The Beatles – Abbey Road (2009 Remaster) [Album Review On Vinyl, CD, & Apple Music]

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The Beatles – Abbey Road (2009 Remaster) [Album Review On Vinyl, CD, & Apple Music]

There are masterpieces and then there is Abbey Road. Very few albums in the history of recorded music maintain the mystique that Abbey Road does. From its iconic cover art, to the Paul is dead conspiracy theories, to the sonic wonderland that still eludes musicians to this day, Abbey Road is beyond perfect and this is, therefore, less of a review and more of a love letter to the fans and those remarkable individuals who made the album.

When comparing Abbey Road, it is important to note that all three versions detailed in this overview are from the same mastering sessions and therefore, logically, should be on par with each other. I can attest that that is the case as they all sound incredible, but there are some minor differences that I would like to highlight. 

The CD has plenty of punch, perhaps a little too much at times. Yes, vinyl by its very nature needs amplification but I prefer digital music that allows me to pump it to the level that I choose, yet the 2009 CD release requires me to turn the volume down to a level that is a few decibels lower than I would ultimately prefer. This increased volume is also fatigue-inducing and while I find that I can play the vinyl edition on repeat for hours on end, the treble-focused presentation of the CD can be a little jarring at times; despite it’s overall warm, for CD, tone. This is where the Apple Music edition, an Apple Digital Master, shines as the laid back analogue sound, as heard on the vinyl reissue, has made it’s way to the Apple Music edition thereby ensuring that this version is less shrill in the treble range, subsequently resulting in a much more pleasurable listening experience at all volume levels. 

It’s important to note that the vinyl reissue was pressed from a high-resolution master file and Apple Music similarly requires the high-resolution master to be presented before compressing to the AAC format; a result that is increasingly providing a much better audio quality when compared to the CD counterpart. Now, the delta between versions remains quite low and in all honesty, unless you’re comparing them, as I have, it is unlikely that you’ll be disappointed by the CD release for, as a standalone item, it is superb and an example of how good CD can sound. It is just that I prefer the tonally warmer sound that is more noticeable on the vinyl and Apple Music editions but I’ve no doubt that many CD lovers wouldn’t consider the CD release to be too clinical and clean sounding, but perfect to their ears. I’ve never been completely enamoured with accuracy and enjoy a bit of colouration, especially when it comes to the mid and low range elements, but that isn’t necessarily everyone’s taste. Truthfully, there isn’t a bad way to experience the 2009 remasters but if you’re like me, trying to find the version that best suits your tastes, then the above details will hopefully assist you with making a judgement call. 

Where the CD shines, however, is in its presentation. The Digipak folding design works well, and the included liner notes are a nice addition to peruse as you’re enjoying the music. If you’re after lyrics, however, the CD is not for you but thankfully Apple Music provides that functionality. The vinyl edition, however, is barebones with no booklet or liner notes other than the main cover sleeve. It’s a little disappointing if I’m to be completely honest. The CD is also an enhanced CD but that technology is unfortunately rather dated and if you no longer have a CD drive in your computer, then the Abbey Road Documentary is forever locked within the plastic disc. Again, the Apple Music edition provides additional functionality and thankfully the documentary is included in the digital version. I acknowledge, however, that this can be rather distracting as you’re unlikely to want to watch it every time you play the album. Thankfully, you can simply deselect it from your library and only stream it when you wish, ensuring that the music remains front and centre. 

Side One

Come Together is an incredible song and a perfect opener. Interestingly, when I first heard Come Together, it was Michael Jackson’s version and at the time I had no idea that it was a Beatles original. Well, Jackson performed it admirably with a little more pop than the original, but the ultimate masters are The Beatles and we can completely ignore Aerosmith’s bastardisation of this classic. However, if you like the classical guitar, you’re going to love Miloš Karadaglić’s version from Blackbird.   

Something is absolutely stunning, leaving me somewhat speechless upon each listen. 

Maxwell’s Silver Hammer is a fun tune, despite its darker lyrical undertones, that will get your body moving to the rhythm. I just can’t seem to sit still when listening to Maxwell’s Silver Hammer and I love McCartney’s somewhat awkward giggle during the recording. Thankfully that was kept in! 

Oh! Darling is pure McCartney. His vocal recording on this track is spectacular; the best in his career in my opinion. 

Octopus’s Garden is perfect, I love it! 

I Want You (She’s So Heavy) is one of my favourite Beatles’ songs and is a great way to close out Side One of the vinyl release. Is it just me or do you find it challenging to accurately predict the end of the song? It is almost like a game for me and I rarely get it because the song keeps going on and on and on and on but I must admit that the sharp cutoff always irritates me for a moment as I would prefer the song to simply fade away. Yes, I Want You (She’s So Heavy) very possibly could have been a disaster, but it is arguably The Beatles at their very best. 

Side Two

Here Comes The Sun is superb. Nothing more really needs to be said when a song is this good. 

Because is moody, brooding, and the ultimate sonic contrast to Here Comes The Sun. The triple-tracked harmonies are spectacular, making Because the epic we know it to be. 

You Never Give Me Your Money flows perfectly from Because and is musically gorgeous. Although, and perhaps it’s just me, at times I feel there is a little too much distortion in the guitar tracking and it can subsequently become a little distracting. 

