Bon Jovi – 7800º Fahrenheit (Album Review)

Bon Jovi – 7800º Fahrenheit (Album Review)

Released in 1985, Bon Jovi’s 7800º Fahrenheit was a pivotal moment in the band’s early career and could be seen as a make-or-break release following their self-titled debut in 1984. 7800º Fahrenheit not only solidified their sound but built upon the band’s raw talent with even higher production and songwriting capabilities that would yield the fan favourite In And Out Of Love and become a precursor to their 1986 release, the highly successful Slippery When Wet. Granted, the songs of 7800º Fahrenheit aren’t nearly as polished as that follow-up, and the band have been rather critical of this release, but if we avoid comparisons and imagine we’re back in 1985, hearing this record for the very first time, what you’ll find is a killer album that offers an essential snapshot of Bon Jovi’s growth.

As with much of their discography, the compelling album artwork would have looked superb on just about any record store shelf. However, an album can’t, and shouldn’t, be judged by its cover, but even if we were to applaud the song selection and sequencing, how does the album stand up sonically?

The good news is that the Hi-Res Lossless Apple Digital Master is exquisite and a marked improvement on the terribly loud and shrilly produced Special Edition CD from 2010. While I always wanted to turn the volume down on the CD, for it was incredibly fatiguing, the Apple Music stream presents a smoother, more rounded tonality, but one that still rocks. I find myself listening at higher volumes and still wish to turn the volume up; most likely to the chagrin of my neighbours. Ultimately, the stream is, by far, the best-sounding digital version (as I’ve yet to hear a vinyl release) of this classic album.

In And Out Of Love is one of the greatest album openers of all time. With Richie Sambora’s sharp guitar riffs and Jon Bon Jovi’s gritty vocals this hard-rocking anthem not only sets the tone for the entire record, but it’s one of the most memorable tunes from the album and is an 80s glam metal classic.

The Price Of Love is a mid-tempo rocker, but it’s Sambora’s licks that are a highlight here, as well as the backing vocals during the chorus. While those aspects are memorable, and Jon Bon Jovi’s vocal delivery is admirable, his performance just isn’t noteworthy. Perhaps it’s the mix, rather than the recording itself, for it sounds as though Jon’s vocal is recessed and all musical elements are front and centre, by comparison. Nevertheless, The Price Of Love is a killer track and a perfect album-only tune.

Only Lonely is a standout and while it may not have received the fanfare, post-release, that In And Out Of Love did, when released as the lead single it performed admirably. Yes, it may have only been a minor hit, but it foreshadowed the depth and sonic prowess of the music that would come on later albums and take the world by storm. Hence, if you’ve overlooked this classic tune, and Sambora’s killer solo, give it another shot for Only Lonely is severely underrated.

King Of The Mountain is an adrenaline-fuelled, energetic number, that embodies the spirit of 1980s arena rock. Unfortunately, most casual fans would have never heard this incredible number, so if you know a Bon Jovi fan who only knows the hits, let them know about King Of The Mountain, for it’s an exceptional tune!

Silent Night foreshadows the band’s knack for crafting timeless ballads, but this, unfortunately, falls short. It’s simply too campy and polished, as if the band and the production team were trying to reach too far.

Tokyo Road has a Japanese-inspired introduction before forging forth with a hard rock swagger. It’s a killer rock and roll number, but the introduction could be seen as either additive or distractive. Part of the problem is the song doesn’t start straight away and while there is nothing fundamentally wrong with the introduction, I don’t feel it adds anything to the song itself.

The Hardest Part Is The Night has quite the multi-layered production, and despite being a solid tune, isn’t exceptional as it gets lost in its own lush production.

Always Run To You is a fast-paced rocker with infectious energy. Sambora’s fiery guitar licks elevate the song, even though Jon’s vocals didn't quite reach the heights he was capable of.

To The Fire is 80s 101 with its stylistic production that, unfortunately, sounds dated to the era. While it may not be entirely indicative of Bon Jovi, the sense of urgency and determination, along with the catchy chorus, results in a tune that’s quite compelling. One, subsequently, can’t help but wonder what To The Fire would have sounded like minus the synthetic elements for there’s a solid rocker hidden behind the extraneous production layers.

Secret Dreams has a killer guitar introduction but it’s the overproduced nature that detracts from the song. It is, however, a solid tune but isn’t necessarily memorable or capable of encouraging the listener to reflect on the album and listen to it again. Its saving grace, however, is the highly addictive chorus and, at times, that is more than enough to close the album on a high note.

From start to finish, 7800º Fahrenheit showcases Bon Jovi in a transitional phase, balancing youthful exuberance with the desire to mature as artists in both production and songwriting capabilities. Clearly centred on what we now consider to be 80s rock clichés, 7800º Fahrenheit delivers moments of brilliance and was a critical stepping stone in their journey to global superstardom. While it may not have been their greatest release, as an album, 7800º Fahrenheit stands as one of the best releases from 1985 and is worth greater attention than it often receives.

