Lou Reed – Sally Can't Dance (Album Review)

Lou Reed's 1974 album Sally Can't Dance stands out in his discography with its blend of his traditional rock roots and experimental production choices that saw Reed, arguably, edging closer to mainstream success than at any other time in his career. Fuelled by Reed’s rock roots, an exceptional production, and his unique balance of thought-provoking gritty lyrics, Sally Can’t Dance is surprisingly accessible; especially to those who weren’t drawn to his earlier solo works or that of The Velvet Underground. That said, Sally Can’t Dance isn’t so far removed from his origins that it fundamentally would have alienated Reed’s fan base, yet some would vehemently disagree with that statement.

Hardened individuals aside, Sally Can’t Dance is broadly appealing because it not only has great songs, but the glam rock mixed with a touch of funk ensures that just about any music lover can get into this release. No, it’s no Transformer or Berlin, but it shouldn’t be compared to those classic releases. Instead, we should consider what an artist is and from my perspective, evolution and experimentation are just as important, if not more so, than giving the fans what they expect. Granted, the album’s high production values would likely be a turn-off for some, but Sally Can’t Dance is, without a doubt, one of Reed’s most underrated releases.

While Reed may have been less than enthusiastic regarding this release, I often appreciate the albums that artists may prefer to disown; think Alice Cooper’s DaDa. That is, thankfully, why music is so subjective and how one interprets the music will differ from person to person and even from the artist’s perspective. As such, if you’ve ignored this release for far too long, because that’s what the cool kids do, give it another chance, on its own, and I’ve no doubt you’ll look at it differently.

Speaking of looking at the album differently, the album artwork is amongst Reed’s greatest; only bested by Transformer. The boldness of the artwork and the use of white space is particularly appealing. Even if you’re a Lou Reed fan who isn’t enamoured with the music contained within, you’d still want a copy of Sally Can’t Dance on vinyl for the larger canvas would make for an exceptional piece of artwork amongst your record collection.

While I’m yet to pick up a physical release of this classic album, I will say that I’m thoroughly pleased with the Hi-Res Lossless Apple Music stream for this is another Apple Digital Master that simply sounds right with an immersive stereo presentation, one that ensures every musical element has room to breathe. Of course, it helps that the album was recorded and mixed with kid gloves. Naturally, without another edition to compare it to, I can’t declare the streamed edition as being the very best this album has ever sounded, but aside from the analogue sound signature of vinyl, that is different (rather than being better), I don’t feel the need to pick up a physical release for the stream fulfils all my musical requirements for this record.

Ride Sally Ride opens the album beautifully with a level of musicality that is poetic, well before Reed’s smooth, yet gritty vocal, enters the mix. Yes, it is different from much of Reed’s broader catalogue of music, but its somewhat laid-back feel is thoroughly enjoyable and sets the tone for the entire album. Ride Sally Ride is also one of my all-time favourite Lou Reed songs for his chosen vocal delivery style works incredibly well.

Animal Language picks up the tempo with a lively, almost vaudevillian, melody, but it's the included animal language that truly sets this tune apart and reminds me fondly of Bob Dylan’s Man Gave Names To All The Animals from Slow Train Coming; another album by a legendary artist that divided the fans. Ultimately, Animal Language is a fun, quirky, tune that is perfectly suited to the album.

Baby Face is a slower, more contemplative, track with a subtle yet lush instrumental bed. The mix is utterly perfect as every element, including Reed’s exceptional vocal, is given room to breathe while never overshadowing any other aspect of the recording.

N.Y. Stars, with its upbeat chugging rhythm and grating guitar riffs, is one of the songs, from the album, that harks back to Reed’s more traditional styles for the musical bed is intertwined, yet slightly off, with Reed’s poetic delivery. It’s a solid tune but is arguably not well-suited for this album.

Kill Your Sons has a sombre, darkly reflective, tone that is ideally suited to Reed. It is one song, however, that makes me glad that I appreciate the human vocal as another instrument in the mix, rather than a storytelling device, for this is one depressing tune; regardless of its context.

Ennui presents a slower tempo and somewhat muted instrumentation that matches the song’s title, creating a feeling of emotional exhaustion and disinterest. Add to that Reed’s weary vocal performance and you’ve got an appealing, yet melancholic, tune. It’s not, however, as depressive as Kill Your Sons is.