Sun King is a little off-beat and it takes a while to get used to. While it isn’t a song that I would actively seek out on its own, it works well with the melody aspect on the second half of Abbey Road.

Mean Mr Mustard flows beautifully and is a great song. I particularly like the fuzz bass as it works extremely well for this song.

Polythene Pam shifts the musical style masterfully. A great tune! 

She Came In Through The Bathroom Window is brilliant!

Golden Slumbers is stunningly beautiful and while I admire its polished recording, getting to the point of the song, I would love it to be a full-length song, for I feel it is that good. That said, it flows perfectly into Carry That Weight and both together could ultimately be seen as a singular song. 

Carry That Weight has an incredible presence and is one song where I would have loved to have been a fly on the wall in the studio when it was recorded. Surely they knew they had a masterpiece on their hands during the recording sessions. 

The End is brilliant and is Ringo’s chance to shine with a melodic drum beat that sets the tone for the song and closes out the album perfectly; at least it would have if they hadn’t left in Her Majesty. 

Her Majesty (Hidden) is the only song on Abbey Road that I abhor. It doesn’t ruin the album for me, but it is cringeworthy and frankly unnecessary. 

I could listen to Abbey Road on repeat indefinitely and it isn’t uncommon to put the record on in the morning and still be flipping it that evening. It’s a prized possession and if I had to choose a version that I prefer, it would be the vinyl reissue for its laid back presentation as I feel it is the very best way to experience this masterpiece.

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Velvet Revolver – Contraband (Album Review)

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Velvet Revolver – Contraband (Album Review)

As a lifelong Guns N’ Roses fan, Velvet Revolver appeared to be the natural transition following the dissolution of the original Guns N’ Roses lineup in the late 90s and while one shouldn’t compare the all-star lineup of Velvet Revolver, their songs are, for the most part, hard-hitting garage rock tunes that don’t break new ground but are a worthy addition to the rock and roll genre. That is if you can get over the crushed soundstage that is just grinding and at times intolerable. 

Yes, dear reader, Velvet Revolver’s Contraband sounds like crap. It isn’t the performance, but the chosen recording style, mix and mastering. Loudness was thoroughly applied resulting in a massively compressed soundstage that comes across as noise, rather than a musical masterpiece. Even the ballad, Fall To Pieces is a noisy mess that lacks the definition and subtleties that are heard on basically every Guns N’ Roses album. Seriously, November Rain, Estranged, and Don’t Cry would have been absolute failures if they were mastered this badly. I simply can’t understand why musicians with such credibility would have allowed their music to be released in this manner. 

To say Contraband needs a remaster is an understatement. Those of you who have been longtime readers of Subjective Sounds would likely be surprised at that statement but this is one album whereby the original release is arguably worse than the worst remaster I’ve ever come across. Yes, it is that bad. The current CD/Apple Music master is headache-inducing and while I love the performance and songs, I seldom listen to it because it is a sonic mess. I acknowledge that the vinyl release for Contraband is more dynamic but one can likely understand my scepticism given the dismal mastering quality of the digital release doesn’t exactly exude confidence in this music lover; especially when reviews have been mixed. 

Unfortunately, when listening to the album I find that Matt Sorum’s drum performance is completely lost in the mix while Duff McKagan’s bass is only occasionally heard as a separate instrument. Thankfully, Slash is always loud and clear, but that is no surprise. Dave Kushner maintains the rhythm and Scott Weiland sang his ass off, yet there isn’t a standout element to be heard on Contraband. It is as if egos got the better of the musicians and each musician turned their performance up to eleven, thereby masking everyone else’s contribution. A shame, yes, but it’s just something us fans have to live with. 

Sucker Train Blues is a promising start to the album, but the song is a sucker once it gets past its introduction. It is pure rock and roll but is the first of many examples of over-compression that takes away from the performance. Seriously, how distant is Sorum’s drumming on this track? It sounds like he isn’t even in the same studio and those cymbal crunches are just too crunchy with no decay present.  

Do It For The Kids is “R&FNR” and is thoroughly enjoyable. 

Big Machine is where, for me, Contraband begins. I would have loved to have this as the lead song with Sucker Train Blues and Do It For The Kids slotted into other positions in the tracking of the record. Nevertheless, Big Machine is a song that I love and one that everyone can relate to. 

Illegal I Song suffers badly from the applied loudness, a shame considering it could have been significantly different. The mastering limitations here is what I call headache-inducing. It is, unfortunately, a song that I tend to skip. 

Spectacle is a solid rock and roll tune. Nothing to write home about, but enjoyable nonetheless. 

Fall To Pieces is a favourite of mine. I’d even go as far as calling it a masterpiece. While the story-arc is derived from Weiland’s battle with heroin and the impact it had on his wife, I believe that it’s a song that any of us can apply to various aspects of our lives as we’ve all had moments when we’ve fallen down and feel as though we’re falling to pieces. Fall To Pieces is also one of the tracks that don’t sound too bad given the heavy-handed loud mastering. I’d still like it to be more open and enveloping, but I love it anyway. A great song!