Bob Dylan – Empire Burlesque (Album Review)

Bob Dylan – Empire Burlesque (Album Review)

Released in 1985, Bob Dylan’s Empire Burlesque is a fascinating entry in Dylan’s celebrated and extensive discography, yet it, much like Street-Legal and Slow Train Coming has its detractors; especially those who favour Dylan’s early to mid-70s output. While not quite the album that Oh Mercy would become four years later, Empire Burlesque showcases Dylan’s eagerness to experiment with evolving contemporary production styles. Produced by Dylan himself, the album features a polished, modern sound with an unmistakable 80s sheen; one that isn’t, however, dated to the era.

While the music may not be dated, the album artwork most certainly is. Granted, it isn’t as kitch as some of the other albums, from the 80s, but it’s unlikely that you’ll display this album artwork with pride. Of course, if you’re like me, you may not have had the privilege to have attained this classic release on the larger vinyl canvas and while it would be lovely to acquire a copy, the Lossless Apple Music Stream, a CD-quality counterpart, is mastered respectfully; with one notable caveat. Following the album’s opening track, there’s a considerable sonic shift when Seeing The Real You At Last comes into play and this change, subsequently, is less treble-focused and, therefore, more concealed than the album’s opener. It isn’t necessarily detrimental, but it’s an aspect that may irritate some as album experiences are generally more uniform in their production styles.

Tight Connection To My Heart (Has Anyone Seen My Love?) opens the album with a catchy melody and glossy production that is perfectly suited to the era; even if it’s slightly different to Dylan’s traditional trademark style. Nevertheless, the polished arrangement, backing vocals, and overall musicality of the song make it a memorable opener.

Seeing The Real You At Last is a solid rock-driven number but as alluded to before, the sonic shift when listening to the album's sequencing is interesting as one would assume a bold and rocking sound to emanate from one’s speakers. It’s as if the song has been reduced by several decibels, but has also been muddied as it pertains to the mix. It doesn’t diminish the song, a killer rock number in its own right, but the shift may irk those of us who listen to albums in their intended sequencing, rather than random songs or playlists. That all said, Seeing The Real You At Last balances raw energy with the era’s typical propulsion of sharp guitar riffs and a driving rhythm. The result is that Seeing The Real You At Last is one of the best songs from Empire Burlesque.

I'll Remember You is a beautifully tender ballad that showcases Dylan’s ability to convey deep emotion through lyrics. Add to that the gentle arrangement, featuring understated instrumentation, that highlights Dylan’s vocals, and what you’ve got is one of the greatest ballads Dylan ever recorded.

Clean Cut Kid has a killer rhythm with a brisk tempo that’s addictively good. As usual, Dylan’s biting sarcasm and criticism of modern life come through loud and clear for this satirical number contrasts perfectly with the blues rock edge heard throughout.

Never Gonna Be The Same Again is a smooth, mid-tempo number that maintains the album’s polished production with backing vocals that add to the song’s lush texture. Interestingly, when you listen to Never Gonna Be The Same Again, the lyrical delivery from the backing vocalists is somewhat offset to Dylan’s vocal delivery and while that would normally take away from the song itself, it works perfectly and the combination makes it one of the best tunes from the record.

Trust Yourself is a motivating and empowering anthem of self-reliance. The track’s dynamic instrumentation, with its jangly guitars and keyboards, adds depth without overshadowing Dylan’s lyrics thereby making it ideal for both those who appreciate music from a purely musical perspective, as well as those who listen for literal interpretation. Ultimately, Trust Yourself is a standout and is one of Dylan’s greatest recordings.

Emotionally Yours is a masterful tune, for this soulful ballad, with its beautiful arrangement, complements Dylan’s tender and delicate vocal style. It’s so impressive that I’d place it amongst Dylan’s greatest ballads and it would be fair to say that it could very well be the most remarkable ballad he’s ever recorded.

When The Night Comes Falling From The Sky is Dylan meets rock with a touch of dance. Yes, Dylan purists will likely dislike the slick production, and while it’s far from his greatest tune, it works exceedingly well for not only Dylan’s overall style but within the context and the flow of Empire Burlesque.

Something's Burning, Baby is driven by an ominous melody that works well with Dylan’s vocal delivery. The sparse yet atmospheric arrangement enhances the song, but it’s the culmination of all musical elements that set this song apart from the rest of the tunes on the record.

Dark Eyes closes the album on a stark and poetic note. It’s this kind of stripped-down simplicity that truly highlights Dylan’s exceptional vocal skill for his folk origins shine through and allows a level of intimacy that simply isn’t present throughout the rest of the record. Dark Eyes is, subsequently, a quintessential closing track as it allows time for reflection whilst also encouraging the listener to play the record again.

