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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Icehouse – Primitive Man (Album Review)

Released in 1982, Primitive Man became a landmark album for the Australian band that had been formerly billed as Flowers. While the name change may confuse newcomers, this second release under the name Icehouse, led by frontman Iva Davies, is not only an evolution but includes Australia’s unofficial national anthem; Great Southern Land. 

Adding more sophistication and production qualities, when compared directly to their debut album, Primitive Man offers music lovers a sensory experience that explores a variety of musical styles. The pristine production enhances the clarity of each instrument and allows the atmospheric and electronic elements to shine. Perhaps most importantly, Primitive Man, as with all of Icehouse’s recordings, sounds exceptional via both legacy and modern formats. Although, I will say that the 2017 vinyl reissue, pressed from the 2012 digital remasters, has a slight edge over the digital counterpart. It’s simply the analogue warmth (distortion) of the format that is the differential aspect here as it just smooths the overall presentation of the album. 

Visually, Primitive Man is striking and as solid as the stream or CD releases can be, none are quite as impactful as when this album is released on the larger vinyl canvas. While I’ve yet to compile a list of the best album covers of all time, Primitive Man would certainly be at the top of the list for Icehouse’s artwork has always been exceptional, but Primitive Man certainly plays into the overall thematic elements of the album and is a perfect visual counterpart to the audible journey. 

Further reflecting on the music itself, while not entirely void of new wave rock influences, that were a focal point of their debut, Primitive Man certainly focused more on the synth-pop elements that would further catapult the band to mainstream success. While newcomers to the band would be advised to check out White Heat: 30 Hits; make sure you check out the music that makes up not only this album but Icehouse’s entire back catalogue as the album-only songs as as pivotal to the band’s success as the hits. Hence, join me as we take a look at the songs that make up this landmark Australian release. 

Great Southern Land is Icehouse’s magnum opus. While it wasn’t the only standout hit from Primitive Man, it has remained in the social consciousness since its release, for there likely isn’t an Australian who hasn’t heard this incredible tune. Perhaps they don’t know the artist or never purchased the album or the single, but one thing is for certain, every Australian knows the song when they hear it. Few songs are so influential in this way that when a tune such as Great Southern Land comes along, you need to sit up and take notice. Characterised by a haunting melody, atmospheric instrumental backing, and sweeping arrangements, Great Southern Land captures the soul from the very first note to the last. While some may lament the use of synthesised elements, to do so would be at their peril for this classic tune is representative of some of the very best synthesised music in all of recorded music history. 

Uniform appears after a longer fadeout than one would normally expect, but the slow build ensures that it isn’t a jolt to the senses following the melodic Great Southern Land as Uniform has a rhythmic dance vibe that is quite different to the album’s opening tune. Nevertheless, Uniform is a fantastic song from the era and while it likely isn’t a standout for many people, Primitive Man wouldn’t be the same without it. 

Hey, Little Girl again shifts the tone for it’s a more relaxed and introspective inclusion. At this stage, I’ve been enjoying Primitive Man for well over three decades and I truly have a love/hate relationship with Hey, Little Girl. In some ways, it reminds me of Love In Motion; another song that I have mixed feelings about. It isn’t that these tunes are bad, anything but, I’m just not a fan of ballad-styled tunes when Icehouse records them as I feel Davies’ vocals become a little too campy throughout. It’s not the synth-pop element either as I simply adore the musical bed and the short instrumental passage about three-quarters of the way through the song. Nevertheless, Hey, Little Girl is one of Icehouse’s most popular tunes and yes, dear reader, I do enjoy it as part of the album’s structure; I’m just unlikely to play it outside of the album’s intended sequencing. 

Street Cafe is one of my all-time favourite Icehouse songs for its soft rock at its very best as Davies knocks his vocals out of the park on this track. Add to that the chosen guitar licks, and shifting rhythm between the verse and chorus, and you’ve got what can only be described as the perfect track. 

Glam is a thoroughly enjoyable dynamic tune infused with energy and a danceable rhythm. Featuring a combination of electronic and rock elements, Glam quickly becomes an earworm (an enjoyable one) that you’ll find yourself humming along to all day.  

Trojan Blue opens with atmospheric synth textures and a slower tempo that perfectly suits the second half of the album. It’s a beautiful song and while never destined to be a hit, it’s most certainly a hidden gem.