Headspace has a killer rhythm and is a great rock and roll tune. I love it!

Superhuman has the best guitar riff on the album. Brilliant! Similar to Headspace, the rhythm on Superhuman is off-the-charts. 

Set Me Free is a bit of a mixed bag. It isn’t a bad song, but I don’t feel the chorus works, thereby making it somewhat lacklustre. 

You Got No Right is a great song with a vocal styling that reminds me of Julian Lennon. In fact, I’d love to hear Lennon cover You Got No Right. Slash’s solo on this recording, while not revolutionary, is signature Slash and this fan thoroughly enjoys it. 

Slither is, of course, Velvet Revolver’s trademark song and is bloody awesome with a mix and rhythm that is just right. The crunching cymbals persist, however, but little elements like that can be addressed should a remastering ever be undertaken. Additionally, Slither also won the Grammy award for Best Hard Rock Performance in 2005. 

Dirty Little Thing is a bit of a letdown after Slither. It isn’t great. A B-side at best. 

Loving The Alien is an incredible song to close the album on that encourages me to play it again and stay within Velvet Revolver’s small, but compelling, catalogue of music. Loving The Alien is one song where a remastering would send it skyrocketing to new heights as it is one of the best songs Velvet Revolver recorded. 

Overall, Contraband is a sonic disaster but the songs are its redeeming quality. I look forward to the day when the album is reissued and remastered with kid gloves for I believe it deserves to be revisited and hopefully that will occur sooner, rather than later. 

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Alter Bridge – III (Album Review)

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Alter Bridge – III (Album Review)

III is where I came in and thanks to Myles Kennedy’s collaboration with Slash on Back From Cali and Starlight, from Slash's eponymous solo debut, I became an immediate fan of Kennedy’s vocal style that would then lead me to become a fan of Alter Bridge. I’ve no doubt some fans may lament Kennedy’s extracurricular activities with Slash, but without it, I may not have found Alter Bridge.

Released in 2010, III remains my favourite Alter Bridge album to date and while I thoroughly enjoy their fourth album, Fortress, I find it isn’t nearly as tight as III as it feels as though it is a collection of songs rather than a uniformed album. Whereas III doesn’t suffer that same fate. It is surprising then to acknowledge that I have Fortress on vinyl but not III. Insane, I know, but what can you do. Well, I could always pick up the stunning 2019 Music On Vinyl reissue, couldn’t I?. 

In the meantime, however, Apple Music will have to suffice and while it isn’t delivered as an Apple Digital Master, and subsequently suffers from the same brickwalling as the CD release, III remains sonically beautiful with a soundstage that while shallow in places, is well defined and has an intimate feel. Given the chosen mastering, I find it is less fatiguing when listening on headphones rather than speakers and that is most probably the best reason to consider the vinyl reissue as the dynamic range on that particular release is reportedly almost twice that of the digital counterpart.

Slip To The Void sets the tone for the entire album and is, in my opinion, a stunning opening track that is atmospheric and involving for the listener, ensuring this is not a passive listening experience. 

Isolation takes the album up a notch but going from the more open sound of Slip To The Void, Isolation is, by comparison, the song which showcases the most brickwalling; listen to those cymbal crunches throughout. It’s a shame and does initially detract from the song and the overall album experience, but the mind settles down after a while and I hope this is one element that is fixed on the vinyl reissue because it’s about the only major complaint I have when listening to III.

Ghost Of Days Gone By is arguably softer, particularly in the beginning, in tone when compared to Alter Bridge’s usual styling, but it works so well and not only is the entire band capable of such an undertaking, but Kennedy’s vocal is perfectly suited to the Ghost Of Days Gone By and in one respect it could be suggested that this is one of the greatest songs ever sung by Kennedy.

All Hope Is Gone is spectacular!

Still Remains has a killer tribal beat and rhythm feel to it. It reminds me of Mike Wengren’s (Disturbed) drumming and Zakk Wylde’s (Black Label Society) guitar styling; both of whom I thoroughly enjoy so that comment is one of admiration and other than some cymbal crunching, Still Remains is exceptional.  

Make It Right is a solid tune, works well as part of the album, but it isn’t a song I would seek out on its own and I feel it is the weakest of the 14 songs included on III. I find Kennedy’s vocal here isn’t the greatest, it sounds a little whiny, and the overall musicality is, in my opinion, far below the skillset of Alter Bridge during the III era. 

Wonderful Life is beautiful!

I Know It Hurts is the toe-tapping, head-bopping, rock tune that is perfectly suited to follow Wonderful Life. It’s a great song, one of the best on the album, but that could be said of so many songs on III. Alter Bridge really set the bar high with III and while your opinion may differ, dear reader, I’m not sure they’ll ever beat it.

Show Me A Sign will encourage you to get your air guitar out, close your eyes, and strum along. Another great song in an album that simply doesn’t let up. 

Fallout is a mixing masterpiece, thank you Brian Sperber, and is one of my absolute favourite Alter Bridge songs.

Breathe Again really highlights Kennedy’s vocal pitch capabilities and that guitar track is simply gorgeous. If you haven’t already, I’d recommend turning the volume up on this track, especially in the second half of the song as it rocks.