Overall, Empire Burlesque captures Dylan at a crossroads, blending his timeless songwriting with the contemporary production trends of the 1980s. While some fans may be critical of this further shift within Dylan’s legacy, the album offers a compelling mix of heartfelt ballads, biting social commentary, and his trademark poetic musings. Empire Burlesque is, subsequently, a compelling chapter in Dylan’s discography for it offers a unique blend of old and new and is subsequently one of his best albums from the 80s and one of the greatest albums released in 1985.

AC/DC – Fly On The Wall (Album Review)

AC/DC – Fly On The Wall (Album Review)

Released in 1985, AC/DC’s Fly On The Wall marked a significant moment in the band’s career as it was the third album to follow their mammoth release, Back In Black (1980), and was released during a period of downturn in interest from fans the world over. Comparisons aside, Fly On The Wall was successful in its own right with sales exceeding one million units. While it’s an album that isn’t always heralded by fans as one of their best, Fly On The Wall is somewhat of a hidden gem that features their landmark hard-rocking sound via this electrifying and gritty release that is amongst the greatest hard rock albums from the 80s.

Part of the hidden appeal, considering there isn’t necessarily a standout tune on the record, is the continued high-production values for this was an era when music, especially rock music, began to shift to a more shrill tonal quality that would plague many of the era’s greatest rock and roll albums. Yet, amongst this industry shift, AC/DC never changed their styling and the result is an album that rocks as hard as any other they released. Additionally, Angus and Malcolm Young did a masterful job in the Producer’s chair, ensuring that their vision for the album came through loud and clear. It also helps that the album artwork is visually appealing with its comical design that looks as fresh today as it would have been upon release.

Sonically, as is the case with the majority of AC/DC releases, it’s a powerhouse and the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is no exception for the bombastic nature remains while every aspect is clearly presented within the chosen mix and overall mastering of the album. Brian Johnson’s vocals are raw and exceptionally detailed within the soundstage; a sonic presentation that will envelop you from the very first note to the last. One of the best examples of this can be heard on Danger; where every musical element can be heard clearly but it isn’t shrill and is so sonically pleasing that you’ll be looking to turn up the volume despite being able to enjoy the record at lower volumes.

While some will always lament the fact that AC/DC has basically played the same song over and over, decade after decade, music lovers and fans alike can be confident that AC/DC never changed their style and adopted the “new” recording styles for if they had, an album such as Fly On The Wall would have been a shrill nightmare that would have seen everyone needing to turn down the treble and boost the bass. Thankfully, that isn’t an issue here, so turn up the volume, sit back, and let’s take a look at the songs that make up this, often, overlooked, masterpiece.

Fly On The Wall kicks the album off, perfectly, with an energetic opener featuring sharp guitar riffs, bold percussive elements, and Johnson’s unmistakable growl.

Shake Your Foundations would also make it to Who Made Who, the soundtrack accompanying Stephen King’s film Maximum Overdrive. That version, however, differs slightly from this one as it was remixed and cut down slightly in runtime. As to which I feel is the stronger version, that would be this original album release for despite the remix presenting Johnson’s vocals more prominently, it pales in comparison to the original as the musical bed is somewhat recessed and the song, subsequently, doesn’t rock as hard as the Fly On The Wall original does. Propelled by a driving beat, bluesy rhythm, and sing-along chorus, it’s a wonder that Shake Your Foundations hasn’t remained more prominent within AC/DC’s back catalogue as it’s an exceptional tune.

First Blood is a mid-tempo blues rocker with duelling guitars that weave together seamlessly. It’s quintessentially AC/DC and sometimes you don’t need to forge a new path to stand out, for I’d take songs like First Blood over a shifting style any day of the week.

Danger has a brooding tempo that shows a different side of AC/DC; one that could offer a more blues-focused appeal than the hard rock styling most commonly associated with the band. However, one can understand why it wasn’t a hit amongst fans, at the time, but I have a feeling that modern audiences would be much more receptive to this mood-driven eerie number.

Sink The Pink is, arguably, the song that would appeal to most of AC/DC’s legacy fans for it combines their renowned playful attitude with an infectious groove and some hard rocking licks.

Playing With Girls is a fast-paced rocker that leans heavily into AC/DC's cheeky, tongue-in-cheek persona. While the core riff is straightforward it, combined with the song’s energy, keeps the momentum going and is a standout on this release.

Stand Up is a magnificent tune and is one of Simon Wright’s greatest drum performances with the band, having taken over that role upon Phil Rudd’s departure. In truth, Wright performed magnificently throughout the album and while his style is slightly different to Rudd’s, his appointment didn’t detract from the music at all. I’d even go as far as saying that his inclusion was an enhancement. Nevertheless, Stand Up is a raw, back-to-basics, tune that will have you coming back for more.

