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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America – Hideaway (Album Review)

Released in 1976, Hideaway is the sixth studio album by the American rock band America. While the music on this album would showcase further evolution within the band’s production style and songwriting, this evolving nature isn’t to the band’s detriment for on this release they took their acoustic-driven folk-rock style even further by adding higher production values and a fuller musical presentation. The result is one of the greatest rock albums of the 70s and one of the best releases in America’s illustrious career.

While the album artwork is mundane, it’s effective and is a perfect visual counterpart to the musical style of the album. Granted, the music surpasses the album cover in terms of quality, for there isn’t a dull song to be heard on the album, and while each fan will have their own preferred favourite America release, Hideaway is certainly mine; followed by Hat Trick and their self-titled debut, America. 

Speaking of the music contained within this classic release, Hideaway demonstrates America's ability to seamlessly blend different musical styles while staying rooted in their signature folk-rock sound. Incorporating elements of pop, soft rock, and a touch of country, Hideaway is one of those pleasurable listens that has a smooth well-balanced mix that allows each instrument and vocal harmony to shine. 

While America’s legacy is legendary, when you have a producer of the calibre of George Martin producing Hideaway, one of five studio albums that he would produce for the band, there’s little wonder as to why Hideaway is so exceptionally pleasing. For those really interested in geeking out, Geoff Emerick was also the engineer for this recording. With two of the core Beatles’ production team behind the scenes, there’s little doubt as to why Hideaway is such a compelling release. Of course, America had to have musical skill in the first place and the songwriting throughout delivers a strong set of compositions that are introspective and often contemplative, exploring themes of love, longing, and self-discovery. Overall, the songwriting maintains a poetic quality, complemented by the band's trademark harmonies, and this, along with the quality of production further validates the importance of every aspect in the creation of a timeless record.

As it pertains to the sonic presentation of the album, the Apple Music stream is exquisite. It may not be an Apple Digital Master, but Warner Music has ensured that the streaming counterpart is a lovely facsimile. Some may naturally prefer a physical copy and while they are readily available on the secondhand market, it’s good to know that Music On Vinyl reissued the album in 2022. While I have no experience with that particular release, I have found Music On Vinyl to be a respectable reissue label. 

Decades ago, I was fortunate to have owned the 1997 Australian reissue CD, under the EMI Legendary Masters reissue series, but it has been so long since I owned that edition that it's impossible for me to even comment on how it compares to the stream I now thoroughly enjoy. What I will say, however, is that if I only had the lossless Apple Music stream of Hideaway, I would be in seventh heaven and wouldn’t feel like I’m missing a thing; it’s that enjoyable!

Lovely Night opens the album with an upbeat and catchy tune that sets the tone for the musical journey ahead. The harmonies are tight, and the melody is infectious, but it’s the entire sonic presentation that ensures Lovely Night will remain with you long after the song and album have concluded as it’s earworm-inducing; the positive kind, of course!

Amber Cascades features a lush atmospheric arrangement that makes for a captivating listening experience that is one of the album's highlights.

Don't Let It Get You Down has a more upbeat tempo, combining electric guitars and keyboards, thereby showcasing America's diverse musical palette. The lyrics convey a message of resilience and encouragement, and the dynamic arrangement adds a sense of urgency to the track that is also the perfect pick-me-up for those moments in life when we feel a little down.

Can't You See is a beautiful acoustic-focused ballad with magnificent harmonies that will immediately touch your soul. It is the definition of a textbook perfect tune and is, arguably, not only one of the best songs America ever recorded, but it’s one of the greatest ballads of all time. It is somewhat disappointing that this tune was not released as a single for it had the potential to be a chart-topper. My only complaint, however, is that it is too short. Of course, if it had been longer, it may not be as appealing. Let’s just say that it’s purposefully minimal and appreciate it within that context.  

Watership Down is a beautifully mellow track with a contemplative atmosphere that adds a sereneness to the album. 

