many declare that AC/DC simply record the same song over and over again with minute changes. While I don’t disagree with that position, a large part of their appeal is that we know exactly what we’re going to get.

Givin The Dog A Bone continues the rhythmic driving sound that we all love. While Back In Black isn’t necessarily my favourite AC/DC album, the blues-driven Stiff Upper Lip fills that position, there isn’t a bad song to be heard on the album and Givin The Dog A Bone is one of their best. 

Let Me Put My Love Into You shifts the tempo slightly and there’s a real focus on a blues-based rhythm. No, AC/DC never recorded a ballad, but if you’re after a slower song that could, with a stretch of the imagination, make its way to a ballad playlist, then Let Me Put My Love Into You is the song for you. 

Back In Black needs no introduction or fanfare. Just turn the volume up and enjoy!

You Shook Me All Night Long is a killer tune and if you’re listening on speakers, in the stereo sweet spot, there’s nothing quite like it. Yes, headphones give you a sense of the immersive soundstage, but via speakers that are correctly set up, you’ll feel as if you’re in the studio with the band. It’s an ethereal experience! That said, was it lead single material? I’m not sure it was the right decision but it’s hard to argue with a song that is so revered and is one of the best tunes to incorporate a double entendre.

Have A Drink On Me as a song on its own is perfect, but the transition from You Shook Me All Night Long presents a jolt to the senses that takes time to adjust to. It’s a minor frustration, as it’s got a killer blues-based rock and roll rhythm that I adore, but I sincerely hope you don’t suffer the same experience when listening to Back In Black linearly.

Shake A Leg has, as much of AC/DC’s music does, an incredible guitar tuning with the notes being held the perfect length of time while also maintaining just the right amount of distortion. Yes, Shake A Leg is a carbon copy of numerous other AC/DC songs, but I don’t care. I love it!

Rock And Roll Ain’t Noise Pollution is the perfect closer and is literally accurate. Although, don’t tell my neighbours for I detest their music choices and I don’t want them to think that their music is anything but noise pollution. That drawl slow-build opening is what rock and roll dreams are made of. Absolutely incredible! The result is that Rock And Roll Ain’t Noise Pollution encourages me to listen to Back In Black again; for you can never listen to this album only once. Additionally, as I listen to this final track, I can’t help but remain wowed and appreciative of the music that AC/DC has given us. No matter what life dishes out, we are incredibly blessed to have AC/DC's music to keep us company along the way. 

Back In Black may have catapulted AC/DC to a level of success that dwarfed everything they had previously achieved, but it simultaneously became one of the greatest hard rock albums ever released while memorialising their former frontman. Back In Black truly knows no equal, it's a masterpiece! 

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Cold Chisel – East (Album Review)

East may not be as polished as Circus Animals, but this 1980 release, the band’s third studio album, throws hit after hit at fans and music lovers. While more commercial than Breakfast At Sweethearts, and their self-titled debut, East is a further testament to the importance of extensive touring as it created a cohesive synergy within the band that translated to their work in the studio. Sadly, this element is missing from the contemporary Australian music scene.

Yes, you read that correctly, the modern live scene for musicians in Australia is at an all-time low, yet that wasn’t the case in the late 70s and 80s as countless bands sharpened their skills on the local pub and club scene. These days, bands go to practice; it simply isn’t the same. What better platform is there to test out new ideas and refine one’s sound than in front of a live audience? While we can, and will, lament the changing tide, there will likely never be an era in Australian Music as productive as that which drove Cold Chisel from obscurity to the top of the charts. 

East has become a timeless classic and in pondering the aspects that make this release so special, it must be noted that it’s the first Chisel album to include songs written by all band members, rather than Don Walker alone. Walker is a magnificent composer, but when you’ve got a band of very talented individuals, it pays to consider their contributions and it paid off in a big way. Not only were the songs exceptional but they all represent Cold Chisel perfectly. It would have been amazing to be a fly on the wall for you have to believe that the band knew they were writing a hit album. 