Hell Or High Water is a hard-hitting anthem with a relentless rhythm. AC/DC doesn’t get much better than this as Hell Or High Water will appeal to all fans of the band.

Back In Business is a killer mid-tempo rocker with a powerful riff and a driving rhythm section. Its anthemic quality adds to the album, as well as AC/DC’s incredible back catalogue, in such a way that you’ll experience an earworm as that catchy chorus will remain front and centre in your mind well after the album has concluded.

Send For The Man is an ideal closer with its heavy, blues-infused, sound, featuring a grinding riff and thunderous rhythm that ensures the record ends on a high note; one which will compel you to listen to the album again for Fly On The Wall can seldom be listened to once.

Fly On The Wall may be a polarising release within AC/DC’s discography, but it shouldn’t be as the band’s signature hard rock energy is present throughout as it accompanies the infectious riffs and anthemic choruses they’re best known for. Hence, if you’ve overlooked this release, and have never given it a proper listen, I implore you to give it another shot for you may just fall in love with the album’s raw, unfiltered, and rebellious spirit; I know I have!

Skyhooks – Living In The 70’s (Album Review)

Skyhooks – Living In The 70’s (Album Review)

A debut like no other; an Australian masterpiece!

That is, perhaps, the best way to describe Skyhooks’ Living In The 70’s, for they may not have known it at the time, but Living In The 70’s would go on to become one of the greatest albums ever recorded.

Beloved in Australia, Skyhooks never really made inroads into the international music scene. Subsequently, many international readers may be unaware of their music and the influence they’d have over generations of Australian rock bands to come. Thankfully, streaming allows you, dear reader, to listen to Living In The 70’s, wherever you are and there is no time like the present to check out one of the most controversial, yet praised, debut releases ever by an Australian band.

Living In The 70’s was controversial in that the Federation of Australian Commercial Broadcasters decided to ban six of the songs from the album, from national airplay, citing sex and drug references. Of course, the counter-culture teenage population, at the time, wasn’t going to be told what they could and couldn’t listen to and Living In The 70’s quickly rose to #1 on the charts, selling 226,000 copies in its first year; a feat never before seen within the Australian music industry.

Not only was their sardonic view of the zeitgeist in Australia in the 70s a pivotal element for Skyhooks, but they had a hook and they caught us hook, line and sinker, with their catchy blues-based groove rock and combined glam rock style. To say Skyhooks was multifaceted would be a borderline understatement, for their musical style defies adequate explanation. Living In The 70’s is, subsequently, an album that needs to be heard in order to be fully understood and appreciated. Exceptionally written, recorded, mixed, and mastered, you’ll be in pure musical bliss for the entire duration.

The edition of Living In The 70’s that I’m fortunate to own is the remastered CD from 2004 with the additional B-side, Broken Gin Bottle; a perfect addition to an already flawless album. The CD, however, isn’t quite as perfect as I’d like it to be as the booklet has a printing error whereby several pages of the liner notes are missing, replaced by liner notes from a Linda Ronstadt compilation. Now, I have nothing against Ronstadt; a phenomenal musician in her own right, but this is a Skyhooks album and I’m missing all the lyrics except for the title track and Broken Gin Bottle. It’s a frustration, to say the least, but the sound quality is so good that I haven’t bothered with a replacement.

Yes, Living In The 70’s is a remaster and while I’ve been critical of remasters over the years, this one is done nicely, with respect for the source material. It sounds right, unlike the remaster of Cold Chisel’s Circus Animals. The soundstage is wide and enveloping and every instrument can be heard with incredible clarity. The Lossless Apple Music stream, by comparison, is a solid CD facsimile but isn’t quite as live-sounding as the remastered CD. As usual, if you don’t compare the editions, you’re unlikely to notice anything is lacking, but the CD offers a more enjoyable listening experience as the music has a fluidity that is missing from the streaming counterpart despite being derived from the same mastering sessions.

Additionally, a vinyl reissue is on its way, scheduled for an early 2025 release, along with a CD edition that celebrates the 50th Anniversary of the album. One problematic aspect, however, is that it’s said to be a new 2024 remaster. Let’s just hope that it has been handled with respect for the source material for I still declare the 2009 remaster to be perfectly fine. Nevertheless, it seems somewhat fitting that one of the greatest Australian albums of the 70s finds its way back to the format that it was originally presented on; if for no other reason than to display that incredible album artwork.

Living In The 70’s is a killer, rhythmically charged, opener that will have you singing along as you grooving to the music. It has some exceptional guitar and percussion work that showcases the polish and musical skill Skyhooks had right out of the gate, but it’s the song’s references, and sharp critique, to counterculture and societal expectations, that strike a perfect balance between humour and reflection. The result is that Living In The 70’s is one of the greatest debut album openers of all time.