She's Beside You returns the album to a more upbeat vibe, but that classic almost doo-wop introduction is a little distracting as it limits the fluidity of the album’s sequencing. That said, the catchy chorus and infectious rhythm make it a memorable addition to the album.

Hideaway, Pt. I serves as the first part of a two-part instrumental interlude and is not only thoroughly enjoyable but is ideally positioned within the album’s structure; particularly as it’s the closing song on the first side of the vinyl record.

She's A Liar is a killer rock tune with the electric guitar taking centre stage on this bluesy number. It may be a run-of-the-mill rock number by many standards, but the mix and subsequent layering ensure that She’s A Liar is one of the best songs from Hideaway.

Letter is bass guitar heaven. That introduction is spectacular and as the song builds so does my appreciation for it as the stripped-down nature perfectly suits America’s styling. 

Today's The Day is a beautiful tune that rocketed to the top of the charts upon its release as a single. Despite being successful at the time, there are other songs from Hideaway that I feel would have been stronger singles had they been released. Of course, that is me looking at the music via a modern lens and if I reflect on the era, then Today’s The Day was a ideal single release. That said, this is a perfect example as to why this album is so revered here at Subjective Sounds, for it isn’t just the songs on their own that make an album experience, but the album’s sequencing that ensures the record is a standout release. 

Jet Boy Blue kicks things up a notch with twangy guitars and a driving rhythm. It’s nothing short of fantastic and is another favourite as it is not only perfectly suited to America but the variation in musical styles adds depth to the overall album experience. 

Who Loves You emphasises the band's vocal harmonies on this soulful and mellow track. It is, truly, one of their most beautiful compositions and if I wanted to introduce America to someone who had never heard them before, this is one of the tracks that I would share for it’s thoroughly pleasing.  

Hideaway, Pt. II serves as an instrumental closer and while I appreciate the intent, I would suggest that Who Loves You was a perfect way to close the album. Nevertheless, given that Hideaway was released in the vinyl era, the consistency of an instrumental number closing both Side A and B, of the vinyl release, makes logical sense and was a commonly used technique during the heyday of the vinyl record. 

Hideaway stands as a testament to the band's musical maturity and willingness to experiment with different sounds. The album's cohesive flow, coupled with strong songwriting and polished production, makes it a notable addition to America's discography and the 70s classic rock scene. While it may be cemented firmly in nostalgia, Hideaway perfectly encapsulates the saying that they don’t make music like this anymore.    

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Wings – Wings At The Speed Of Sound (Album Review)

Released in 1976, Wings At The Speed Of Sound is one of Wings’ most essential releases and is, arguably, only challenged by Band On The Run for supremacy. As the fifth studio album in Wings’ discography, Wings At The Speed Of Sound sees the band in full swing during their most successful years and is their most diverse as vocal duties were given to each of the core members. The result is that Wings At The Speed Of Sound remains fresh and while McCartney could have taken the lead on all the songs from the album, it is refreshing to hear vocals performed by other members of the band.

While few artists are as successful as Paul McCartney has been, Wings At The Speed Of Sound is yet another example of his musical vision. Yes, as alluded to earlier, Wings was a collaborative effort but there are still moments when you’ll find yourself considering these classics as McCartney tunes. Granted, he co-writes (and produced) all songs, except for Wino Junko, and passed vocal duties to Denny Laine, Jimmy McCulloch, Linda McCartney, and Joe English, but it can still be difficult to separate the legend from the rest of the Wings’ lineup as they are synonymous with each other. 

While the music is the most important element of Wings At The Speed Of Sound, the album artwork is nothing if not compelling. Yes, it’s boring to an extent, yet it’s one of my all-time favourite album covers. While I’ve yet to pick up a physical release of this classic album, when playing it via Apple Music, on an Apple TV, the artwork is presented via a larger canvas that is close to that of the physical vinyl release. It subsequently permits appreciation while sitting back and enjoying the music and the only thing missing is the tactile element. 