Of course, as musically talented as Cold Chisel are, Jimmy Barnes on lead vocal is the highlighting factor. His unique vocal style is sensational and despite his drug and alcohol abuse during the time, his vocal isn’t unnaturally slurred and is simply amazing. Ian Moss, similarly, deserves recognition and respect as he’s very much Barnes’ counterpart in that he provides listeners with a less chiselled (yes, pun intended!) vocal that works exceedingly well as a backing vocal. Moss is also incredibly talented on lead vocals and that is no more apparent than on My Baby. 

There is, however, a problem. The mastering isn’t great. Disappointingly, the same problems I have with Circus Animals are repeated here and despite being a (Hi-Res) Lossless Apple Digital Master, it doesn’t help. Yes, some songs sound far better than others but the mastering is hot and subsequently sounds a little wimpish in the mid to low end as there’s most certainly a focus on clarity and the treble range. Some of you may prefer that sound signature, but I feel it weakens the oomph of the band. Subsequently, I find that I need to apply EQ to get the most out of the album as it simply doesn’t hit the emotive chords as much as I’d like or as much as other albums from the era do.

Standing On The Outside is a great tune but has one of the all-time worst openers as it doesn’t glide the listener into the music. Its tempo is the real issue here and I find myself preferring to put East on shuffle to avoid this abruptness. A subjective viewpoint, certainly, as I’m sure many would consider it the greatest opening track of any Chisel album.

Never Before transitions from Standing On The Outside beautifully and would have been my preferred choice as the opening track as it’s one of my favourite Cold Chisel songs. Musically it’s a masterpiece with an instrumental element, mid-song, that is simply stunning.

Choirgirl is an absolute classic. I dare say there isn’t an Australian that hasn’t heard this blues-focused ballad. While the context of the song may be seen as somewhat controversial, the song itself is compelling in that Jimmy Barnes and Ian Moss have recorded masterful lyrics. That said, I’d ideally like to hear Moss’ vocal being more forward in the mix, but the culmination of Barnes and Moss is what musical dreams are made of. 

Rising Sun is a fun little tune mixing rock and roll with old-school country music techniques. There’s more of an American feel to the song than an Australian influence, but that isn’t necessarily a distraction for Rising Sun is most certainly suited to Cold Chisel and in some ways can be seen as a precursor to Barnes’ later solo explorations on albums such as Soul Deep.

My Baby is a killer pop-rock tune with Ian Moss on lead vocals and Joe Camilleri performing a masterful saxophone solo. My Baby was composed by bassist Phil Small; one of his few contributions as a writer in Cold Chisel. There’s little doubt, in my mind, that My Baby is not only one of Chisel’s greatest recordings, but it’s one of the very best songs ever recorded. Moss, as lead vocalist for My Baby, was undoubtedly the best choice as his vocal smoothness works incredibly well with the song.

Tomorrow is a solid album tune. Sometimes that’s all that’s required. 

Cheap Wine is another Chisel staple and when I suggest that East plays akin to a greatest hits release, rather than a standalone studio album, it’s songs such as Cheap Wine that uphold this opinion.

Best Kept Lies shifts the tempo a little with a fun bebop influence mixed in for good measure. Best Kept Lies is unlikely anyone’s favourite Cold Chisel tune, but there’s something compelling about it that can’t be denied. If nothing else, it should be at the top of any Deep Cuts playlist. 

Ita is a great tune and while I could question the lyrics, this is one of those songs where I turn the analytical side of my brain off and enjoy the vocals as an instrument within the mix.

Star Hotel is a musical masterstroke. As with Ita, I prefer to hear the vocal as an instrument, rather than a storytelling device, and in this way, I can thoroughly enjoy Star Hotel without acknowledgement of the 1979 riot that is at the core of the song.

Four Walls is one of Chisel’s greatest tunes.

My Turn To Cry is a solid closer to East and encourages the playing of the album again. No, it isn’t the strongest song on the album, or even worthy of Cold Chisel’s legacy, but it works. 

Overall, East is an exceptional release that has only ever been overshadowed by Circus Animals; a truly incredible album that builds on what East was able to achieve. While Cold Chisel has an incredible legacy far exceeding these records, it’s these early 80s albums that, for me at least, represent the very best of this iconic Australian rock and roll band.    