Coeur D’Alene is a song I have mixed feelings about. I find my mind is distracted when I listen to it. When I think about it further, I think it is a disconnect between the verses and the chorus that throws me. It is as if the bridge isn’t allowing for a seamless transition.

Life Must Go On is incredible. I love it!

Words Darker Than Their Wings is a solid song to close the album on, but part of me wishes that Words Darker Than Their Wings could have been tracked before Life Must Go On as I feel the latter would have been a stronger song to close the album with. Regardless, I feel compelled to listen to III again and as I did while writing this review, I progressed through Alter Bridge’s catalogue of music. 

Overall, III is nothing short of extraordinary. It isn’t only my favourite Alter Bridge album, but I’d argue that it is one of the greatest rock and roll albums of the modern era and will, with time, become a classic record.

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Kenny G – Breathless (Album Review)

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Kenny G – Breathless (Album Review)

Despite a small, but vocal minority declaring Kenny G a sellout, especially following his sensational collaboration with Kanye West on the song Use This Gospel, from West’s JESUS IS KING album, I consider him to be one of the very best contemporary jazz musicians of our time.

Seriously, dear reader, the sellout tag for musicians needs to stop as it is akin to sour grapes and achieves absolutely nothing. I know some very talented jazz musicians, in their own right, that claim Kenny G is a sellout but I don’t recall anyone ever declaring that the stereotypical struggling jazz artist is the epitome of success. Regardless, Breathless was my introduction to jazz-styled music and I fell in love, now considering myself to be a fan of Jazz and, yes, I have Kenny G to thank for that. 

Since its release in 1992, Breathless has amassed sales of over 12 million units. I’ve purchased five of those copies over the years and streamed the album countless times. You may wonder why I purchased so many copies. Well, my mother was a fan upon the album’s release so I gifted her a copy. Then I managed to scratch the disc, by accident, that caused a little more b-bop in G-Bop, so I had to replace it. I then purchased another copy for myself so that I never ran the chance of damaging another prized possession. Oh, and I picked up the cassette release as well for I didn’t have a Discman at the time. After several years, and at the dawn of the MP3 era, I thought it was a good idea to digitise all my albums into this new technological format and sell the CD on eBay. In retrospect, that was an incredibly naive choice so a few years ago when I began building my record collection again, I picked up the CD for the fifth time and other than a misprint, I couldn’t be happier as the mastering of the CD is the same as that originally release in 1992 and shows just how exceptional the humble CD can sound. Yes, I acknowledge there are HDCD, XRCD, and SACD editions available in China and Japan but I think you’d be hard-pressed to notice a difference unless you’ve got a very expensive and very revealing system. Hence, the standard CD should be the epitome of perfection for most music lovers. I also don’t feel we need to see a vinyl re-issue of Breathless. I know the resurgence of vinyl is all the buzz at the moment, but I believe that you should buy an album in a format that best suits the music. In this case, I feel it is most certainly the compact disc. 

The Joy Of Life is a gorgeous opening song that sets the tone for the entire album. It’s upbeat and positively styled and if you haven’t already, I’d recommend you turn the volume up. While it is sensational at normal listening volumes, it really opens up and sounds amazing when the volume is raised. 

Forever In Love is simply beautiful and I’m often left speechless upon listening to it. Kenny G has taken that Soprano Saxophone to the very limit of each note, ensuring that it is one of the most memorable songs on Breathless. 

Forever In Love was also released as a single, but the accompanying music video is largely forgettable and ultimately sullies the song in my opinion.

In The Rain is a lovely song that flows nicely from Forever In Love but it isn’t arguably a standout track even though it adds to the overall album experience. 

Sentimental is pure magic. It is so relaxing and visual, especially if you close your eyes and allow yourself to be taken to a wondrous world where music reigns supreme. 

The music video for Sentimental is in a similar vein to that of Forever In Love where despite the attempt to tell a story, the music video ends up being superfluous to the song itself and while I acknowledge how difficult it must be to come up with a concept for an instrumental-focused musician, I would have much preferred to have seen Kenny G in a concert performance, or even in a natural setting, playing the song. 

By The Time This Night Is Over (with Peabo Bryson) is a great song and if you hear a little of Michael Bolton’s style, particularly from The One Thing era, you wouldn’t be mistaken as he co-wrote it with Diane Warren and Andy Goldmark. While Bryson sings it beautifully, even if he is drowned out a little by Kenny G’s Soprano Saxophone, I must admit that as a fan of Bolton, I’d love to hear him record a rendition with a mix more in tune with his own style. The comparison would certainly be interesting. Johnny Mathis covered By The Time This Night Is Over on his 1998 release Because You Love Me and while it is a valiant effort, it doesn’t come near the Bryson/Kenny G interpretation. 

End Of The Night is a solid song with Kenny G switching to the Tenor Saxophone, although I dare say that something is missing and it feels a little over-produced if I’m to be completely honest. 

Alone is magnificent with a gorgeous low-end that will test the bass response of your stereo system. This is one song where you should most certainly feel the reverberations throughout your body. 

Morning is simply beautiful. 