Sally Can't Dance is a killer title track set to a funky and danceable rhythm. However, the stark contrast here is that despite the upbeat groove, with its bass-heavy rhythm and infectious hook, the song has a grim narrative. Of course, that was always a core talent for Reed; combining dark humour with catchy songwriting.

Billy closes the album with a slower, more reflective, track full of nostalgic undertones that explores a sense of lost youth, friendships, and missed opportunities with an interesting twist. Yes, I don’t often listen to lyrics for their literal interpretation, but some artists, such as Reed, occasionally demand one’s attention.   

Overall, Sally Can't Dance captures Lou Reed at an intriguing point in his career, straddling mainstream appeal while holding on to the experimental, gritty edge he was known for. Each song on the album reflects Reed’s ability to deliver razor-sharp social commentary, but most importantly Sally Can’t Dance is a remarkable achievement and a standout within Reed’s diverse discography.

Check out more reviews by Subjective Sounds

KISS – Hotter Than Hell (Album Review)

Released in 1974, KISS' second studio album, Hotter Than Hell, stands as a crucial chapter in the band's early history. Arriving just eight months after their self-titled debut, this record captures a group eager to solidify their place in the hard rock music landscape; one driven by gritty raw energy that adds layers of authenticity to the unpolished production of this classic release. It is this rawness, however, that makes Hotter Than Hell a standout within KISS’ extensive catalogue for other than their live recordings, this is as authentic as you’re ever going to get.

Throughout the years, many have been divided over the band’s comic book personas, but rather than shy away from it, as they had in the mid-80s, Hotter Than Hell, with its manga cover art styling, not only amplified this gimmick but would have certainly stood out on the shelves of any record store at the time. As the world was far less connected in 1974 than it is in the modern era, I can’t help but wonder how many KISS fans would have thought that Hotter Than Hell was a Japanese import. I likely would have been one of them as I’ve often been fond of international releases from far-off lands that I may or may not have the privilege of visiting one day. It adds a sense of mystique to one’s music collection, even in the modern hyper-connected era. Regardless, the artwork for Hotter Than Hell, much like their music, tells a uniquely compelling story; one that would set KISS apart from many of their hard rock contemporaries.

Musically, while their debut album was steeped in glam rock theatrics, hard rock, and pop-infused melodies, Hotter Than Hell leans into a slightly more aggressive, hard-edged, style that not only incorporates all that was heard via the debut but builds upon that initial release with a series of memorable tunes and some incredible musical licks. As with their debut, Hotter Than Hell failed to set the charts on fire, most likely due to its lack of radio-friendly singles, but both albums continued to lay the groundwork for their explosive breakthrough in the years to come.

Speaking of explosive, the lossless Apple Music stream does sound rather good, even with the rawer production values. Granted, Hotter Than Hell will never be anyone’s idea of sonic perfection, but unlike the ’97 remasters, the Apple Digital Master offers a solid midrange and enough low-end to please most fans. Those who may have found the older CD remaster to be a little bright in the treble range will likely find the stream to be a thoroughly more enjoyable version of the album to listen to. The harshness has been dialled back and what you’re left with is an album that rocks!

Got To Choose is a hell of a tune to open the album with for it’s an attitude-infused mid-tempo groove-focus rock masterpiece. No, it isn’t one of KISS’ most popular tunes, but if the infectious melody doesn’t get you, Ace Frehley’s exceptional blues-infused guitar licks will.

Parasite is riff heaven and between Ace Frehley’s skilled writing and Gene Simmons’ raw and aggressive vocals, Parasite is not only one of the heavier tunes KISS ever recorded, but it’s one of the greatest rock numbers from the era.

Goin' Blind slows the album’s pace with a ballad-focused tune. Simmons knocks the vocals out of the park, but interestingly his vocal presentation differs from what we normally associate with him. The variance reminds me of Steven Tyler’s vocal delivery on Aerosmith’s self-titled debut. It isn’t bad, not by any means, but it is unique.

Hotter Than Hell exudes swagger and confidence, driven by gritty, distorted riffs and a stomping rhythm section, but isn’t quite the ideal title track. It works, yes, but it isn’t a standout. Part of my love/hate relationship with the tune is the chosen tempo. While I acknowledge that it was written with Free’s All Right Now in mind, I find it’s a little too slow and would like to have seen it sped up by a few beats per minute.