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Air Supply – Lost In Love (Album Review)

Released in 1980, Lost In Love is Air Supply’s fifth studio album. While not an instant chart-topper, and it could be said that Air Supply was more successful as a singles band, Lost In Love is a cohesive piece of musical art that plays as if it were a greatest hits album with a couple of B-sides included for good measure. 

Streaming music fans will note the absence of All Out Of Love on the Apple Music stream. It’s a disappointing omission due to licensing agreements but as Lost In Love is one of my favourite albums of all time, I had no hesitation in purchasing it via Apple’s iTunes Store as All Out Of Love becomes available when the purchase of the album is made. It’s a workaround, for sure, and one that music lovers shouldn’t have to endure, but it isn’t as if Apple Music is alone with regard to this issue as all streaming services suffer the same music industry anomalies. It’s important to note, however, that All Out Of Love can be streamed on Spotify but this is only due to Spotify’s insistence on substituting music from one album to another to solve the issue. In this case, Spotify has taken All Out Of Love from Air Supply’s Ultimate Collection. So, yes, in one way it can be streamed but the variances in mastering still create a sonic shift that can be distracting and I am, therefore, grateful that Apple Music doesn’t apply the same approach for you can very well end up with a version of the song that is quite different to the original album release. Some of you may not be flustered by this process, but for those of us who are, at least due to the iTunes legacy, Apple Music users have options. 

You may, of course, be wondering how the album sounds. Well, it’s quite lovely. It isn’t an Apple Digital Master but it’s an enjoyable digital facsimile with no glaring aspects to be heard. Yes, a (Hi-Res) Lossless Apple Digital Master would be appreciated, but so would a vinyl reissue. Time will tell if either will become a reality, but until then I can assure you that despite being lossy, the iTunes Store edition happily fills the void.

Lost In Love has a gorgeous opening that sets the tone for the entire album. It’s classic Air Supply and while there are stronger songs on this release, Lost In Love is most certainly worthy of the title track position. The vocal harmonies are particularly notable as they have an air of delicacy about them and this is likely a core reason why Lost In Love has been, and will continue to be, appreciated by so many people around the world.

Fans of Air Supply will note that despite this being the title track, this wasn’t the first time we heard Lost In Love for it was initially released on their 1979 release, Life Support. This original recording differs in that the song's focus is more acoustic with a less symphonic style that would have limited radio interest. It’s also a little longer than the newer mix; a further limitation of radio requirements at the time. Regardless, it's still lovely, but once you’ve heard the polish of the 1980 edition, it’s difficult to go back. 

All Out Of Love is one of my all-time favourite Air Supply songs as the entire composition is exceptional. Of particular note is the blending of vocal styles as the song shifts from verse to chorus and back again. It’s simply magical and is one of those songs where I’ll pump the volume and sing along; an addictive tune if there ever was one. 

Every Woman In The World is a lovely ballad and while some may suggest that Air Supply’s songs blend with little separation, to think that is short-sighted as each song is an experience and a story in and of itself. Plus, when music is this good, there’s no need to change a successful formula, is there?

Just Another Woman shifts the tempo of the album a little with disco-inspired styling. It’s solid, and it works, but I’d suggest it isn’t exceptional. Nevertheless, Lost In Love wouldn’t be the same album if it were not for Just Another Woman and when looking at the album from a contemporary perspective, Air Supply most certainly played into the style that was popular at the time. 

Similarly to Lost In Love, Just Another Woman was also originally released on Life Support. It’s considerably different in that this early release is focused on delivering a rock and roll tune with a slight disco vibe. No doubt, some may enjoy it, but I still prefer the latter release from Lost In Love.

Having You Near Me is simply magnificent. 

American Hearts as an album-filling track is solid, but it’s also the low point of Lost In Love. 

Chances is beautiful as it highlights the vocal and musical prowess of Air Supply. They’re simply amazing!

Old Habits Die Hard is a bit of a mixed bag. It isn’t bad but it isn’t great either. Yet, I couldn’t imagine the album sans this tune as it somehow manages to fit the overall style of the band.