What isn’t omitted, on the lossless Apple Music stream, is the lovely sonic presentation of the record. Derived from the 2014 remastering of the album there isn’t much to complain about but there are times when I wonder if the Apple Digital Master is a little concealed. It’s as if there was too much noise reduction applied in the remastering process and sounds as if a sheet has been laid over the speakers. Yet, this isn’t present across the entire album. It could be that the original master tapes weren’t in great shape, or that the songs were simply recorded that way. Of course, it could just be me looking for a problem for when I turn the volume up and allow myself to be drawn to the music alone, I no longer notice it. 

With that in mind, join me, dear reader, as we take a look at the music that makes up this classic release. 

Let 'Em In is a masterpiece as it pertains to opening tracks. The bell-ringing aspect sets the scene perfectly and the song essentially aims to let the music lover in, via its whimsically infectious melody and lyrical presentation.

The Note You Never Wrote is a little melancholic with a subdued and reflective feel. Nevertheless, this is one of the very best songs Wings ever recorded as it’s layered exceptionally well ensuring that the vocals and emotion remain paramount throughout. It may be an album-only tune, but songs such as this are masterpieces in their own right and only make an album stronger. 

She’s My Baby is lively and energetic with an upbeat tempo. While it was never destined to be a standout, it’s a fun little addition to the album.

Beware My Love starts slowly but this mid-tempo rock number builds into one of the greatest songs in all of recorded music history. McCartney’s vocals are raw, simply beautiful, and the musicality, with incredible guitar licks and rhythmic drive, is so captivating that I could listen to Beware My Love on repeat, indefinitely. It is, for lack of a better term, a perfect song. 

Wino Junko is ideally positioned in the tracking of the album. It was always going to be challenging for any song to follow Beware My Love, yet Wino Junko does so without intimidation, thereby ensuring that the linear flow of the album is maintained. Jimmy McCulloch takes the vocal lead on this tune and while his performance is to be commended, it is the bluesy musical backing that is most impressive for the collaboration between musicians, melded with an exceptional mix, has resulted in a musical experience that knows few peers. 

Silly Love Songs is one of the most well-known tracks from this 1976 release and leans into the disco style of the time. There is little doubt, subsequently, that Silly Love Songs would be a hit when released within that era. As corny and cliché as the song is, the catchy and upbeat nature of the song remains thoroughly pleasing and addictive, thereby ensuring that, even if you don’t want it to, Silly Love Songs will remain within you, as an earworm, long after you’ve finished listening to the album.

Cook Of The House is quirky and whimsical, yet it’s a low point of an otherwise perfect album. I think many would agree that if there was one song that should have been omitted from this release it would have to be this one. 

Time To Hide brings the album back on course with a bluesy rock-oriented tune with Denny Laine delivering an incredible vocal performance. 

Must Do Something About It is a beautiful song that seamlessly flows from Time To Hide. As with the previous song, Must Do Something About It is sung by Joe English and is another perfect example of Wings’ creative genius beyond that of McCartney alone. Listening to the song, you’d be forgiven if you thought that English, in some respects, sounds a lot like Billy Joel. Intended, or not, that’s a compliment for I’d love to hear Joel cover this magnificent tune. 

San Ferry Anne is a pleasant enough tune. It’s succinct, and musical, but isn’t a song that you’ll likely seek out, outside of the album’s structure. 

Warm And Beautiful is a stunning ballad and is a perfect closing tune. It will either compel you to listen to the album again or contemplate the serene nature of the tune and McCartney’s delicate vocals. Whichever way you choose to enjoy this closing track, there is little doubt that Warm And Beautiful is simply splendid.

Wings At The Speed Of Sound is nothing if not an exceptional record. While it may not be as well-regarded as some of McCartney’s other works, it’s one of the best albums Wings ever recorded and is a landmark release of the 70s. From catchy pop tunes to blues-based rock and heartfelt ballads, Wings At The Speed Of Sound offers music lovers a diverse range of musical experiences that only get better the more frequently you listen to the album. 

