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!

Baltimora – Living In The Background (Album Review)

Baltimora – Living In The Background (Album Review)

Released in 1985, Baltimora’s Living In The Background is a hallmark of mid-80s dance-pop, drenched in the bright synthesiser-driven sound that dominated the era. With infectious beats and enigmatic energy, this debut captures a fleeting but impactful moment in music history and is one record that deserves more recognition than it often receives.

What isn’t as impactful as the music, however, is the chosen album artwork. While three different versions have been made available, throughout the years, the most appealing one is the original Italian edition with its superhero artwork. Unfortunately, the Australian streaming edition is perhaps the worst version and it honestly makes me wonder what record company executives were thinking when releasing different album covers for different regions as they’re seldom more appealing than the original artwork.

Thankfully, the music surpasses the dorky album cover. While not presented as an Apple Digital Master, the CD-quality Lossless Apple Music stream is thoroughly pleasing with an enveloping dance-pop soundstage that will see you on the dance floor, boogieing along from the very first note to the last. Even sitting back and listening intently, you get the sense that this record was well recorded, mixed, and mastered for the stream isn’t lacking in any aspect; it simply sounds, and feels, right.

Tarzan Boy is a bona fide 80s anthem. The song’s iconic “ooh-oh-oh-oh-oh-oh” refrain is instantly recognisable and is anchored by a spacious and energetic melody and pulsating beat. Tarzan Boy is, subsequently, one of the greatest songs of the 80s, but a top-tier album isn’t just a result of a single song, for the rest of the tunes, on this release, are equally compelling.

Pull The Wires shifts gears considerably as it blends a somewhat melancholic tune with an ethereal sonic presentation. Despite the sharp contrast from the vibrant energy presented with Tarzan Boy, Pull The Wires not only flows perfectly but it’s a magnificent song that showcases just how complex the pop framework of the era was.

Living In The Background is an ideal title track and is a masterclass in 80s production. The extended intro builds anticipation with layered synths and a funky bassline before the charismatic vocals take centre stage against the song’s danceable groove. While not as bold as some of the other dance-floor numbers, Living In The Background is a multi-layered piece of musical art that gets better the more often you listen to it.

Woody Boogie with its quirky rhythms and cartoonish vocal interjections bring a playful energy to the album. Add to that the track’s infectious tempo and you’ve got a dance-pop masterpiece that would set any dance floor alight.

Chinese Restaurant blends the eclectic with a vivid audio soundscape that results in an abstract musical experience that is both engaging and enigmatic. It’s another of the album's songs that becomes more rewarding the more frequently you listen to the record.

Running For Your Love closes the album on a high note with a spirited track that blends soaring melodies with a driving rhythm. The sense of urgency heard, throughout the song, will leave you energised and eager to revisit the album as once you get the Living In The Background party started, it is hard to switch gears; so enjoy!

Ultimately, Living In The Background is a vibrant snapshot of 1980s pop culture and for those of us who lived through the era, the nostalgia is strong with this release. That said, the album isn’t dated to the era and sounds just as fresh today as when it was initially released. Whether you’re an 80s aficionado or a casual listener, Living In The Background is an album worthy of your time.

A-Ha – Hunting High And Low (Album Review)

Comment

A-Ha – Hunting High And Low (Album Review)

Released in 1985, a-ha’s debut album, Hunting High And Low, marked the arrival of one of the most influential synth-pop new wave bands of the 80s. Featuring a rich tapestry of melodic hooks, passionate lyrics, and a lush production, Hunting High And Low not only captured the zeitgeist but is a remarkably cohesive debut; one that has a timeless appeal.

Part of the album’s success is due to the song selection for Hunting High And Low plays akin to a greatest hits release. Most casual fans would be more than happy to attain this record, along with their compilation Headlines And Deadlines, and call it a day. Some may even call them a one-hit wonder, as it pertains to the album’s release, but a-ha have gone on to release some severely underrated and notable music. However, no post-debut release would resonate with music lovers as much as this legendary debut has.

Also appealing is the visual aspects of the album’s cover art. Yes, it is indicative of the era, particularly regarding clothing and hairstyles, but renowned photographer Just Loomis’ composition ensured it would be a standout in record stores and within one’s music collection for decades to come.

Regarding the sonic prowess of this classic release, the recording, mix, and mastering are exceptional and are amongst the greatest in all of recorded music history; particularly within the new wave and synth-pop genres. As it relates to the 2015 Remastered Hi-Res Lossless Apple Music stream, an Apple Digital Master, it’s exquisite with a full-bodied and detailed sonic presentation that ensures every musical element is clearly presented within the chosen mix. Remastering is at times looked down upon, even here at Subjective Sounds, but you know when an album just sounds right and in this case, the Apple Music stream doesn’t disappoint. It’s so good that I don’t feel compelled to pick up a physical release, for sonically I don’t feel there is any improvement to be achieved.

Take On Me is an ideal album opener and is, arguably, a-ha’s most iconic track; a dazzling combination of pulsating synths, infectious hooks, and some incredible vocal performances. The song’s driving energy perfectly encapsulates the spirit of the mid-80s and, ultimately, sets the tone for the entire album.

Train Of Thought introduces a slightly darker tone to a-ha’s dynamic instrumentation, but the song’s sense of urgency grabs your attention and doesn’t let go until the very last note has been played. Morten Harket’s vocal delivery is particularly noteworthy for its understated, yet emotive, thereby adding perfectly to the song’s overall style.

Hunting High And Low is a quintessential title track for this sweeping ballad is stunning. Harket's vocal range and emotional intensity will touch your soul as the orchestral arrangement builds the song’s dramatic atmosphere; one that will stay with you long after the album has ended.

The Blue Sky returns the album to a-ha’s core synth-pop styling and while this upbeat breezy number is a solid tune, it’s not the standout that the previous songs have been.

Living A Boy’s Adventure Tale is a magnificent tune with a mix of whimsy and melancholy. Every musical aspect, from the unconventional structure and dreamlike quality, to the ethereal synth layers and emotive vocals, is perfectly presented and in many respects, Living A Boy’s Adventure Tale is so good that it could be considered the very best song a-ha ever recorded. It honestly surprises me that it wasn’t considered for a single, it’s that good!

The Sun Always Shines On T.V. is one of my favourite songs on the album and while it’s borderline campy, as some of a-ha’s music is, the lush orchestration and powerful synth elements, that build to the addictively good crescendo, are simply incredible and showcase just how talented a-ha were from the get-go.

And You Tell Me is a brief minimalist interlude. While it serves more as a palate cleanser than a fully-fledged song, it adds a touch of intimacy to the album’s bolder soundscape.

Love Is Reason is a more conventional pop song featuring a bright melody and rhythmic energy that will see you toe-tapping and head-bopping along.

I Dream Myself Alive is a solid energetic number and while its position as an album-only tune isn’t in question, it also isn’t anything to write home about as it lacks a certain level of musical magic that has been heard throughout the rest of this debut.

Here I Stand And Face The Rain closes the album on somewhat of a haunting note, particularly as it pertains to the song’s unique opening. Nevertheless, Here I Stand And Face The Rain is the perfect bookend to the album as it permits reflection of the music you’ve just heard whilst simultaneously compelling you to listen to the album again.

Hunting High And Low is a remarkably cohesive debut release that balances commercial appeal with artistic depth. Its mix of high-energy synth-pop anthems and introspective ballads demonstrates a-ha’s versatility and ambitions; traits that have resulted in not only superstardom and timeless appeal, but characteristics that helped the album, and band, to define the sound of 1980s pop music.

Comment

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.