I Can’t Get Excited is an energetic tune that gets me going every time I listen to it. While Air Supply is unlikely to make it to your exercise playlist, I Can’t Get Excited is one song that could buck that trend. It reaches into your soul and has an upbeat tempo that will keep you moving. While I don’t take music with me when hiking, this is one song that has played on repeat, in my mind, as I’m hiking up a mountain and it subsequently gives me encouragement and energy to keep going. A great tune!

My Best Friend returns the music to a slower tempo, to close out Lost In Love, and it’s one of the best tunes Air Supply has ever recorded. It’s also the quintessential closer as it allows for contemplation of the music that you’ve just heard while simultaneously encouraging you to play the album again. 

Ultimately, Lost In Love is a timeless classic and while some will dismiss it as merely a soft rock ballad-focused album of love songs, that determination is too limiting. As someone who appreciates music, sans lyrical interpretation, I find that there’s something here for every music lover to enjoy; if you give it a chance, that is! If you do, you’ll no doubt agree that Lost In Love is not only Air Supply’s greatest album but that it's one of the best albums released in 1980.

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Flowers – Icehouse (Album Review)

Flowers would soon become Icehouse and the rest, as they say, is history! 

Released in 1980, Icehouse catapulted Flowers to the top of the Australian and New Zealand charts with songs that have forever become part of the social consciousness. With their unique New Wave feel, songs such as Can’t Help Myself, We Can Get Together, and Walls would ensure Flowers, and later Icehouse, had a body of work to build upon ultimately culminating in the highly successful, Man Of Colours. 

Not only has Icehouse returned to the live touring circuit but the humble record is also experiencing a renaissance and Icehouse was thankfully reissued on the format despite Davies’ disinterest in vinyl. Printed on a textured print stock, Icehouse is one vinyl record that you’ll appreciate holding as the music plays, for the tactile nature of the material used ensures a greater connection to the artwork. It’s as if you’ve been allowed to hold a painting, touch the brushstrokes, and generally appreciate it in a manner that can’t be easily expressed. The gatefold layout is also greatly appreciated as it mimics the original Regular Records release. Nothing is missing for it’s a perfect replica and the attention to detail can’t be understated.

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Physical media fans will rejoice as there’s also a double CD/DVD 30th Anniversary edition that has been released that mimics the design and layout of the vinyl counterpart. It’s stunning and was in my collection before moving away from the format to focus on and embrace my vinyl collection. Streamers, however, miss out on the visual component; a problem that I’d like to see corrected with the release of a Visual Album.

As it pertains to the sonic quality, one thing that’s been widely applicable to Icehouse is that their records, regardless of format or mastering, have often been exceptional. While not an Apple Digital Master, the lossless Apple Music stream is on par with what I remember the CD/DVD edition sounding like. The vinyl mastering, I believe, is from the same 2011 Steve Smart (Studio 301 Mastering) sessions that the 30th Anniversary (2CD+DVD) reissue is based on, meaning that you can thoroughly appreciate Icehouse regardless of format and mastering concerns. That said, purists will lament a digital master being pressed to vinyl, but that is their loss for Icehouse has never sounded better with an immersive soundstage, exceptional detail retrieval, and a warm analog sound that draws so many of us to the format. There’s an increase in both high-end and low-end frequencies and bass notes are more three-dimensional when compared directly to the digital counterpart. That, of course, isn’t to suggest that the digital editions are compromised in any way, for they also sound magnificent, but it is merely an acknowledgement that the vinyl reissue offers a slightly more refined sound. This 2017 vinyl pressing is also extremely quiet and kudos needs to be given to Universal Music for manufacturing a record that Icehouse fans can be proud of. 

Subsequently, while the Apple Music stream presents the album as a double CD equivalent, with bonus tracks exclusive to the digital releases, this review will focus on the core 11-track release; just as it was originally released in 1980 when Flowers captivated audiences across Australia and New Zealand.

SIDE 1

Icehouse has one of the most immersive introductions you’re ever likely to hear on a debut album. The theatrical entrance continues throughout the entirety of the song as an undercurrent that pulls you into the eerie soundstage and won’t let you escape. It’s an experience in and of itself! 