Let Me Go, Rock And Roll is a fast-paced number that embodies the rock and roll spirit of the era with its relentless rhythm and infectious energy. If nothing else, the driving bassline, dynamic guitar solos, and overall mix capture the rawness of KISS’ early, yet compelling, sound.

All The Way may be an album-only tune, one that is unknown to many who haven’t listened to the album, but despite being lesser known, All The Way delivers a punchy, straightforward rock feel with an edgy guitar sound that is KISS 101.

Watchin' You has an incredible introduction, for the dense layering of guitars and a powerful rhythm section enhance the tune and ensure the intensity of the record is maintained. The musical bed alone is such a standout that Simmons need not have written or recorded lyrics for Watchin’ You could have been instrumental gold, had it been recorded with that intent. It isn’t that the vocals detract from the song, however, it’s that the musical performance is so much stronger than Simmons’ vocal delivery.

Mainline shifts the tone as Peter Criss takes over vocal duties for the first time on the album. With a Southern rock influence, the laid-back vibe is a precursor to many of KISS’ most memorable tunes and this is no exception for the chorus and overall upbeat nature of Mainline will stay with you well after the album has played its final note.

Comin' Home, while not as heavy as many of the other tracks, does circle back to the band’s melodic roots and in that regard is a hidden gem. It is, unfortunately, one of the most sonically compromised recordings from the album and even though it’s thoroughly enjoyable, it could have been so much more had more spit and polish been applied during the recording and mixing of the song.

Strange Ways is an ideal closer with its slow and heavy pace that allows Criss’ vocals to shine. It also features Ace Frehley at his very best, as the band works through the track’s sludgy and psychedelic rhythm, leaving a lasting impression; one that will compel you to play the album again or sit in contemplation of the music that you’ve just heard.

Hotter Than Hell is a gritty, raw follow-up to KISS’ debut, capturing the band at a time when they were eager to push boundaries and continue to develop their signature sound. With darker themes, heavy riffs, and unfiltered aggression, this album showcases the band’s hunger to make their mark in rock music and while the production may lack the polish of later releases, the rough edges and intensity give Hotter Than Hell a visceral, authentic energy that resonates with fans and adds to its charm. This album’s unapologetic sound and commitment to raw expression have made it a cult classic and an enduring favourite among KISS’ early works and is worthy of inclusion in any music lover’s collection.

Check out more reviews for KISS by Subjective Sounds

KISS – KISS (Self-Titled) [Album Review]

Released in 1974, KISS, the self-titled debut from the iconic rock band, marked the explosive start of their journey to superstardom. Combining hard rock with glam elements, the album introduced the raw energy and attitude that would come to define the band and despite not being an instant commercial success, KISS laid the groundwork and established their incredible legacy with this release.

That legacy was the result of a collective band effort, for KISS as we know them today, or in 1974, wouldn’t have achieved their desired outcome had each member not brought their distinctiveness to the album. From Paul Stanley’s soaring vocals to Gene Simmons’ commanding stage presence and heavy bass lines to Ace Frehley’s inventive guitar solos and Peter Criss’ powerful drumming, they crafted a raw, yet melodic, hard rock style that set them apart from their peers.

As it pertains to the lossless Apple Digital Master, available via Apple Music, it’s stunning with a bold presentation that will envelop and reward you no matter what volume you listen to the album at. Every musical element is clear and defined, yet the mastering is anything but fatiguing. There’s plenty of mid to low-end, that is in many ways a prerequisite to any hard rock album, but it isn’t overly boomy. The result is that the stream is most certainly worthy of consideration as one of the best-sounding versions of this self-titled debut for it not only sounds right, but it rocks.

Strutter opens the album with an upbeat swagger and attitude. Combining a catchy guitar riff, a confident vocal delivery by Paul Stanley, and a full-fleshed rock and roll rhythm, Strutter was the ideal song to launch the album on as it embodies the rebellious spirit of rock and roll.

Nothin' To Lose is an infectious rock tune that is both edgy and playful. However, it is far from the strongest song on this debut and other than the catchy chorus, I remain confused as to why Nothin’ To Lose was chosen as KISS’ first single as there are so many better choices such as Firehouse.