Even If My Heart Would Break (with Aaron Neville) is one of my favourite songs on the album and coincidentally was the first time that I had ever heard Aaron Neville, thereby proving that collaborations are not a bad thing for I’ve been a Neville fan ever since. 

G-Bop was a beloved song of mine in the 90s, yet as I’ve aged, while I still thoroughly enjoy G-Bop, I don’t find the same level of enjoyment as I once did. A shame, yes, but I also find it fascinating to see how my musical interests have shifted over the years and I often find myself wondering if it is a simple case of maturing or if the shift is due to the constantly expanding music styles and artists I am listening to these days. Perhaps I’ll never know, but it is interesting to ponder. 

Sister Rose sonically blows my mind. It is gorgeous and just as Kenny G did on Forever In Love, he has taken that Soprano Saxophone right to the edge of each note and masterfully held it in place. Sister Rose is also one of the best examples of sonic visualisation whereby you feel as though you’re in the studio experiencing a private performance. Sensational!

A Year Ago is a beautifully smooth song that flows perfectly from Sister Rose. 

Homeland is a lovely song. Nothing to write home about, however, but Breathless wouldn’t be the same without it. 

Natural Ride is listed as track 14, in the liner notes, for the CD release, but I honestly can’t recall the song and therefore feel that it has been omitted from the Australian edition for many years. It’s a shame, however, that this has not been amended. Checking out Natural Ride on YouTube doesn’t leave me with an incessant longing for the song. It’s adequate but arguably not spectacular and lacks cohesion with the other songs on Breathless, so in one way I’m happy for the exclusion. 

The Wedding Song is an incredible tune to close the album with. If you’ve been listening to Breathless at night, you’ll thoroughly enjoy the reduced tempo and smoothness that will relax you but if you’re listening in the day, you’ll likely find yourself playing the album again or at least staying within Kenny G’s extensive catalogue of music. 

Overall, Breathless is one album that should be in every music lover’s collection for it is relaxing, exhilarating, and ultimately timeless. 

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The Crickets – The "Chirping" Crickets (Album Review)

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The Crickets – The "Chirping" Crickets (Album Review)

When I got back into collecting music a few years ago, after a hiatus that was born from the flexibility of the MP3 era, The “Chirping” Crickets was one of the first albums that I wanted to pick up. However, at the time, it had been out of print for years and it would subsequently take European grey labels, such as WaxTime, to re-issue this as well as many other classics. When I class WaxTime as a grey label, it is because their releases are not officially sanctioned by the record labels but are instead re-issues of albums that have gone beyond the time limitations of copyright in particular regions of the world. Subsequently, these records are not always mastered or pressed from the highest quality masters but from consumer-grade releases such as high-resolution digital downloads or CD. In this particular case, it sounds as though The “Chirping” Crickets album has been pressed from a CD release. That isn’t to say that it’s bad, but there are elements where the pressing is a little shrill, particularly noticeable in Buddy Holly’s vocal. Yes, this is an old recording, but it should arguably be a little smoother. Nevertheless, the record and associated mastering is musical and I find myself thoroughly enjoying the album from start to finish. 

The record cover is nicely reproduced and I’ve always considered the cutout look, see hairline, to be hilarious. The rear cover is completely different, from any prior releases, with the reproduction of original liner notes as well as an additional blurb that will likely appeal to fans of Holly and The Crickets. To be quite honest, I’m rather impressed with the rear cover on this release for it is compelling to hold as I listen to the album. It’s presented nicely, going a little further than some of the official re-issues. Additionally, the inner sleeve is an archival anti-static sleeve that ensures dust and static is kept to an absolute minimum. Collectors will attest that these sleeves are hard to come by as re-issues are often delivered in the most hideous inner sleeves, regardless of price. It is therefore refreshing to see a secondary label go above and beyond for music lovers. 

The vinyl itself is beautifully silent and has a generous heft to it with a blackness that can only be rivalled by a black hole. The only limitation of this release is the digital source. I do not doubt that if WaxTime were presented with a better master, this would be off-the-charts good, rather than enjoyably adequate.

This particular reissue also included 4 Bonus Tracks that were absent from the original release and they’re, in my opinion, value-added additions. Nevertheless, for the purists out there, you’d be well-advised to consider the favourably reviewed 2016 Analogue Productions re-issue which has the original track listing or the Apple Digital Master available on Apple Music.

SIDE ONE

Oh, Boy! is a great toe-tapping song to get the album started and sets the tone for the entire record. 

Not Fade Away has always been a favourite of mine. The lyrical delivery and musical pauses make this tune truly great. The Rolling Stones covered this song and made it their own in a rendition that pays homage to the original while amplifying it and ensuring that it remains one of the greatest songs from the era. 

You’ve Got Love has a creamy smoothness that I simply adore and is exactly what I think of when I think of the 50s sound. 

Maybe Baby is a song that I can’t help but sing along to. Sensational! It has also been covered extensively with The Hollies’ recording being a valiant re-styling effort that stands out from the crowd, due in part to its slower pop-driven tempo. 