Whatever Happened To The Revolution continues with the upbeat tempo and in many respects, Skyhooks has a similar style to The B-52’s, in that it becomes a fun listen that’s unique when compared to much of the music of the era. Even by modern standards, Whatever Happened To The Revolution sounds fresh with its crunchy guitar riffs and high-energy rhythm.

Balwyn Calling is packed with vivid imagery, a funky bassline, and melodic guitar hooks that give this song its playful edge and ensure that it’s one of the most memorable tunes from the album.

Horror Movie is, without a doubt, my all-time favourite song from Skyhooks. It’s also, arguably, Skyhook’s most iconic tune for its an unforgettable anthem and Graham “Shirley” Strachan’s powerful vocals bring Greg Macainsh’s satirical lyrics to life. However, it’s the overall vibe that takes this song to another level for it is most certainly positioned in the 70s style but has remained timeless and still resonates with rockers the world over.

You Just Like Me ‘Cos I’m Good In Bed says it all, doesn’t it? It’s a fun tune that will bring a smile to anyone's face. While I can understand why the Federation of Australian Commercial Broadcasters banned this tune and five others, I’d call it overkill as we really can take ourselves a little too seriously at times. Nevertheless, it’s a great song; one that flows beautifully within the album’s linear structure and, again, showcases just how proficient Skyhooks were from the get-go.

Carlton (Lygon Street Limbo) incorporates the energy and musicality of Australian music in the 70s, despite the mid-tempo styling. While it isn’t a standout, it’s a quintessential album-only tune that ensures the album is structurally sound and the sum of its parts, rather than being appealing because of one or two songs. 

Toorak Cowboy is a toe-tapping, head-bopping, good time with a country meets glam rock style that is highly appealing.

Smut, true to its name, pushes the lyrical boundaries with its tongue-in-cheek wordplay atop a compelling musical backdrop. It’s a fun song that showcases the band’s irreverence as they challenged societal norms with their bold take on taboo topics.

Hey What’s The Matter is groovy; try sitting still through this one. As with much of the album, it’s impossible to not groove along to the music. The result is that Living In The 70’s can very easily become the ideal soundtrack to an energetic life.

Motorcycle Bitch is gritty riff-driven heaven and Strachan’s vocals on Motorcycle Bitch, in particular, are magnificent. There’s little doubt in my mind that he was one of the greatest vocalists to ever record a tune. Bon Scott is usually held up as the poster child for Australian rock and roll vocals and while this doesn’t take anything away from his vocal prowess, Strachan was on par, if not slightly more capable as a vocalist, particularly concerning pronunciation. I mention this as I don’t feel Strachan has ever received the recognition he deserved.

Broken Gin Bottle was not part of the original tracking of Living In The 70’s, having been released as the B-side to the Living In The 70’s single. However, I couldn’t imagine the album without it as it fits the overall styling so well. Again, and I know that I’m repeating myself, the gritty blues-infused guitar work is extraordinary and will compel you to listen to the album again.

Living in the 70's is a bold, unapologetic, and groundbreaking album. Skyhooks' ability to combine biting social commentary with infectious melodies and a uniquely Australian identity made it a cultural touchstone but this debut isn’t just an album, it’s a cornerstone of Australian music history and one of the greatest albums ever recorded.

Ringo Starr – Goodnight Vienna (Album Review)

Ringo Starr – Goodnight Vienna (Album Review)

Released in 1974, Goodnight Vienna is the follow-up to Ringo Starr’s commercially successful and critically acclaimed album Ringo, yet despite the fanfare, this is the stronger album. That may rub some people the wrong way but it is my subjective truth. As with many of Starr’s solo works, Goodnight Vienna is somewhat whimsical, but it perfectly encapsulates his unique charisma via an appealing blend of rock, pop, and ballad-styled tunes. The result is that Goodnight Vienna is a dynamic album that is severely underrated; much like his hidden gem Old Wave.

Goodnight Vienna is also notable for featuring one of Ringo’s most star-studded lineups with collaborations coming from John Lennon, Elton John, Bernie Taupin, Harry Nilsson, David Foster, Gary Wright, and Dr. John, to name a few of the incredible musicians that contributed to this sensational album. However, it is Jim Keltner’s recordings with Starr that I find most interesting for Keltner is a master drummer in his own right, but to drum for the drummer of The Beatles; that would, at the very least, have been intimidating. Still, given the extensive nature of Keltner’s session recordings, it would be fair to say that as much as Ringo was crucial to the success of The Beatles, Keltner is much more diverse and while not a household name, is an ardent student of the art of drumming.