Firehouse, with its heavy mid-tempo groove and killer bass and guitar riff, is one of the very finest songs KISS ever recorded.

Cold Gin, with its riff-heavy structure and gritty lyrics, make it a quintessential KISS song and as with Firehouse would have been a far better lead single than Nothin’ To Lose. Granted, it is unlikely that these songs would have charted much better, given the era’s styling, but they’re more representative of KISS.

Let Me Know is a little more laid-back than most of the other songs from the album, and while it isn’t in tune with KISS’ hard rock styling, it’s a solid album-only rock number.

Kissin' Time, originally missing from the very first pressings of the album, was recorded and added post-release in an effort to increase the band’s exposure after the song was released as a single. Given I usually dislike changes to the original tracking of an album, particularly the inclusion of bonus tracks tacked onto the end of a record, it would be logical to suggest that Kissin' Time is out of place. However, having never heard the original sequencing, and not being willing to try (even via a streamed playlist), it’s fair to say that I’m set in my ways and Kissin' Time is official canon; from my perspective, at least. As a reworking of the 1959 original, by Bobby Rydell, it’s fantastic, but let’s all agree that it isn’t the strongest song, even if it aligns with the fun-loving persona that KISS would cultivate over the years.

Deuce is a hard rock anthem driven by a pounding rhythm and killer riff and is one of Gene Simmons’ greatest penned and sung songs. Additionally, the dual guitars of Frehley and Stanley give the song its punch, while Criss’s drumming provides a relentless backbone. Between the raw energy and attitude of this tune, it’s one of the best songs in KISS’ extensive catalogue.

Love Theme From Kiss is a killer instrumental that showcases the strength of the band’s musicianship. Granted, it’s unlikely that you’ll seek this song out on its own, but as part of the album’s structure, the laid-back groove and melodic approach offer a reflective respite from the lyrical delivery heard throughout.

100,000 Years is bass guitar heaven and is the driving force behind the song’s heavy groove. It’s also one of Criss’ best drumming performances, with some killer guitar work from Frehley, and while Stanley’s vocal performance is dynamic, it is far from his best. The result is that 100,000 Years is musically interesting but is ultimately more akin to a demo than a fully-fledged recording.

Black Diamond starts delicately, but as soon as Criss enters the mix, on vocals, the song explodes. Criss’ raspy, soulful voice, delivers the song’s emotive punch, while Frehley’s blistering guitar tracking, particularly his solo, rips through the track with ferocity. No matter which way you look at it Black Diamond is an epic closer; one that would ultimately become a fan favourite and one of the very best songs KISS ever recorded.

KISS’ self-titled debut album laid the groundwork for their eventual domination of the rock world and while it didn’t rise to the top of the charts, the album introduced their unmistakable sound—a blend of hard rock, glam, and raw energy. With numerous standout tracks, the album remains a fan favourite and an essential piece of the KISS catalogue. Showcasing the band’s early chemistry, musicianship, and commitment to theatrical, larger-than-life rock, this self-titled debut defined their career for decades to come and is a must for any hard rock fan.

Check out more reviews for KISS by Subjective Sounds

Kansas – Kansas (Self-Titled) [Album Review]

Kansas’ self-titled debut album, released in 1974, represented a bold and confident entrance into the burgeoning world of progressive rock, a genre that, at the time, was primarily dominated by British acts like Yes, King Crimson, and Genesis. However, Kansas brought something unique to the table with their distinctly American blend of rock, incorporating elements of folk, jazz, and classical music with a heavier, almost Southern rock edge.

Emerging from the Midwest, the band honed their sound playing countless live shows before landing a record deal, and this self-titled release reflects the tight chemistry and musicianship they had developed on the road. Their signature style, where violin, keyboards, and guitars weave into intricate tapestries of sound, was already taking shape and is apparent throughout the album’s eight tracks, which effortlessly switch between driving rock anthems and sprawling, multi-part epics.

Naturally, with such a cohesive and dynamic sound, the sonic reproduction needs to replicate the production values and in this instance, the 2004 remastering, from which the streamed Expanded Edition derives is perfectly balanced and thoroughly enjoyable. It isn’t the greatest mastering, however, for it sounds a little concealed in places. Of course, that could be due to the recording and mixing styles, and I’ve certainly heard Kansas’ music, in the past, sound a little too thin for my liking. That said, I’d suggest that the mastering for this self-titled debut is one step above what I hear on my beloved Monolith, but you’ll still need to adjust your EQ or tone controls to get the very best out of the album.