It’s Too Late is a thoroughly enjoyable ballad; one that I would have loved to have heard Elvis Presley record. Nevertheless, this Chuck Willis song is superbly covered and if you haven’t checked out the original, you should because it is excellent in its own right. Roy Orbison’s recording of It’s Too Late is simply magical while Otis Redding’s rendition is simply adequate and Derek & The Dominos’ rendition is similarly assigned. Of course, if you’re interested in interesting cross-overs, Kanye West sampled It’s Too Late for Gone as heard on Late Registration and it works remarkably well.  

Tell Me How is an incredibly addictive upbeat track. If there is one criticism, it is merely that it is too short. Of course, that is also one of its strengths but if you’re like me you’ll want to drop the needle on Tell Me How again. In one way, we can be thankful that digital music, specifically streaming music, has made such a feat much more convenient. 

Blue Days, Black Nights is the first bonus track available on this particular version. It’s a great song, but I’d be lying if I said that it didn’t change the flow of the album. Nevertheless, I love it, so it is a value-added bonus.

Rock Around The Ollie Vee is the second bonus track and is excellent and another song that I would have loved to hear Elvis cover. 

SIDE TWO

That’ll Be The Day needs no introduction, fanfare, or explanation, suffice to say that it is timeless Buddy Holly & The Crickets. So timeless in-fact that it could be suggested That’ll Be The Day was a song that was an original element of the launching of The Beatles as it was the first song recorded by The Quarrymen; the band that would ultimately morph into The Beatles. Linda Ronstadt also covered the song in a country-pop rock styling that is different, yet similar, to the original but it is Foghat’s rendition from 1974’s Energized that I really enjoy as they took the song, reinterpreted it, and made it their own while paying homage to the original. 

I’m Looking For Someone To Love is perfectly tracked following That’ll Be The Day and while it isn’t as superb as the aforementioned song, it is thoroughly enjoyable.

An Empty Cup (And A Broken Date) is a killer 50s barbershop-styled ballad. They don’t make them like this anymore!

Send Me Some Lovin’ continues the style of An Empty Cup (And A Broken Date) but isn’t nearly as impressive. It is, however, a solid B-side originally recorded superbly by Little Richard. As a rock and roll standard, it has been covered rather extensively by the likes of Sam Cooke, Otis Redding, Dean Martin, and the incomparable John Lennon. All the aforementioned artists covered Send Me Some Lovin’ wonderfully with many matching, if not exceeding, the brilliance of the original Little Richard recording and The Cricket’s interpretation. 

Last Night is a great song, although I’ve often felt it is a little eerie, in a similar vein to Santo & Johnny’s haunting Sleepwalk; a song I adore despite the musical style. 

Rock Me Baby is one of my favourite songs from The “Chirping” Crickets. The rhythm is perfect and while not the final song on this reissue, as the closer on the original album release, it most certainly encourages the listener to play the album again. 

Don’t Come Back Knockin’ is a solid addition with a toe-tapping beat. 

I’m Changing All Those Changes is a great bonus closing track that encourages me to spin the album again and I don’t know about you, dear reader, but the guitar plucking on I’m Changing All Those Changes, while not necessarily perfect, is sublime.

Overall, The “Chirping” Crickets is a landmark album that should most certainly be in every music lover’s collection. Purists will undoubtedly love the original tracking but those wanting more will likely welcome the additional four songs that have been included on this reissue. As for me, I can appreciate either but if I am to be completely honest, I lean a little on the purist side and while I can understand WaxTime expanding the re-issue to set itself apart from other releases, I like my vinyl to consist of the original tracking and consider digital releases to be the perfect opportunity to include additional recordings. 

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AC/DC – Blow Up Your Video (Album Review)

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AC/DC – Blow Up Your Video (Album Review)

Released in 1988, Blow Up Your Video was the perfect bookend to Back In Black as AC/DC’s other 80s releases were less than stellar, even though there are many hidden gems to be enjoyed. Nevertheless, Blow Up Your Video is often unfairly overlooked. The blues-based rock that is exhibited here is on par with the ultra-bluesy Stiff Upper Lip; an album I adore and consider to be their greatest release. 

For a number of years now, I’ve been fortunate enough to own the 2003 vinyl re-issue of Blow Up Your Video; this particular mastering is the one that is still in production and George Marino and his team at Sterling Sound did a wonderful job on not only this remaster but the entire AC/DC catalogue. The pressing has little to no surface noise to speak of and is presented in a high quality outer and inner sleeve. The inner sleeve, in particular, is a cornucopia of information, penned by Alan Di Perna – a legend in his own right, relating to the period and recording of the album, a value-added addition that will likely be of interest to any fan. 

From a sonic perspective, these 2003 vinyl reissues are perfect and given vinyl was well in recession at the time, it is remarkable that these were even considered, let alone produced as beautifully as they are. While AC/DC is most certainly suited to playing on loudspeakers, trust me when I suggest that you listen to these records via headphones as the music locked within the grooves really comes to life and gives you an even greater appreciation of AC/DC and their production quality.

If you prefer streaming, the Apple Digital Master, as available below via Apple Music, sounds exquisite and I believe is taken from the same mastering sessions as the 2003 vinyl re-issues. Certainly, from my point-of-view, there is no difference to note other than the natural analogue warmth that is a byproduct of vinyl reproduction. That isn’t to suggest that the Apple Music edition is shrill or digital sounding, but there is a difference between the formats and you may prefer one over the other.