Speaking of art, if we look beyond the music, the album artwork for Goodnight Vienna is captivating. Inspired by the 1951 film, The Day The Earth Stood Still, Goodnight Vienna has one of the most recognisable covers from the era; a time when a record’s visual presentation was of paramount importance in not only making it stand out in record stores but in providing a complete visual counterpart to the music. Admittedly, the artwork has little, if anything, to do with the music contained within, but its somewhat quizzical nature melds perfectly with Starr’s overall style.

While I have yet to be fortunate enough to attain a copy of this classic album on the larger vinyl canvas, the Lossless Apple Music stream, an Apple Digital Master, is nothing short of exceptional. Every musical element is given room to breathe and while that’s primarily a testament to the recording and mixing of the album, the soundstage is both enveloping and captivating, thereby ensuring that it’s not only a pleasure to listen to but so appealing that other than the tactility of a vinyl record, and that warmer analogue sound, there really is little reason to seek out a physical release.

Goodnight Vienna (It's All Down To) has an incredibly catchy rhythm and is one song that is perfect for Starr’s vocal style. Written by John Lennon, it’s also one of his greatest songs that he never recorded himself, but it has the Beatle-esque styling that many fans will find appealing as you can imagine just how the Fab Four would have approached this recording. I’d suggest it would be largely the same, perhaps with a few more musical elements thrown in for good measure, but it’s a sensational fun upbeat song to start the album with. The only disappointing aspect is that the song’s a little short and despite flowing well into Occapella, another 30 seconds to a minute would have been ideal.

Occapella brings Starr’s whimsical personality front and centre with this funky Allen Toussaint composition. Driven by a bouncy musical bed, and an infectious rhythm, Starr’s vocal presentation adds to the overall appeal of the song, thereby ensuring that Occapella is one of the greatest songs he’s ever recorded.

Oo-Wee is a straightforward rocker with a touch of Starr’s carefree attitude. While not necessarily groundbreaking, Oo-Wee offers listeners a fun moment that reflects Ringo’s penchant for simple, feel-good tunes.

Husbands And Wives, a cover of Roger Miller’s 1966 original recording from Words And Music, is simply magnificent. Starr takes the original, and adds a touch of tenderness and sincerity to his usual vocal flare, thereby ensuring that this interpretation was in every way as appealing as the original was.

Snookeroo is a lively tune that stands out as one of the album’s highlights; particularly when it comes to the addictively good chorus. Written by Bernie Taupin and Elton John, Snookeroo offers a semi-autobiographical tale on Ringo’s working-class roots, but it’s the electrifying musical bed that ensures Snookeroo is memorable.   

All By Myself is a moody blues-inspired track that sees Ringo delve into more sombre territory than is usual for his musical output. Despite lacking the energy of the other songs on Goodnight Vienna, the chosen arrangement and Starr’s vocal performance add depth to the album’s overall tone, thereby making it a perfect album-only number.

Call Me, with its mellow melody and catchy chorus, makes for an enjoyable listen, especially following on from All By Myself, and is another quintessential album-only tune that while not a standout, ensures the record is the sum of its parts, rather than appealing due to a few standout tunes.

No-No Song has a reggae-tinged rhythm and lighthearted feel that make it an undeniable earworm. Combining humour and an anti-drug message, No-No Song is charming and is one of the most memorable tracks from the album.

Only You (And You Alone) is a cover of the legendary Platters’ 1955 hit and while it has been recorded by a who’s who of the music industry throughout the decades, Starr interprets the song considerably differently thereby ensuring that this classic tune has a warm radiance that is somewhat missing from the original recording. Musically, it’s a little more uplifting whereas the original has a haunting quality that, despite being a style of the era, can also make the song a little less romantic and despondent when compared to Starr’s recording.

Easy For Me offers a melancholic orchestral arrangement that allows Ringo to convey an emotional vulnerability via his lyrical delivery. While the song’s pacing may feel slow, compared to the more vibrant tracks on the album, it’s also one of Starr’s greatest vocal performances.

Goodnight Vienna (It's All Down To) [Reprise] brings the album full circle and closes this experience perfectly with this brief and celebratory conclusion that will encourage you to spin the record again.

Ultimately, Goodnight Vienna is a delightful album that successfully blends humour, charm, and musical variety. Add to that the collaborations and contributions by some of the era’s most legendary musicians and what you’ve got is a timeless record that is not only one of the best Starr ever recorded, but it’s amongst the greatest records released in the 70s; certainly in 1974.

Neil Diamond – Serenade (Album Review)

Neil Diamond – Serenade (Album Review)

Serenade is unlikely to be the first album you think of when you consider Neil Diamond’s illustrious career, yet to dismiss Serenade would be a great disservice to one’s musical journey for it’s a hidden gem and one of his most enjoyable records; once you give it a few listens, of course.