One By One is a mid-tempo track with a pulsating rhythm that is addictively good. Yes, it’s another album-only tune, but it’s songs such as this that ensure Primitive Man is a memorable album experience. 

Break These Chains is a killer rock song. If you’re not head-bopping and toe-tapping, or up on your feet bouncing around; you’re listening wrong. While Icehouse has an incredible legacy, Break These Chains is yet another hidden gem that has to be heard firsthand; it’s extraordinary! 

Mysterious Thing flows beautifully in the intended sequencing and adds to the album’s overall atmospheric quality. Album-only tracks are seldom this enjoyable, but if you listen past their well-known hits, you’ll find that Icehouse has much to offer for the music that never hit the radio waves is just as enjoyable, sometimes more so, as some of their better-known tunes.

Goodnight Mr Matthews (USA Re-record) closes the album beautifully. Featuring some of the most magical guitar work I’ve ever been fortunate to hear, Goodnight Mr Matthews will leave you in a reflective mood while also encouraging you to play the album again for it is a rarity when I listen to Primitive Man only once.

Overall, Primitive Man stands as a pivotal album in Icehouse’s discography, showcasing artistic growth and experimentation with a more polished and sophisticated sound. The combination of memorable melodies, introspective lyrics, and innovative production makes this record a timeless classic that continues to resonate with fans; particularly those of us who are nostalgic for the music of the 80s. Synth-pop has never sounded so good!

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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.

Diamond Head – Borrowed Time (Album Review)

Diamond Head's 1982 studio album, Borrowed Time, stands as a pivotal release in the band's discography, for it’s a musical masterpiece that further cemented their enduring legacy and influence on the metal genre; despite a shift towards more mellow compositions. While their unique blend of New Wave and British Heavy Metal resulted in Diamond Head being a core influence to the likes of Metallica, commercial success was sadly not achieved. However, as music lovers know only too well, what is successful with the masses is seldom representative of the greatest music ever recorded. 

Given the early 80s was still dominated by the vinyl record, as the predominant format of the era, it amazes me that the album didn’t see more success, for who wouldn’t have wanted to have that incredible artwork on display in their homes? Rodney Matthews certainly created a magnificent piece of visual art; one that is perfectly aligned with the music contained within and it is as fresh today as it was when first released.  

Sonically, while the band is in fine form, Borrowed Time could do with a remaster. I know, remasters are a dirty word when it comes to classic albums, but the lossless Apple Music stream, a direct counterpart to the current CD releases, is a little thin. You may need to adjust the EQ levels in order to increase the bass in both the low and midrange. Doing so gives Borrowed Time a greater sense of presence. Some fans may not be fussed by this aspect, and while EQ can indeed address some of the elements, the modern EQ settings are an all-or-nothing approach and if you don’t have access to a manual equaliser, you’ll likely agree that a remaster, by a skilled engineer, would be a better approach. That said, it’s a minor quibble and Borrowed Time is so good that I can usually look past this aspect and thoroughly enjoy the music; a selection of songs that when combined in the album format result in one of the greatest hidden gems the metal industry has ever known. 

In The Heat Of The Night opens the album with Diamond Head’s signature rhythmic heavy metal sound, killer riffs, and incredible vocals by Sean Harris. Ultimately, it’s one of Diamond Head’s greatest tunes; of course, that could be said about nearly all of the songs from Borrowed Time. 

To Heaven From Hell flows seamlessly and continues the driving rhythm while slightly increasing the aggression of the guitar riffs. The bass tracking by Colin Kimberley is fantastic, even if it is a little concealed in the mix. One thing that you’ll notice immediately is the sing-along nature of the song, for you won’t be able to help but sing along to the song’s chorus. 

Call Me is one of the greatest songs ever recorded in all of music history. If you were singing along to To Heaven From Hell, you’ll be chanting Call Me as the catchy chorus demands interaction. Harris shines even further on lead vocal, but so does the entire production as the melodic styling, coupled with the soaring musicality, ensures Call Me is nothing less than a masterpiece. 

Lightning To The Nations appeared on Diamond Head's debut album Lightning To The Nations but as solid as that original recording is, I much prefer the spit and polish that has been applied to the version on Borrowed Time. It’s simply more powerful and polished when compared to the original recording. The result is that this version sounds optimal while the original has always been closer to a demo than a fully-fledged recording.

Borrowed Time has a slightly darker tone, but that bass performance is exceptional and can be heard as an influence throughout Metallica’s first three records. Yes, dear reader, I adore the bass guitar and when it features prominently, especially as a buildup to a song, there’s nothing better.