We Can Get Together is one of the band’s most identifiable songs. The presentation is incredibly basic, yet complex. I know I’m contradicting myself, but as predictable as the song is, it isn’t until you sit and listen that you can appreciate the intricate layering of sonic elements. Truth be told, this could be said about their entire catalogue and is likely a core reason why I’ve been a lifelong fan of the band.

Fatman is straight-up New Wave rock and roll with a touch of blues; I love it!

Sister is one of my favourite songs of all time. Davies’ vocals, mixed with the electric keyboard and incredible guitar tuning, make this song truly memorable. Even the mid-song instrumental interlude is exceptional and shows a level of musicality that is normally absent from debut recordings. Admittedly, Davies had classical music training and Flowers was a pub act well before the release of Icehouse, but the quality presented on this first showing never ceases to amaze me. 

Walls returns to the, similarly, eerie sonic signature that was present on the title track. The vocal presentation is magnificent and adds depth and character to the song. In modern recordings, Autotune would be used to achieve this effect, but that wasn’t available at the time of this recording and I’d love to know exactly what vocal compression technique was used during the production of the song. 

SIDE 2

Can’t Help Myself, in production terms, is one of the rawest songs on the album. It’s straight-up New Wave rock and while the drum beat is akin to a click track for the mind, the guitar interlude is simply gorgeous.

Skin has an intricate composition. The drum beat, guitar riffs, and synth additions make Skin incredibly addictive and the sound layering ensures that the listener, upon each play, will appreciate newfound elements in the song. 

Sons slows the tempo of the album with a bold sound and beautiful soundstage. It isn’t my favourite song, but the album wouldn’t be the same without it and I would be lying if I didn’t say that it grows on you the more you listen to it. 

Boulevarde has a killer guitar riff that introduces the song, although I simultaneously feel that it is too drawn out. It very well could have been an instrumental track, but after the initial jolt, when the lyrical component enters the mix, the song settles and becomes a killer rock tune with some incredible guitar soloing to close it out.

Nothing To Do has a beautiful bass introduction. Seriously, the bass guitar is an under-utilised instrument in many recordings. While we all know the bass guitar sound, we rarely hear it represented as well-defined as it is in the introduction of Nothing To Do. Overall, Nothing To Do is rather eclectic with numerous musical influences. If nothing else, it’s certainly unique.

Not My Kind is the perfect closing bookend with a driving rhythm and raw rock sound that you’ll either love or loathe. It’s important to note that it’s a little too shrill on the digital editions whereas the vinyl reissue rounds out the sound thereby making it more compelling and encouraging the listener to flip the record back to Side One.

While technically still a Flowers album, I consider Icehouse to be the band and while it can certainly be a little confusing for new fans, Icehouse is one of those must-own albums as it has become a classic record of the Australian 80s music scene. If I had such a list, Icehouse would most certainly be regarded as one of the greatest debuts of all time but for the time being, it will certainly make its way to the upcoming Best Albums List Of 1980 as there isn’t a bad song to be heard on this release. 

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AC/DC – Highway To Hell (Album Review)

Released in 1979, Highway To Hell would be the last album to feature Bon Scott on vocals and while some continue to lament Brian Johnson’s inclusion on Back In Black, and forever onwards, there is little doubt that Highway To Hell is the perfect closing chapter for Scott. Still, one can only imagine where he could have taken his vocal prowess after this groundbreaking performance that was the greatest AC/DC recording up to that point. Of course, albums such as Dirty Deeds Done Dirt Cheap and Let There Be Rock should not be overlooked, from the Bon Scott era, but other than High Voltage, no other Bon Scott AC/DC release is as coherent as Highway To Hell. It is a blues-based rock and roll masterpiece; an overused expression, granted, but when music is this good it demands that declaration.

Listening to Highway To Hell, it becomes immediately apparent that Scott and the band were at a musical apex. Having long refined their sonic chops, Highway To Hell marked a significant difference in how AC/DC recorded music for it was to be their first album without George Young or Harry Vanda in the production seat. The result is a more polished album, with a laser focus on great riffs, rhythm, and catchy vocals. Yes, these had long been AC/DC trademarks but Mutt Lange rounded out the edges, ironed out the creases, and produced an album that would have mainstream appeal. That isn’t to suggest that Young or Vanda weren’t sorely missed, by the band and fans alike, but the shift ensured AC/DC was ready for superstardom; a shift that would ultimately make them the greatest and most popular hard rock band in the world. The combination worked so well that Lange would go on to produce Back In Black and For Those About To Rock We Salute You; the former of which was an astonishing comeback following Scott’s death.