Yes, the lack of immediacy in appreciating this release is of concern, but every album need not talk to you the first time you listen to it for it to be an exceptional release and, in this case, Serenade will serenade you, if you give it a chance. As to how many times you’ll need to listen to this 1974 release, in order to appreciate it fully, is highly subjective, but I’d suggest a few play-throughs will give you a good sense of the flow of the album; a record that is knocking on the door of an EP’s length with a runtime only barely exceeding half an hour.

Of course, good music need not be dictated by an album’s runtime, for the CD era proved how detrimental filler material can be to an album’s success, longevity, and reverence. With that in mind, the eight songs on Serenade are masterfully produced with an exceptional mix that is thoroughly engaging and indicative of the high-quality standards most often associated with Neil Diamond. Vibrantly showcasing his ability to blend storytelling and heartfelt melodies, Serenade is a highly polished record, with lush arrangements, that are complemented by Diamond’s deep and evocative vocals, thereby creating an intimate, yet expansive, listening experience.

While my only exposure to this album has been via the Hi-Res Lossless Apple Music stream, the Apple Digital Master is derived from the most recent remastering of the album, from 2014, and while I can’t speak for anyone else, I feel these remastered editions, from Diamond’s back catalogue, sound simply magnificent. You’ll experience a full-bodied sound with an enveloping soundstage and enough clarity between all musical elements that allow each musical contribution room to breathe. It really is a beautiful mastering; one that allows the recording and mix to fully shine so that music lovers, such as ourselves, can simply sit back and enjoy the songs that make up this classic release.

I've Been This Way Before is a beautiful opening ballad. As the song builds slowly, with Diamond’s vocals front and centre, the warm orchestral backing crescendos into a powerful conclusion; one that is perfectly suited to Diamond’s overall style and offers the listener a musical journey that is thoroughly enjoyable.

Rosemary's Wine picks up the tempo a little with a melody and delicate acoustic instrumentation that will likely remind you of any number of singer-songwriter folk-based tunes. The simple arrangement allows Diamond’s vocals to shine but as lovely as the song is, I feel it is too short and should have had an additional verse and chorus for by the time it comes to an end, I find myself wanting more.

Lady Magdalene, by comparison, is the longest track on the album and worthy of every second, for it’s a sprawling song, with an almost hypnotic meditative quality, that is somewhat of a hidden gem in Diamond’s extensive back catalogue. Again, sticking with a minimalistic musical accompaniment, the song gradually swells into a grander arrangement that will appeal to just about any music lover, not just Neil Diamond fans. Lady Magdalene is, subsequently, one of Diamond’s greatest performances and one that casual fans, had they not heard this album, would have sadly overlooked.

The Last Picasso is a mid-tempo number that offers a delightful contrast to the tunes that have come before it. Showcasing Diamond’s playful style, this jazz-focused arrangement is a masterpiece and sonic pleasure that exudes sophistication, thereby making it a refreshing interlude.

Longfellow Serenade is one of Diamond’s more well-known tunes from Serenade as it topped the charts upon release as the album’s lead single. As you listen, you’ll find yourself toe-tapping and head-bopping along to the addictively good rhythm. Be prepared, however, for Longfellow Serenade is also an irresistible earworm; one that will stay with you until you play the song again.

Yes I Will is a stunningly beautiful tune. It is Neil Diamond at his very best and is another hidden gem.

Reggae Strut adds a touch of Caribbean flair that adds a lighthearted vibe to the album. However, despite the infectiously fun groove, it does feel a little out-of-place when compared directly to the tonality of the former tracks.

The Gift Of Song is a perfect closer; one that also compels me to listen to the album again for Serenade can seldom be listened to once. As has been the case throughout the entire album, the understated arrangement, primarily comprised of piano and strings, ensures that Diamond’s sensational vocals are paramount within the mix. It, really, is a gift to music lovers the world over.

Serenade is a masterful collection of songs that highlights Diamond’s versatility as a songwriter and performer. The album’s balance of introspective ballads, playful diversions, and lush orchestration creates a cohesive yet dynamic listening experience; one that stands as a timeless testament to this master singer-songwriter and is a must-listen for dedicated and casual fans alike.

Lynyrd Skynyrd – Second Helping (Album Review)

Lynyrd Skynyrd – Second Helping (Album Review)

Released in 1974, Second Helping is Lynyrd Skynyrd’s sophomore album and a powerful follow-up to their debut, (Pronounced 'Lĕh-'nérd ‘Skin-'nérd). Having already made waves with the masterful Free Bird, amongst many other (now) classic songs, does this follow-up match the musicality from their first album?

Yes, but also no. It’s complicated. Let me explain.