Don't You Ever Leave Me is, arguably, the only B-side to be heard on this remarkable album. That isn’t a bad thing for it’s a solid and thoroughly enjoyable tune. What is lacking here, however, is a driving rhythm. Yes, it’s a slower-paced tune that showcases Diamond Head’s versatility as musicians, but I’d argue the tempo, and the length of the song, is the core reason why it’s not a standout. That said, that guitar and intertwining bass solo mid-song is a highlight. Hence, as I alluded to earlier, B-sides and album-only tunes aren’t always a bad thing for they offer further insight into the musicianship of an artist and quite frankly, every song need not be a hit for the album to be extraordinary. 

Am I Evil? is one of Diamond Head’s most recognisable tunes and it certainly helps when Metallica covered, and continues to perform, this classic. Metallica's rendition, as I previously declared, was bloody brilliant and if Satan has a playlist, this song would most certainly be on it. That statement can easily expand to this edition of the song and while it originally appeared on Diamond Head’s debut, Lightning To The Nations, I find myself continually gravitating towards this version on Borrowed Time as I simply prefer their second album. That said, if you’re after a rawer, more demo-styled, interpretation, the original has you covered. With a dark and brooding atmosphere, combined with truly captivating performances, Am I Evil? is not only a perfect closer, but it will encourage you to play Borrowed Time, time and time again for this is one album that can be seldom listened to only once. 

Borrowed Time, ultimately, is not only one of Diamond Head’s greatest releases, it's one of the best metal albums of all time. With a diverse range of tracks, showcasing the band’s musical prowess, this is classic metal at its very best. It really is a shame that this album didn’t receive the recognition from music lovers that it deserves, but thanks to their peers’ latching onto the album as inspiration, and covering a number of their tunes, we’re incredibly fortunate to still be able to appreciate Borrowed Time; even if it remains a niche release in music history. Of course, dear reader, if we share it as I have done here, then new listeners will be able to experience the music we know and love. So don’t be shy. Share this album with anyone who appreciates music for it may be metal-focused but Call Me, amongst others, will appeal to just about any music lover.  

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Cold Chisel – Circus Animals (Album Review)

An Australian masterpiece ruined by remastering! 

Yes, dear reader, Circus Animals is, without a doubt, one of the greatest Australian releases of the 80s, but the 2011 remastered edition makes me want to stop playing the album in disgust. Seriously, it sounds as if the life has been sucked out of the recording. The energy is gone. Barnsey might as well be a pop star from the 60s as much of his vocal grittiness is missing and the entire remastered album sounds so shallow that I’m not sensing a soundstage beyond my speakers. There’s certainly no room-filling sound that ensures their pub-rock legacy is maintained.

Adding insult to injury, Circus Animals is presented as an Apple Digital Master; proving that mastering matters far more than the delivery method for the Apple Digital Master process usually brings out the very best in the recording. Not this time! 

I’d turn to Qobuz, but the same mastering can be found there as well, meaning that to fully enjoy this album, I’m going to have to seek out one of the initial vinyl editions, or a pre-remastered CD. While many readers would likely declare that this should have been my first act before penning a review, think for a moment of the new fans, perhaps experiencing Cold Chisel for the very first time, and then suggest to them that they should go and get a beaten up original pressing because the record label, band, and mastering engineer had to reduce the dynamic range, increase the loudness of the recording, thereby making it more fatiguing to listen to. 

I just hope that in their infinite wisdom, someone kept, under lock and key, the original first-generation mastering tapes for a future reissue when this type of mastering style comes to an end. 

Yes, dear reader, I’ve reflected on the negative thus far but I’ll try to refocus my attention to the music itself for it is truly iconic and deserves to be celebrated nonetheless.

Released in 1982, Circus Animals, Cold Chisel’s fourth studio album, would not only top the charts but would deliver a slew of instant classics. Showcasing Chisel at the height of their creativity, Circus Animals perfectly blends the band’s raw energy, poignant lyrics, and a diverse musical palette while featuring one of the most remarkable ballads ever recorded; When The War Is Over. Of course, Circus Animals is far more than a singular song, so join me as I take a look at the individual songs that make up this landmark release.

You Got Nothing I Want is about as raw as Australian rock and roll gets. The song's catchy chorus, coupled with Barnes' powerhouse vocals, sets a rebellious tone, with a defiant and energetic rhythm, that establishes the album's overall attitude.