Can I Tell You opens the album with a punchy dynamic fusion of hard rock and prog with a touch of funk. Highlighting the band’s tight musicianship right from the start, particularly between Robby Steinhardt’s fiery violin work and Steve Walsh’s powerful vocals, Can I Tell You is a hidden gem that introduces Kansas’ signature sound, balancing melodic hooks with a sense of musical adventure.

Bringing It Back is a solid J.J. Cale cover, but I’d argue that Kansas’ strengths lie in their original compositions. Still, it showcases the band’s ability to groove while simultaneously delving into prog-rock territory.

Lonely Wind is a simply magnificent ballad. Driven by the piano, and featuring a lush arrangement, Lonely Wind is one of their greatest recordings; one that makes this debut album worthy of any music lover’s collection.

Belexes is a quintessential Kansas track, blending progressive rock complexities with hard rock aggression. Belexes is, subsequently, another of the album's highlights as the intricate musical bed magnificently shifts through a series of time signatures and tempo changes, all while maintaining a cohesive driving force.

Journey From Mariabronn is an epic tune that showcases Kansas’ progressive rock ambitions in full force. Musically, the track is akin to a tour de force, with dramatic shifts in dynamics and tempo, but it’s the interplay between all musical elements that not only captivates but creates the song’s expansive soundscape.

The Pilgrimage has a jazz-inspired introduction that initially makes one wonder if they’re listening to the right album. That is, until the folky upbeat nature of the song enters into the mix with a strong emphasis on melody and harmony. While The Pilgrimage is unlikely to be anyone’s favourite Kansas tune, it offers a nice reprieve from the heavier, more intricate songs, thereby showcasing Kansas’ versatility.

Aperçu is the second of the album’s extended tracks and is another deep dive into the band’s progressive style. Clocking in at nearly ten minutes, Aperçu is a sprawling journey through multiple musical landscapes and is one of Kansas’ most ambitious tunes.

Death Of Mother Nature Suite flows seamlessly from Aperçu and is a killer tune that encompasses all aspects of Kansas. From their ballad style to their hard rock and progressive approach, Death Of Mother Nature Suite has it all and is an ideal closer for it allows for reflection as well as compelling the listener to play the album again. It’s also amongst Kansas’ greatest compositions and it’s, therefore, a shame that casual listeners likely won't hear this exceptional tune; for it’s a deep cut, one that all music lovers should listen to.

Kansas’ self-titled debut is a fascinating introduction to a band that would go on to become one of the defining acts of American progressive rock. The raw talent and ambitious songwriting, heard on this release, is undeniable and the band’s ability to balance accessible melodies with complex arrangements sets them apart from their contemporaries. The result is that Kansas is an essential listen for fans of 70s prog rock and rock in general.

Check out more Kansas reviews by Subjective Sounds

Eagles – On The Border (Album Review)

Released in 1974, On The Border was the Eagles’ third studio album and marked a pivotal moment for the Eagles, transitioning from their country roots to a more rock-oriented sound. While it wasn’t a complete departure and reinvention of themselves, On The Border has a delicate balance of styles that take influence from their first two records whilst simultaneously evolving the Eagles’ signature sound. Add to that the introduction of guitarist Don Felder, whose arrival gave the band a new level of energy, and you’ve got an album that is representative of the best of both worlds; the before and after, if you will.

Perhaps most interesting, however, is that On The Border is my least-played Eagles album. I honestly can’t tell you why as each time I spin the record, I’m blown away with not only the song selection but the entire recording, mix, and mastering. Yes, there are songs that I don’t feel are necessarily perfect on their own, but when combined On The Border is most certainly an album experience from start to finish.

It isn’t a lack of sonic reproduction either, that determines the lack of playback, for it sounds just as good as any other Eagles’ release, regardless of whether or not you listen to the Hi-Res Lossless Apple Music stream, an Apple Digital Master, or in my case the 2014 vinyl reissue that I’m fortunate to own.