As pioneers of the Southern Rock genre, Lynyrd Skynyrd had a unique sound that rooted them firmly within the blues while also seeing them incorporate elements of country, rock, and a touch of funk. That fundamental aspect doesn’t change with this second release, and this record strengthens the band’s position and standing within the genre, but it’s also more hard rock-focused than the southern bluesy soft rock of the debut. In addition to that aspect, Second Helping is considerably more polished and layered, by comparison, thereby making it my favourite of their career.

Some of you may naturally have an opposite opinion, as music is highly subjective. Still, I find the cohesive nature of Second Helping to be stronger than the song selection and linear structure of (Pronounced 'Lĕh-'nérd ‘Skin-‘nérd). That isn’t to say that Second Helping is perfect, for I question the decision to include the J.J. Cale cover, Call Me The Breeze; a solid addition, yes, but one that doesn’t always compel me to play the record again as it’s a somewhat weak closing tune.

Either way, when you combine the higher production values, exceptional songwriting and overall performance, Second Helping could only have been bested if Call Me The Breeze had been omitted and my beloved Free Bird was added to the backend of the album. Naturally, that cannot happen, nor should it, for it would forever change the artistic direction of the band, but with that in mind, it’s clear to suggest that Second Helping was a worthy follow-up.

Speaking of production values, while the recording and mix are second to none, I feel the mastering could be a little more refined. Additionally, Don't Ask Me No Questions is more demo-styled than any other song from the album; an aspect that takes you temporarily out of the album listening experience. Nevertheless, when listening to the Lossless Apple Music stream, an Apple Digital Master, it’s thoroughly enjoyable but I’d also suggest that it’s merely adequate, rather than being exceptional. There are no glaring issues to report, it just doesn’t sound as immersive or sonically fluid as I'd ideally like and that, I feel, would likely come across well with regards to the various audiophile-based releases of this classic album. Of course, having not heard those other releases, I cannot comment on their sonic prowess, but a slight adjustment to one’s EQ settings could likely adjust the album to perfectly reflect one’s tastes.

Sweet Home Alabama kicks the album off with one of the most iconic riffs in rock and roll history. It may be Lynyrd Skynyrd’s most well-known song, for it’s a masterpiece, but it is worthy of inclusion amongst the songs that are considered part of the Great American Songbook for it’s one of the greatest songs ever written and recorded.

I Need You presents itself as a slow-burning, bluesy ballad that demonstrates the band’s versatility and while I Need You was never destined to be a hit, it’s one of their most pleasing tunes for the soulful and haunting guitar interplay between Allen Collins and Gary Rossington is exceptional, as is Ronnie Van Zant’s raspy, pleading vocals. The highlight for this music lover, however, is Ed King’s bass tracking which is subtle, yet extraordinary. The culmination of all aspects makes I Need You a hidden gem; particularly for those who are not familiar with Second Helping.

Don't Ask Me No Questions has a killer riff, funky rhythm, and a raw production style that appeals to the song, but it’s somewhat out of sync with the production standards heard throughout the rest of the album. Nevertheless, this Southern rock number is a solid addition, even if Don’t Ask Me No Questions is more akin to a demo than a fully-fledged song.

Workin' For MCA has a vibe that will get you moving as it dives into the complex relationship between artists and the record industry. Perhaps most interestingly, however, is that MCA Records allowed the song to be published. That in itself takes courage, but what can’t be denied is the musical prowess of this song as lyrical interpretation is one thing, but the musical bed, and that guitar solo, are simply sensational.

The Ballad Of Curtis Loew is a thoroughly pleasing blues-based number that, while not a standout, is a quintessential album-only tune.

Swamp Music, with its lively swampy groove, lives up to its title by embracing the bayou feel that is both infectious and fun.

The Needle And The Spoon has an incredible hook that is emphasised by the gritty lyrical topic and issues relating to not only addiction but the dangers of drug use. It’s moments like this that I celebrate enjoying music sans lyrics, with the vocalist becoming another instrument within the mix, for I can tune out the meaning and groove along to what I consider to be one of Lynyrd Skynyrd’s greatest tunes.

Call Me The Breeze is a solid cover of J.J. Cale’s original, from his 1972 release Naturally, yet despite Skynyrd's livelier presentation, it isn’t an ideal closing track as it seldom encourages me to listen to the album again. I’d also argue that Lynyrd Skynyrd was, by this stage, so well-established that the need to include a cover was superfluous to the album’s requirements and it’s a shame they didn’t have another song ready to go for their own compositions are incredible and have stood the test of time.

If nothing else, Second Helping strengthens the band’s influence for with this 1974 release, Lynyrd Skynyrd’s Southern sound, merged with the album’s raw energy and blend of blues, rock, and country elements, solidified their place in American rock whilst simultaneously creating a series of timeless songs that would ultimately result in one of the greatest albums of the 70s.