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T. Rex – Futuristic Dragon (Album Review)

Released in 1976, Futuristic Dragon, T. Rex’s eleventh studio album is both unique and experimental as it showcases the continued evolving music style of the English rock band. With this change in direction, you may find that it requires repeat listens to fully grasp, and appreciate, the record’s overall intent. Longtime fans will likely feel right at home, despite the differences from T. Rex’s earlier works, but newcomers should look beyond the renowned catchy tunes and appreciate Futuristic Dragon as it was originally intended; as an album experience first and foremost. 

While Futuristic Dragon doesn’t deviate too far from T. Rex’s classic output, the incorporation of elements of soul, funk, and reggae ensure, when mixed with their glam rock original sound, that the album not only remains fresh but becomes a timeless musical experience. 

While there’s little doubt that T. Rex was a band effort, Marc Bolan has again written thirteen memorable tunes that all have the renowned T. Rex quality, but  with the aforementioned shifts. The result is an album that features catchy melodies and an overall groove that not only highlights Bolan’s lyrics, but one that will captivate your soul. Speaking of Bolan’s lyrics and vocal delivery, you’ll likely hear a little John Lennon influence on songs such as My Little Baby, Calling All Destroyers, and Dreamy Lady. Intended, or not, the correlation is fantastic and you’d be forgiven for mistaking these two musical legends, as you listen to the album, for I have even got the two mixed up on various occasions. 

As it pertains to the sonic qualities of the lossless Apple Music stream, I can say with complete honesty that it could be better. Yes, the stream is a direct counterpart to the CD release of the album and while there aren’t any glaring issues and is subsequently adequate, the stream gives off a sense that there is more to be heard, yet elements are concealed in the mix and subsequent master. It’s also a little boxed in as the soundstage is concerned and a remaster, by a skilled mastering engineer, would ensure the stereo soundstage would be wide and enveloping. The recording could also do with a slight bump in the mid to low-end range of the audio spectrum and while I acknowledge that this can be done in the digital domain, modern EQ settings often lack fine manual controls meaning that the preset options can boost audible elements too far. The result of such extreme measures is that it can be detrimental to other aspects of the recording that are otherwise perfect; hence, my recommendation for a remaster by a well-respected mastering engineer who can ensure the intent of the original recording is maintained.

Forgoing a remaster, for the moment, it is plausible that Futuristic Dragon would be best delivered on vinyl for the format’s inherent limitations would naturally help to produce a smoother, more fuller, and fluid presentation than the streaming counterpart is capable of. Of course, there’s no guarantee that this would yield greater results, but I have observed such occurrences in the past. That all said, the stream remains thoroughly enjoyable, I simply feel that the reproduction could be better than it already is for the music contained within is exceptional and is deserving of the very best production possible. As it is all about the music, however, join me as I take a look at the songs that make up this incredible release. 

Futuristic Dragon (Introduction) is far from the greatest opening track of all time, but if you listen to the album, with a little Alice Cooper in the back of your mind, it becomes more than palatable. If nothing else, the segue to Jupiter Liar is well presented and much appreciated. 

Jupiter Liar is a groove-based masterpiece. With a mix of funk and rock elements, you’ll quickly find yourself tow-tapping and head-bopping along. As to why Jupiter Liar was never released as a single, I’ve no idea, but it is beyond comprehension for I feel this song would have rocketed to the top of the charts. 

Chrome Sitar takes us on a psychedelic dreamlike journey with an incredible rhythm and sensational hooks. The mix and overall composition of Chrome Sitar is impressive; so much so that I consider Chrome Sitar to be one of the greatest songs T. Rex ever recorded.  

All Alone presents us with a song that’s a little more upbeat. Think the Motown vibe mixed with a little soul and a touch of T. Rex. On paper, it shouldn’t work, yet it does. While All Alone may not be the strongest song from the album, it is nothing if not addictively good. That said, if you struggle to get into this tune, may I suggest you listen to it independently a few times as it grows on you the more you listen to the song. 