Bow River is a blues-infused rock masterpiece. It’s a shame that the mastering is lacklustre because this is not only one of the greatest songs Cold Chisel ever recorded, but it deserves to be turned up to 11 without the dreaded listening fatigue entering the equation.

Forever Now has a beautiful melody and arrangement and while some may prefer Chisel’s harder-hitting hits, Forever Now is an incredible ballad-styled tuned with a sing-a-long chorus that is simply captivating.

Taipan introduces a more experimental and atmospheric sound. The instrumental interplay, tribal rhythm, and dynamic shifts in this track showcase the band's musical dexterity, adding a layer of complexity to the album, thereby demonstrating why they are so revered.

Houndog might well be an album-only tune, but don’t let that deter you as this gritty bluesy number, with its driving rhythm, is exceptional.

Wild Colonial Boy is a solid tune, but while the combination of acoustic and electric elements is appealing, I’d argue that the song is too focused on the storytelling aspects. Granted, some people appreciate music for its literal interpretation, but as someone who considers the human vocal as an instrument in the mix, rather than a storytelling device, I find Wild Colonial Boy to be somewhat disjointed. 

No Good For You is a straightforward rock track and hidden gem. The guitar-driven arrangement and Barnes' commanding vocals, along with the backing vocals, are a perfect addition to the album as it has an infectious quality that will stay with you long after the album has ended. 

Numbers Fall has a killer synthetic entrance that morphs into a low-toned gritty bluesy masterpiece. With a blend of rock and new wave influences, Chisel further showcased their willingness to experiment with their sound ensuring that Numbers Fall sounds familiar, yet unique. 

When The War Is Over is, without doubt, one of the best songs ever written and recorded, by anyone, anywhere. Cold Chisel doesn’t get much better than this! Although, John Farnham’s rendition is spectacular. 

Letter To Alan is a fantastic closer that will encourage you to listen to Circus Animals again, but I’d suggest that When The War Is Over would have been a stronger closer. 

Remastering issues aside, Circus Animals is a masterful display of the band's musical prowess and artistic depth. While many consider this album to be Chisel’s greatest, perhaps only ever challenged for that position by East, I find that I would have to agree with that perspective for it is primarily hit after hit and plays like a Greatest Hits release, rather than a standard album. From the powerful vocals to the skilful instrumentation and thought-provoking lyrics, this album stands as a testament to Cold Chisel's status as one of Australia's most iconic rock bands. They certainly broke the mould when they chiselled out this masterpiece. 

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Alabama – Mountain Music (Album Review)

Released in 1982, Mountain Music solidified Alabama's status as one of the leading forces in the country music scene during the 1980s. With a unique fusion of country and southern rock, with a touch of pop, Mountain Music marked a significant moment in the band’s career and today still stands as one of their greatest releases. 

Alabama's musicianship is on full display throughout Mountain Music, due to the band's tight instrumentation and harmonious vocals that contribute to the album's cohesiveness. Despite being out-of-print for decades, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, has been made available by Sony Music and it’s quite lovely. However, I wouldn’t call it the final word in quality as I feel there is still room for improvement. Don’t get me wrong, the stream is solid but it just doesn’t sound as impactful as I believe it could and I’d love to see it in the hands of a well-respected mastering engineer. Admittedly, I haven’t had the good fortune of hearing Mountain Music via any other format and it may well be a case whereby this was simply how the album was recorded. Nevertheless, a slight adjustment to your EQ settings may be advised for this release to bring it closer to your subjective expectations.

While the sonic presentation is sufficient, an interesting difference appears when you look at the history of the album’s releases via Discogs. You’ll note on every listed format that the album artwork is considerably different to the modern streaming counterpart as the cover art no longer displays the flag of the Confederate States of America, instead opting for the current state flag of Alabama. Further investigation into this informed this Australian writer of the symbolism that the Confederate flag represents and while I can fully understand the artwork shift, I truly believe that it should remain unaltered with a further information statement to help educate, especially those of us outside of the United States, or within historical circles, as to why the album is no longer showcasing that particular flag. I suggest this merely because I feel it is essential that we learn from the past, rather than filter, delete, and then pretend it never existed.

Nevertheless, the music has remained unscathed and music lovers, the world over, can thankfully still appreciate Mountain Music, for it is a superb record that is amongst the best albums released in 1982. 