Side One

Heatseeker is AC/DC 101 and is a great opener. I particularly enjoy the studio background noise introduction and it has a rawness to it that ultimately complements the song and makes you feel, as the listener, that you’re in the studio with the band. Heatseeker also, as so many AC/DC songs do, has a killer rhythm. 

The music video is brilliant but the heat seeker scenes are hilarious as is Angus’ entrance. It has equally stood the test of time and yet has aged in those aforementioned ‘special effect’ scenes. Regardless, it is fun and you should check it out if you get a chance. 

That’s The Way I Wanna Rock N Roll has a fantastic drum recording. Simon Wright gets ignored far too much in AC/DC’s history, in my opinion, but as far as I’m concerned he locked in and mastered this performance. 

The music video applied the same mix of live vs storytelling as seen in Heatseeker and truth-be-told the live performance was strong enough and would have been adequate. Of course, if we look at the late 80s, via a lens of nostalgia, the music video at the time would have been very well received even if the additional storytelling components now seem to be a little superfluous. 

Meanstreak has a killer riff. One of their best? Hell yeah! Its also got plenty of the blues influence that I love and without a doubt is one of their greatest recordings that doesn’t get the respect it deserves.  

Go Zone has a really solid and controlled bass element that I appreciate. Go Zone is a great song with an albeit short, but pleasurable guitar solo. Yes, it may be a meat and potatoes rock and roll track, but it’s some of the best meat and potatoes rock that you’ll ever enjoy. 

Kissin’ Dynamite is pure gold. How is Kissin’ Dynamite not more prominent in AC/DC’s back catalogue? It is one of their best recordings and I don’t know about you dear reader, but I get tired of ‘how good Back In Black is’. Yeah, it’s good but if that’s all you listen to, you’ve stymied your musical growth. Seriously, turn Kissin’ Dynamite up, blow your eardrums out and piss the neighbours off, you can thank me later.

Side Two

Nick Of Time is a hard-hitting rock tune and is the perfect opener for the second side of the album.

Some Sin For Nuthin’ slows things down a little with a rhythmically charged song that isn’t anything to write home about, but would be sorely missed if it wasn’t included on Blow Up Your Video.

Ruff Stuff is creamy blues-based rock and roll goodness. Absolutely, brilliant! 

Two’s Up is one of the greatest songs on the album. That rhythm is off-the-charts and Two’s Up really doesn’t get the recognition it deserves. 

This Means War has intermingling rhythms that make for an interesting listen. It doesn’t sound disjointed, as it was recorded, mixed, and mastered perfectly, but you really need to pick a groove to get the most out of This Means War. It’s a fantastic way to close out Blow Up Your Video and ensures I’ll be spinning the album again. 

Overall, Blow Up Your Video is severely underrated when it comes to the post Back In Black 80s records, but it shouldn’t be for The Razor’s Edge was just around the corner and Blow Up Your Video is the logical precursor to that masterpiece. My suggestion for what it’s worth is to put away the common albums and songs and expand into the lesser know masterpieces that will fill you with the joy and excitement that you had when you first discovered AC/DC. I’m sure you won’t regret it!

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Eagles – Hell Freezes Over (Album Review)

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Eagles – Hell Freezes Over (Album Review)

The Eagles may have taken a 14-year vacation, but when they returned to the stage, one of their greatest releases would ensue. Predominately a live recording, for the 1994 MTV special, Hell Freezes Over also contained four new songs that nicely fill Side A of the double LP. While some may lament Hell Freezes Over not being presented as a complete album, I actually feel the EP-sized approach to the new recordings was ideal and as much as I adore the Eagles, their 2007 studio effort, Long Road Out Of Eden, was less than stellar when compared to their incredible back catalogue. Nevertheless, more Eagles is always a good thing and if you haven’t checked out Hell Freezes Over, join me as I take a look at the music, performance, and the 25th Anniversary vinyl re-issue. 

For years, Hell Freezes Over was a missing holy grail; my collection just wasn’t the same without it. Yes, I could have picked up the CD release, or the accompanying DVD, but I always felt that I wanted to own it in its purest form. I considered the K2HD CD, the XRCD CD, and the near impossible to get at a decent price, and certainly not brand new, DTS 5.1 surround sound CD. Reviews were mixed and the prices that some of these audiophile releases go for is simply too high when reviews aren’t universally glowing, although the DTS CD is generally well regarded.

If you’re specifically interested in the surround sound mix of Hell Freezes Over, check out Mike’s exceptional review below and if you haven’t already, make sure you subscribe to his YouTube channel, Life in Surround.

Nevertheless, I was eager to get hold of a copy on vinyl but it had been out of print for years and while I acknowledge that I could have gotten a secondhand copy, I prefer brand new copies as I want to make them my own and ultimately pass them down to my son. I almost purchased the massive career-perspective 2018 vinyl box set, Legacy, just to get Hell Freezes Over, but that is one of the ugliest releases I’ve ever come across; the box artwork in particular. Hence, when in 2019 Hell Freezes Over was reissued separately, with the original artwork, it immediately went on my Wishlist and I’m incredibly grateful to my family for gifting this masterpiece to me for Father’s Day. 