While vinyl collectors would love to hear that the 2014 reissue offers a lovely facsimile to the original release, thinking that would likely yield a little disappointment. Yes, the reproduction is respectable. However, in this instance, the album artwork is reissued on a smooth canvas rather than the rough texture of the original releases. It’s a minor thing, granted, but one that fans and collectors care about. At least, as you can see from the photos, the foldout poster is included, so all is not lost. Frustratingly, had I attained the 2014 US reissue, that version has the textured cover art. Yes, dear reader, you read that correctly. The same edition released for the US market, in 2014, was different to the UK release. Sometimes it’s incredibly annoying to be a music collector for small variances such as this make no sense at all.

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

Of course, you’re probably more interested in how the 2014 reissue sounds. Well, Eagles’ albums are generally pristine with regard to their sonic quality and while this vinyl reissue isn’t bad, the Apple Music stream is smoother and fuller with a more analogue sound that is more laid back in its delivery. It’s ironic, I know, given that it’s almost certain that the vinyl re-issue was sourced from a digital master as well. That said, this isn’t the first time an Apple Digital Master has left me impressed and made me question the purpose of my beloved record collection. Hence, for those who disregard digital offerings without ever actually comparing them, all I can say is you’re missing out for it isn’t always the case but digital has come a long way over the years and is considerably more affordable than vinyl reissues; particularly in the modern era.

To give you a little more context, the song My Man loses the bass and drum emphasis on the vinyl reissue when compared to the Apple Music stream, yet Ol’ 55 sounds a little better on the vinyl reissue. It really is a bit of a mixed bag and while I generally don’t give numeric ratings for sonic quality, I’d place the vinyl reissue as a 3 out of 5 and the Apple Music stream as a 4.5 out of 5. If I could get the Apple Digital Master on vinyl, I’d be one happy fan. And, yes, I acknowledge the ludicrous nature of that statement.

Perhaps the best way to explain what I’m hearing is that I find myself distracted when listening to the vinyl reissue. If my phone is nearby, I’ll reach for it. Yet, I’ll happily sit and listen to the stream, on repeat, for hours on end. Subsequently, my advice would be that if you’re considering picking up a vinyl reissue, give the stream a listen first and consider what advantages a vinyl edition would offer you.

Already Gone is a solid opener with an addictive rhythm and twang, although it isn’t the strongest song on the album. Not only do I feel it launches the record on an abrupt note, but I find the woo-hoo-hoo vocal elements to be distracting. Yes, the guitar work throughout is a redeemable quality, and overall it is far from the worst song that the Eagles ever recorded, but it’s most certainly an album-only number that contributes to the solidity of this classic record.

You Never Cry Like A Lover slows the tempo down and is a masterful tune. The soundstage depth and air surrounding each musical element is an experience in and of itself as it will surround you in a captivating sonic presentation. The accompanying guitar solo reminds me fondly of America's style, but it’s the delicate vocal harmonies that are layered with typical Eagles’ precision that truly sets this tune apart as being one of the greatest songs the Eagles ever recorded.

Midnight Flyer would have been perfect for Desperado but isn’t necessarily out of place on On The Border. Full of bluegrass and authentic Americana influence, the lively banjo, infectious rhythm, and vocal delivery ensure that this fun tune is memorable and balances out the ballads and heavier rock elements heard throughout the album.

My Man is a beautiful vocal-focused ballad. It’s one of the best songs from On The Border, despite never receiving the recognition it deserved.

On The Border has a killer rock intro that I adore. The tempo shifts a little when Don Henley’s vocal comes into the mix, but as the song progressively builds it becomes an incredible blues-based rock and roller with a touch of funk that makes this a standout and an ideal title track.

James Dean as a song on its own isn’t fundamentally flawed, but I’ve never felt that it was suited to the Eagles or On The Border. Yes, it's energetic and fun and could be seen as a precursor to Glenn Frey’s 80s output, but it also sounds as if it belonged on a 50s-era release; by another band or artist.

Ol’ 55 is a stunning cover of Tom Waits' original. Turn the volume up, close your eyes, and sing along if that brings you joy for Ol’ 55 is one of the best songs the Eagles ever recorded. The gentle musical bed and steel guitar enhance the melancholic feel, and the harmonies soar in a way only the Eagles can deliver.