Mountain Music is a great opener. A truly epic song. However, that spoken introduction has always been a distractive element and I would much have preferred it if they would have omitted it, as they did for the single edit, as it would have been a far stronger way to launch the album. Still, once you get past that aspect, the catchy melody, infectious energy, and perfect blend of traditional country and rock elements set the tone for the entire album.

Close Enough To Perfect slows down the tempo with this poignant ballad. Randy Owen’s vocals add depth to the narrative of love and imperfection, making it a standout track on the album and one of the loveliest songs from the era.

Words At Twenty Paces is an incredible tune. That introduction is masterful, as is Owen’s vocal delivery, and the storytelling nature of the lyrics. Add to that the lively instrumentation that adds a playful element to the album and you’ve got a tune that all music lovers will thoroughly enjoy. 

Changes Comin' On flows beautifully from Words At Twenty Paces and it’s these smooth transitions that truly make Mountain Music an album experience. Of course, it helps if the song is as masterfully performed as this one is for Changes Comin' On is a hidden gem and one of the greatest songs Alabama ever recorded. Masterpiece is a grossly overused word, even here at Subjective Sounds, but when music is this perfect, no other word quite explains the audible experience as well as masterpiece does.

Green River is a thoroughly enjoyable Creedence Clearwater Revival (CCR) cover, but let’s be honest in saying that no one can perform this song as well as CCR themselves. As solid as Jeff Cook’s vocal delivery is, he’s no John Fogerty.  

Take Me Down is a lovely country-twanged tune that will have you toe-tapping from the very first note. 

You Turn Me On is sonically magnificent. Seriously, you’ll want to turn the volume up on this softer country tune as Owen’s vocal is stunning and the musical elements are hypnotic. I do, however, feel that the song would have been best served if Alabama had omitted the spoken word lyrics as they are a little distracting and not quite Barry White-level smooth. 

Never Be One is a song that would have resonated with a broader audience, and likely been a hit, had it been released as a single. Still, as an album-only tune, it’s a beautiful piece of music; until the closing moments that is. Yes, it’s cute, adorable even, but it detracts from the song and Teddy Gentry’s incredible vocal presentation. 

Lovin' You Is Killin' Me is a mid-tempo track that combines elements of country and rock. The song's catchy chorus and relatable lyrics make it an engaging addition to the album, showcasing Alabama's ability to balance fun and sincerity.

Gonna Have A Party continues the fun aspect and is a compelling closer that will get you toe-tapping, head-bopping, and excited to play the album again. Ultimately, the song lives up to its title, with infectious enthusiasm and a lively performance from the band.

In conclusion, Alabama's 1982 album Mountain Music is a timeless classic that continues to resonate with country music enthusiasts. Its blend of country, southern rock, and heartfelt ballads, with a touch of pop, solidifies its place as one of the best country music albums in all of recorded music history. Whether you're a fan of classic country-styled music, or not, Mountain Music is a must-listen and represents the very best of Alabama's musical legacy.

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Willie Nelson – Always On My Mind (Album Review)

Released in 1982, Always On My Mind is a further testament to the enduring artistry and musical prowess of Willie Nelson. Released at a pivotal junction in Nelson's career, this album showcases his distinctive blend of country, pop, and folk influences, cementing his status as a genre-defying artist. While Always On My Mind isn’t a traditional covers album as it includes a mix of original compositions and covers, I often associate it closely with his 1978 masterpiece Stardust, as I find the two albums are somewhat interchangeable, particularly regarding their style and influences. Always On My Mind, however, isn’t quite as spectacular, but it remains one of the very best albums released in 1982. 

Yes, fans of this release may be perturbed by my suggestion that it doesn’t meet, or surpass, Stardust, but a core reason for that position is due to the fadeouts on this particular release. Rather than lengthy gradual reductions, were often met with the fadeout ending abruptly. The result is that the album’s structure loses a little of its fluidity. Other than that, Always On My Mind is beautifully recorded and while I’d argue that the song selection isn’t as strong as Stardust, this album is highly polished with arrangements and a contemporary sound that is not only tastefully done but pays homage to the originals as Nelson's distinctive vocal and expressive guitar playing take centre stage and meld perfectly with the album's rich and textured sonic landscape. 

The Hi-Res Lossless Apple Music stream, an Apple Digital Master sounds perfect in every way; other than the aforementioned issue with the fadeouts, of course. One aspect of the stream that is different to Stardust is that this album is included on Apple Music as a Dolby Atmos stream. The surround mix is intriguing for it adds a further sense of air and separation between musical elements. It’s as if you’re hearing the album for the first time, all over again, and you’ll most certainly hear things that were previously concealed in the stereo mix. 