The quality of the vinyl re-issue has blown my mind. It is amongst the very best sounding records in my collection and is lovely to hold in the hand. The artwork is meticulous in quality and presentation. You’ll most certainly be holding this record as you listen intently. Both records are presented in high quality printed inner sleeves and rather than a gatefold, the album is a slipcover design. Yes, I love gatefolds, but the slipcase design is far easier when getting records in and out of the sleeves. I know some collectors who remove the record from the sleeve, placing the inner sleeve and record on the outside of the album cover. It certainly makes it easier to access the album in question, but I worry that it will ultimately damage the sleeve with the pressure of the other albums on the shelf. Hence, it isn’t something I do, but I can certainly see the benefit. 

The pressing itself is flawless. The records are about as silent as vinyl can be and the dynamics are full, thereby presenting a soundstage that will completely envelop you. Yes, this record was recorded, mixed, and mastered with kid gloves, but that doesn’t necessarily mean the vinyl pressing is going to be of equal quality. You’ll also get that warm analog sound that is often associated with vinyl. The bottom line is that it just sounds right.

Side A

Get Over It has a killer guitar intro and while the song is a little campy, I love it! You’ll be head-bopping and toe-tapping throughout. 

Love Will Keep Us Alive is the ballad-styled song that we’ve all come to adore from the Eagles. Timothy B. Schmit yet again proves just how masterful he is as a vocalist. I could quite happily listen to all his vocal recordings for an eternity. Yes, dear reader, I may have a man-crush for Schmit, but can you blame me. Interestingly, Love Will Keep Us Alive wasn’t written by the Eagles but the writers, Pete Vale, Jim Capaldi, and Paul Carrack, wrote a song that suited the Eagles perfectly and is, in my opinion, one of their best vocal ballads. 

The Girl From Yesterday is a lovely country-styled tune that is a welcome addition to the album but isn’t anything to write home about. 

Learn To Be Still is a thoroughly enjoyable song and the more I hear it, the more I appreciate it. It is as though there are layers of musicality that ensure that I never tire of this song.

Side B

Tequila Sunrise is the first live song on the album and Frey’s introduction is great. It’ a beautiful song that is thoroughly relaxing and this is a stunning live performance. 

Hotel California has never sounded better. I don’t know about you, dear reader, but I class this rendition to be the greatest I’ve ever heard. Because the vinyl edition is so smooth, there is absolutely no audible distortion and every musical element is present in the soundstage. I dare you to find a better live recording, by any artist. Sensational!

Wasted Time was the perfect choice to follow Hotel California as they are musically similar. It is one of my all-time favourite Eagles’ songs and while the composition of the song is very similar to the album version, that doesn’t matter for it is simply incredible. It is also Don Henley at his very best. 

Pretty Maids In A Row is a lovely song to close out Side B of this vinyl release. The backing harmonious vocal is thoroughly enjoyable and while I have a love/hate relationship with Joe Walsh’s vocal, he nails this performance. That isn’t to say that I dislike Walsh’s vocal style, just that I sometimes find it to be a little too jarring. 

Side C

I Can’t Tell You Why is an incredibly smooth tune and Schmit’s vocal delivery is simply magical, as is the musicality of this entire record. You’ll likely want to turn this song up because, again, you’ll hear absolutely no distortion as you toe-tap and head-bop rhythmically throughout the song. I Can’t Tell You Why is most certainly one of the Eagles’ greatest hits and it is also one of the best songs on Hell Freezes Over. 

New York Minute was originally a Don Henley solo effort, being first released on The End Of Innocence. It’s a great tune and works incredibly well for the Eagles, making me wonder how the song would have sounded had it been an original Eagles composition. Nevertheless, it is a welcome addition to Hell Freezes Over as it’s one of Henley’s best solo recordings. 

The Last Resort is a solid song from Hotel California but I’ve always had mixed emotions when listening to The Last Resort. Don’t get me wrong, it’s great, but something is missing. I’ve often wondered if it is simply too long, but I thoroughly enjoy the musicality. Perhaps it is Henley’s somewhat dry vocal on this particular tune that leaves me feeling a little disjointed. Either way, this performance is solid and doesn’t detract from the album but given their extensive catalogue of music, I may have selected a different song to perform on this occasion. 

Side D

Take It Easy is a little jarring, as a result of the guitar tuning, on Hell Freezes Over. Unfortunately, I have to turn the volume down to enjoy it; a shame considering just how good it is. 

In The City is bloody brilliant and is one of my all-time favourite Walsh-sung songs. 

Life In The Fast Lane will get you moving; I know I can’t sit still when listening to it, it is that good!

Desperado is beautiful and is arguably a perfect closer for Hell Freezes Over, encouraging me to listen to the album again and remain within the Eagle’s catalog of music. 

Overall, Hell Freezes Over is one of the greatest Eagles releases. I consider it my go-to album as it’s not only a live album with four new tracks but a compilation that doesn’t feature a bad song. It has a little of everything and the 25th Anniversary vinyl re-issue is nothing short of pure perfection; you won’t be disappointed. Let’s just hope that they keep this edition in print, I’m going to eventually need to get another copy as I play this album frequently. 

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