New York City is utterly brilliant! Yes, you’ll hear elements of Get It On, from Electric Warrior, but the repurposing of musical techniques, particularly in this instance, isn’t a bad thing. New York City is, subsequently, not only a standout but its energy and catchiness ensure it’s one of the best songs on Futuristic Dragon.   

My Little Baby possesses a romantic styling that doesn’t really suit T. Rex, but I’d be lying if I said that it doesn’t grow on you. If nothing else, it shows us a different perspective to what T. Rex could have been, had they chosen a different direction; one more aligned with pop than rock. 

Calling All Destroyers has a driving rhythm with some killer guitar licks and a vocal style that reminds me fondly of John Lennon. It’s a classic rock tune that is not only one of the best songs from the album but one of T. Rex’s greatest recordings. 

Theme for a Dragon is a lush instrumental piece that suits the album perfectly. Further embracing the album’s boldness, Theme For A Dragon is perfect for its intended purpose but I will say that the faux audience element can be a little grating on the senses and I, for one, would have preferred that aspect to be removed from the mix. 

Sensation Boulevard is another funky tune that adds to the overall style of the album. While it was never going to be a standout recording, it’s groovy and utterly compelling. 

Ride My Wheels is a little more eclectic than the other songs featured on Futuristic Dragon, but don’t let that deter you as it is the album’s diversity that makes it such a fascinating release. 

Dreamy Lady is T. Rex meets disco with a touch of Lennon. It’s brilliant and is without a doubt one of Bolan’s greatest vocal recordings. 

Dawn Storm shifts the musicality again, but the soul-inspired approach, particularly in the vocal department, is nothing short of musical genius. Dawn Storm is, subsequently, one of the most beautiful songs you’re ever likely to hear. 

Casual Agent closes the album on a high note with a dynamically engaging approach that will compel you to play the album again. Yes, the repeated chorus becomes an earworm; but it’s a thoroughly enjoyable one. 

No matter which way you look at it, Futuristic Dragon remains a fascinating release in T. Rex’s celebrated discography. Featuring sonic transitions and musical explorations like that never heard by T. Rex before, this timeless classic remains compelling for fans and newcomers alike. While not as successful as their earlier releases, the artistic boldness and genre-bending approach make for an enthralling musical experience that showcases the evolution of T. Rex and Marc Bolan’s musical journey, thereby ensuring that Futuristic Dragon is not only one of the greatest albums released in 1976 but one of the best releases of all time. 

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John Cougar – American Fool (Album Review)

Released in 1982, American Fool was a highly successful release for John Cougar (Mellencamp) as his previous four albums were somewhat lacklustre performers at the cash register. Granted, sales don’t always represent the musical skill of an artist, but American Fool was different. It was mature. Focused. Musically and lyrically rich. Perhaps most importantly, there isn’t a bad song to be heard on the album and the radio-friendly styling was guaranteed to make Cougar’s music more appealing to the masses than any of his prior releases. 

Rising to the top of the charts, with American Fool, John Cougar would forever become a household name and with classic tunes such as Hurts So Good and Jack & Diane, there’s little doubt as to why this album was a success and is one of the best albums released in 1982. Yes, the production quality is exceptional and the lossless Apple Music stream, derived from the 2005 CD remaster, is sonically pleasing even though it’s been heavily compressed. While purists may dislike that aspect, and the fact that the remaster introduced the song American Fool to the album for the first time, to ignore this release would be shortsighted for I’m unwilling to give up that bonus song for a version of the album, sans American Fool, but with a greater dynamic range.

The Dolby Atmos mix, by comparison, is really nice. While it isn’t the greatest surround sound mix, it’s non-offensive and offers a slightly fuller presentation than the stereo counterpart. You’ll also experience greater instrument separation on the surround mix. Elemental aspects that were previously concealed in the stereo mix are presented with clear spatiality, thereby allowing you to experience every nuance. You’ll get a sense of Kenny Aronoff being in the room with you as he batters rhythmically on the drum kit. It really is a case of more, not less, and it isn’t distracting. There is a problem, however, and that is that you’ll have to listen for yourself and decide which version is your preferred to listen to. As I’m more focused on two-channel audio, I’ll likely stick to the stereo version, but it does sound really good on my Atmos-compatible system. 