Of course, the production values and performance of the band would have been for nil if the sonic qualities weren’t exceptional and in this case, Highway To Hell is one of AC/DC’s greatest-sounding releases. Every musical element is perfectly positioned in the mix and there’s just enough low-end and treble reach that ensures the album has a full and immersive sound that can be appreciated at both lower and ear bleeding levels. While some may suggest that this is the AC/DC house sound, and I don’t necessarily disagree, the spit and polish applied to the songs ensured that it stands out from their earlier albums and most other hard rock albums of the era, many of which have a thinner sound that simply isn’t compelling to many rock and roll fans.

As fans would no doubt agree, there really isn’t a bad way to experience Highway To Hell and I’m fortunate to own the 2003 vinyl reissue which is nothing short of spectacular. From the reproduced and expanded artwork liner notes to the pressing itself, if you’re a fan of AC/DC, you need to add a copy to your collection. Thankfully, this remaster was done with kid gloves and while I haven’t listened to every release available, this particular re-issue is about as perfect as the album will ever sound. Naturally, some may be wondering how it compares to the (Hi-Res) Lossless Apple Digital Master and what I can say is that, without a doubt, I prefer the vinyl edition for its darker sonic presentation compared to the flatter sound via the Apple Music stream. Of course, if you tweak the EQ of the stream, a little, the difference is negligible. That said, with a song such as Walk All Over You, Phil Rudd’s drumming in both the introduction and throughout the song sounds more three-dimensional on the vinyl reissue than it does on the streaming counterpart. It’s a minor difference, but one that you’ll notice should you compare the two. It is then personal preference as to which reproduction you prefer over the other.

Highway To Hell is one of the greatest openers of all time. Both the riff and rhythm are infectious, setting the tone for the entire album, while compelling you to turn the volume up. Angus’ solo is also exceptional, although, even though it would have been nice if it had been longer, it’s also the perfect length. Sadly, however, Highway To Hell would forever be altered in the perception of fans following Scott’s death. Originally written as a reference point to the excessive demands of touring, following Scott’s death, Highway To Hell would become a song that was more about personal excesses than the demands of a rock and roll band. Of course, it’s also fair to say that personal excesses are often a byproduct of fame so the two do go hand in hand.

Girls Got Rhythm is rhythmic magic; pun intended! Seriously, the flow from Highway To Hell to Girls Got Rhythm is seamless, indicating just how similar all AC/DC songs are, but that’s a positive element as you know exactly what you’re going to get.

Walk All Over You temporarily slows the tempo and as I mentioned earlier has some exquisite drumming. Love or loathe him, Phil Rudd executed his position as drummer perfectly. That said, I’ve always preferred the looseness of Chris Slade as Rudd can be a little accurate, from a timing perspective, thereby introducing a click-track style backbeat. Walk All Over You as a song, however, is solid but isn’t anything to get excited about. It’s mainly the droning backing vocal in the chorus that grates me, thereby reducing the song’s appeal.

Touch Too Much is a killer tune; its demo…not so much! Yes, there are a few chords that remain but Touch Too Much, as re-recorded for Highway To Hell, is far superior. While I acknowledge that fans often want to have access to early or varied recordings of the music they love, this is one example whereby I feel justified in overlooking bonus non-album tracks for they’re seldom worthy of listening to.

Beating Around The Bush has a recognisable riff; check out Fleetwood Mac’s Oh Well, Pt. 1 and you’ll see what I mean. Regardless, it gives you a greater appreciation for the too often overlooked original lineup and style of Peter Green’s Fleetwood Mac; less radio-friendly but killer blues-based rock and rollers in their own right. Still, it amazes me that Fleetwood Mac never sued AC/DC, especially considering liner notes claim all songs, and this one, in particular, was written by Angus Young, Malcolm Young, and Bon Scott. Of course, if I ever wrote a killer lick and AC/DC decided to cover it, I’d be honoured, so there is always that possibility.