The problem that exists, and it’s a good one to have, is that I thoroughly appreciate both the surround and stereo mixes. I will likely default to the stereo option as I don’t always have access to my Atmos-compatible system, but one thing is for certain, this is an example of Atmos being implemented respectfully to a classic album that wasn’t recorded with surround sound in mind. It’s refreshing to hear how lush the presentation is for the quality of this particular release is the exception rather than the rule as too many Atmos mixes are being rushed to market without adequate quality control checks. 

The only aspect that doesn’t align with these thoughts is the vocal echo on Do Right Woman, Do Right Man as it's further pronounced via the Atmos mix and can be particularly distracting. That said, join me, dear reader, as we explore the songs that make up Always On My Mind.

Do Right Woman, Do Right Man is a beautiful opener with soulful vocals and a country-infused arrangement, underscoring Nelson's versatility. While no one quite sings it like Aretha Franklin, Nelson has recorded a simply stunning rendition that’s a worthy peer and, in my mind, is my preferred version of this classic tune. 

Always On My Mind is the emotional centrepiece of the album. With its heartfelt lyrics and Nelson's poignant delivery, Always On My Mind isn’t only the perfect album title, but it’s one of the greatest songs Nelson has ever recorded. Yes, Elvis Presley’s is most likely the rendition most people are familiar with but as incredible as that recording is, Nelson does it better.

A Whiter Shade Of Pale further demonstrates Nelson's eclectic musical influences and his ability to make a song his own. Nelson puts his spin on this Procol Harum classic and the result is astonishingly good as he transforms the tune from its core psychedelic rock styling into an idyllic country-tinged ballad. The inclusion of Waylon Jennings offers a lovely contrast, but the song ends far too abruptly for my liking. 

Let It Be Me is a lovely interpretation of the Everly Brothers' classic and is perfectly suited to Nelson.  

Staring Each Other Down shifts the tone of the record and while this is most certainly an album-only tune, it simply doesn’t match the songs that we've heard thus far; a shame considering it’s a lovely song. It just isn’t suited to the album. 

Bridge Over Troubled Water is a rendition of Simon & Garfunkel’s classic that brings a new dimension to the song while paying homage to the original. If nothing else, Nelson’s magnificent vocal delivery on this song is what makes it a true masterpiece for while it is a classic tune, Nelson’s is one of the most impressive covers I’ve ever had the privilege of hearing.

Old Fords And A Natural Stone is a beautiful song. It’s tunes such as this that further cement Nelson as a master musician for he breathes life into the music composed by Bobby Emmons and Chips Moman. 

Permanently Lonely is a sombre ballad, but Nelson's emotive vocals, coupled with the melancholic instrumentation, create a poignant atmosphere that resonates with the listener. I do, however, feel that the backing vocals are a distractive element and I believe the song would have been stronger had they been omitted. That said, when you listen to the original, from the 1968 release Good Times, you’ll be glad that this re-recording was undertaken for it’s a considerable improvement over Nelson's original composition.

Last Thing I Needed First Thing This Morning is a lovely album-only tune but it’s unlikely that you’ll seek this song out on its own; despite being released as a single. It is, however, thoroughly enjoyable when appreciated within the album’s linear structure. 

The Party's Over was, in my opinion, the wrong track to close the album with. Thankfully, whenever I put Always On My Mind on, I never listen to it once but choose to play it on repeat so that aspect is less of an issue. However, if I were to listen to the album a singular time, The Party’s Over doesn’t exactly compel me to play the album again. That all said, the classic country honky-tonk feel is rather enjoyable and as a song on its own, I can certainly see the appeal. It just isn’t a strong closer. While this particular version is a re-recording of the original from Nelson’s 1967 The Party’s Over, I honestly don’t feel either recording is exceptional.

Willie Nelson's Always On My Mind is a lovely album and while it isn’t quite the masterpiece that Stardust is, it further encapsulates the essence of his musical artistry and is another of his timeless releases. The lasting appeal lies in the authenticity of Nelson's delivery, the quality of selected songs, and the seamless blending of genres. Always On My Mind not only reaffirmed Nelson's standing as a country music icon but also contributed to the broader cultural impact of his music; an impact that continues to this very day.

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