Regardless of which version appeals to you, an album is nothing if not for its collection of songs. So, join me as I take a look at the songs that make up this classic release. 

Hurts So Good has an energetic and rebellious spirit that resonates with even the most anhedonic humans amongst us. With Cougar’s gritty vocals, a bluesy-rock style, and an incredibly addictive clap track, Hurts So Good is one of those songs that requires no fanfare for once it comes on, you get it immediately.

Jack & Diane is a classic rock anthem with a catchy melody and relatable lyrics. I’m sure there are numerous examples of this, but the one-two combination of Hurts So Good and Jack & Diane is unprecedented as it pertains to the opening of an album. You’d be forgiven for thinking that it is all downhill from here, but you'd be wrong by coming to that conclusion for as exceptional as this tune is, American Fool is most certainly an album-first music experience. 

Hand To Hold On To is more melodic and traditionally pop-oriented, when compared to the previous two songs, but with catchy hooks, and a sing-along quality, you’ll find that Hand To Hold On To adds diversity to American Fool. If nothing else, it’s a killer soft rock tune that is only depreciated by the two incredible songs that came before it.  

Danger List is a fantastic soft-rock number that will see you toe-tapping along. With Cougar’s raspy vocals laid atop the energetic instrumentation, Danger List is a hidden gem and one of the best songs Cougar has ever recorded. 

Can You Take It is a solid blues-based rocker with a driving rhythm. Yes, it’s a classic album-only tune and can be a little corny in places, particularly in the chorus, but American Fool wouldn’t be the same without it. 

Thundering Hearts has some killer guitar licks and a rhythmically thrilling drum and bass beat. While the verses are somewhat mundane, the lyrical highlight of Thunder Hearts is its chorus. As a result, you’ll find yourself toe-tapping throughout the verses and singing along during the chorus.

China Girl is simply magnificent! The song’s catchy guitar riffs and Cougar’s extraordinary vocal range ensure that China Girl is a lively classic rock tune. Interestingly, China Girl is a song that I feel would have been perfect had Cold Chisel ever decided to cover it for it has Jimmy Barnes’ lead vocals written all over it along with Ian Moss’ harmonious backing vocal; not to mention the entire band and overall style of their music.   

Close Enough is a great mid-tempo rock number that will compel you to toe-tap and head-bop to the addictively good rhythm.  

Weakest Moments is a simply beautiful song that's both introspective and contemplative. As the original closing track, I can see why it was chosen for that position for it not only compels you to listen to the album again, but it will allow for a reflective moment of the music you’ve just heard. Either way, it’s an incredible tune and one of the very best songs from the album.   

American Fool (Bonus Track) is an interesting addition to the 2005 remastered edition of American Fool for title tracks are normally included on the albums that are their namesake. Nevertheless, while I’m normally uninterested and unimpressed with bonus material, this is an exception. It should have always been included on the record as the album flows perfectly with this song on the back end. It’s also worthy of inclusion in its own right as the catchy guitar hooks and driving rhythm ensure the rock edge of the album is maintained to the very final note. 

When considering American Fool, as a complete body of work, it isn’t far-fetched to regard it as a landmark release that showcases Cougar’s ability to craft catchy and memorable songs that resonate with a broad audience. Yes, much of the album’s success can be attributed to Hurt So Good and Jack & Diane, but to limit its notability to those two amazing songs is incredibly shortsighted for American Fool is an album experience first and foremost. It just happens to have a couple of the most recognisable tunes from the 80s as the album's opening tracks. Subsequently, whether you're a longtime fan or a newcomer to John Cougar's music, American Fool remains a must-listen for anyone interested in the sound and spirit of 1980s heartland rock.