Shot Down In Flames is a killer blues hard rock tune.

Get It Hot continues the blues rhythm, executing it even more satisfyingly than on Shot Down In Flames. Again, many will point to AC/DC simply recording the same song over and over again, with slight shifts, and to that end, I’m grateful for Highway To Hell is a fluid album experience that warrants inclusion on every best albums list of 1979.

If You Want Blood (You’ve Got It) may have been lifted from the title of their live recording in 1978, but who can argue with that, for the title is incredible. As for the song itself, it’s killer!

Love Hungry Man is AC/DC’s answer to the simultaneously loved and hated ballad. Look, it’s got a killer groove, but it’s about as corny as you can get.

Night Prowler has forever been associated with Richard Ramirez’s serial killings but I do not believe that music can force you to become someone you’re not. I strongly believe in music as an art form and I’d further suggest that almost any aspect of art can be taken too literally. The problem is when an unbalanced individual takes suggestive interpretation to be gospel; then you’ve got a real problem! Of course, such associations are disappointing because it shifts the relationship to the music itself, even if we try to disassociate the two highly circumstantial elements. The problem is that once you’ve been made aware of it, it remains difficult to ignore it when the song comes on or when we discuss it with others. Regardless, it is imperative that we try for Night Prowler is musically one of the best songs that AC/DC ever recorded. Angus’ licks are off-the-charts and Scott’s growl and the backing vocal are about the best harmony-driven style you can imagine for a band of hard rockers.

As the closing song, Night Prowler is hard to beat and certainly encourages me to listen to the album again, with one exception. Scott’s spoken word outro drives me nuts as it wasn’t needed and is, for some reason, much more pronounced on the vinyl reissue than it is on the associated Apple Music stream; an oddity of mastering for the format, no doubt!

Overall, Highway To Hell is one of the hardest rocking albums of the 70s and is certainly the best Bon Scott performance we were ever fortunate to have heard. To say he went out on top is an understatement. While the band would continue without Scott, his legacy lives on through these recordings and while Johnson would adopt a slightly different vocal style, his was complementary to Scott’s thereby ensuring the former frontman has never been forgotten.

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Bee Gees – Spirits Having Flown (Album Review)

Many would point to the Bee Gees as the kings of the disco era, subsequently typecasting them to that genre, but their diversity throughout their back catalog showcases that they were more than a bell-bottom-wearing flash-in-the-pan band. Spirits Having Flown was, after all, their fifteenth studio album but what the Bee Gees did better than anyone else during the disco era was to lean so completely into the style that there was no room for doubt as to their intentions and aspirations. The result is some of the very best pop music, with a disco vibe, ever recorded; particularly from 1979.  

Yes, the incredible Saturday Night Fever soundtrack, Children Of The World, and Main Course could also be regarded as some of their greatest works, but there’s something special about Spirits Having Flown that I’ve never quite been able to quantify. Perhaps it’s that it signalled, in retrospect, the end of the era for their 1981 release, Living Eyes was somewhat of a disappointment as the Bee Gees dramatically shifted their focus back to pop-styled music; a style they had not applied continuously since the 1974 release, Mr. Natural.

As it pertains to the sonic qualities of Spirits Having Flown, I’ve yet to be blown away. The music is extraordinarily good, as is the mix, and I never tire of the focus placed on Barry Gibb’s falsetto vocal, but the remastering heard on the lossless Apple Music Stream is merely adequate. Think of it this way, it’s not bad, not by any means, but it could be so much better. A minor contradiction, yes, but the remaster is a little too clean and sterile and thereby loses the emotive element. There is additional hope, however, as in 2020 a vinyl reissue was released to little-to-no fanfare; always a concern especially considering the status of the Bee Gees, but as I’ve yet to hear it, I will reserve any further comment until I actually obtain a copy and update this review. 

The album artwork is iconic, and subsequently picking up a vinyl copy is worthwhile for that very reason, yet I’ve never fully comprehended the red swath at the base of the album cover. What it represents is lost to me but it does strangely make the artwork stand out from the crowd; a key aspect when releasing albums in an era where the visual element was as important as the music itself.

Tragedy is not only a quintessential Bee Gees song, but it was the ideal choice to open the album on. Rhythmically charged, with some killer guitar moments, and arguably only beaten in that regard by Stayin’ Alive, Tragedy is one of their very best recordings and while the Bee Gees catalogue is extensive, traversing several styles and genres, few would argue that this song doesn’t belong in a Top 10 list of the best Bee Gees songs ever recorded. Magnificent!

Too Much Heaven is a majestic ballad with symphonic and intermingling vocal elements that prove just how essential it is to get the mix right. The orchestral musical accompaniment can’t be understated for it forms the overall sound of the song, but it is the combination of all elements, perfectly positioned in the soundstage, that makes Too Much Heaven a timeless masterpiece.

The music video is, for lack of a better term, perfect! Recorded in a studio environment, and also lacking the rhythm that made videos such as Stayin’ Alive so popular, it maintains an interest because it plays to the beloved harmonies of the Bee Gees. When watching the music video it also became apparent to me that they would have had to know, at the time of recording, just how well Too Much Heaven would be received for even the most self-critical person couldn’t deny a masterpiece was in the making. To say I would have liked to have been a fly on the wall is an understatement and I can only imagine how exciting it would have been to have been part of the Bee Gees’ inner circle during the recording process. 

Love You Inside Out is pure magic; it’ll get you on your feet, dancing, even if you, like I, have two left feet. Besides the rhythm, I long to hear Alan Kendall’s lead guitar work for his licks are incredible and while it isn’t the focal point of the music, the distortion, including the slide, in the chorus, is hypnotic. 

If you’re looking for a killer instrumental cover of Love You Inside Out, look no further than Arturo Tappin’s exceptional jazz-styled version from Inside Out. 

Reaching Out slows the tempo a little but it’s such a beautiful composition that the shift doesn’t detract from the overall flow of the album. While the initial verse structure can be a little slow, once the song reaches the chorus it really takes off and becomes a solid tune in and of itself.

Spirits (Having Flown) gives us a break from Barry’s falsetto vocal, during the verses at least, thereby providing a vocal contrast that strengthens the song overall. It’s a solid title track but, not unlike Reaching Out, it is the chorus that takes this song to another level entirely.

Search, Find is a party starter with some great horns opening things up. The upbeat tempo makes it a great toe-tapper, but it is that bass guitar tracking that gets me every time. Search, Find very well could have been a Motown tune as it has that type of groove but, either way, this is one song that will have you moving towards the dance floor. 

Stop (Think Again), in comparison to Search, Find, is a little sombre but I’d be lying if I didn’t say how much I enjoy this song. For me, it’s the musical elements that make the song. The soundstage is three-dimensional and you feel as if you’re in the middle of an incredible performance that is for you, and you alone. From a production standpoint, it could be argued that Stop (Think Again) is the pinnacle from Spirits Having Flown for as good as the other songs are, they aren't as ethereal.

Living Together picks up the tempo and is most certainly a 70s tune; but who doesn’t like a little nostalgia, especially when it’s this good! 

I’m Satisfied is one corny love song, but it’s a fun little tune that works well within the album structure. I couldn’t imagine Spirits Having Flown without it. 

Until is a lovely vocal ballad but is considerably different from the rest of the songs on Spirits Having Flown and therefore stands out like a sore thumb. That said, Until allows the listener to reflect on the album and the tune itself thereby making it an intriguing closing song. I don’t, however, like the abrupt ending as it seems it would have been better to taper the volume off towards the end of the composition.

While there isn’t a B-side to be heard, one could argue that there is a little too much Barry on vocals throughout. Yes, the harmonies are there, and Robin and Maurice are present, but Spirits Having Flown, like no other Bee Gees album, is most certainly a Barry-first record. Depending on your perspective that could be a blessing for his falsetto vocals certainly deliver an unmistakable signature sound, but as incredible as the entire album is the Bee Gees, in my mind at least, is all about the interweaving harmonies. Regardless, Spirits Having Flown is a masterpiece from the very first note and worthy of inclusion in every music lover’s library.

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