Is It True is another song that has never received the accolades it deserved, for its catchy melody, jangly guitars, and easygoing rhythm make it one of the lighter, more pop-oriented tracks on the album. Randy Meisner’s lead vocals are particularly notable for they add to the song’s overall charm and blend ideally with the Eagles’ mid-70s sound.

Good Day In Hell is one of the Eagles’ greatest rockers with gritty guitar work, incredible vocals, and the addition of Felder’s exceptional slide guitar, resulting in a timeless and exceptional tune.

The Best Of My Love closes the album with one of the Eagles’ most beloved ballads; a masterpiece by any metric. The vocal harmonies are pristine, and the acoustic arrangement is warm and lush, creating a soothing, reflective atmosphere. The bottom line is that this classic tune is an ideal closer for it encourages reflection whilst simultaneously compelling the music lover to play the record again.

On The Border stands as one of the finest achievements in the Eagles' catalogue and is one of the standout albums from 1974. The album expertly blends their signature country-rock sound with a more assertive rock edge, creating a dynamic and cohesive collection of songs. Its balance of heartfelt ballads, upbeat anthems, and introspective storytelling, elevates it above many other releases of the time and remains one of the most iconic albums of the 70s.

Check out more Eagles reviews by Subjective Sounds

Captain Beefheart & His Magic Band – Bluejeans & Moonbeams (Album Review)

Released in 1974, Bluejeans & Moonbeams stands as one of Captain Beefheart's most controversial and divisive works, as it presented a departure from the avant-garde experimentalism he was known for. Yes, Bluejeans & Moonbeams was an attempt to embrace a more accessible, mainstream sound, and despite failing to set the charts on fire, this classic album achieved that goal, from a sonic perspective, at least. That said, the record maintains elements of Beefheart’s unique style, albeit while leaning toward a more melodic and softer approach; a shift that alienated some long-time fans. However, to dismiss it based on difference is to miss out on the wonder of this classic release. Hence, I implore you to give it another shot for Bluejeans & Moonbeams grows on you the more you listen to it.

Apart from the music, the album’s cover art is an ideal accompaniment and indicative of the era’s cover art designs that would stand out on the shelf of your local record store whilst simultaneously being a piece of visual art worthy of an art gallery. Of course, as captivating as the artwork is, can you really tell an album by its cover? Well, considering that The Magic Band had quit on mass, following the recording and release of Beefheart’s other 1974 release, Unconditionally Guaranteed, billing the album as Captain Beefheart & His Magic Band seems somewhat disingenuous, especially to longtime fans. However, if you consider The Magic Band as a container for the musicians that would accompany Beefheart, and those musicians were subject to change, then it isn’t necessarily misleading. That aspect alone would likely irritate some as the individual musicians are often as iconic as the lead vocalist, but it isn’t as if the replacement musicians were second-rate; anything but.

As it pertains to the sonic prowess of the CD-quality lossless Apple Music stream, it’s stunningly beautiful. Every musical element is given room to breathe and the soundstage is well-developed and all-encompassing. You’ll find yourself being carried away on a musical journey as this album has been recorded, mixed, and mastered exceptionally well. So well, in fact, that I hope Virgin Records never remasters the album, beyond this most recent edition, for it’s sonically one of the most pleasing albums you’re ever likely to hear.

Party Of Special Things To Do sets the tone for the album, featuring a bluesy groove with a funky undercurrent. Beefheart’s trademark growl is present, but the easy-going rhythm and more structured approach will likely deter those who prefer his earlier works. Nevertheless, it isn’t so far removed from his experimental core that it would deter listeners; although I’m certain some would challenge that statement.

Same Old Blues is a cover of J.J. Cale's I Got The Same Old Blues and this interpretation is nothing short of a masterpiece. The melancholic, slower, and almost lethargic tempo works incredibly well with Beefheart’s vocal styling and his emotive delivery not only adds depth to the song but it’s amongst Beefheart’s finest recordings.

Observatory Crest is beautifully serene. Beefheart’s vocals are subdued and tender, but the musical bed and psychedelic ambience make this a standout and in many respects a hidden gem.

Pompadour Swamp blends blues-based rhythms with a quirky vocal presentation. The gritty earthy quality of Beefheart’s vocals perfectly complements the music and while it may represent his traditional style, Pompadour Swamp has just enough spit and polish to ensure that it remains accessible whilst appealing to those looking for Beefheart’s more experimental output.

Captain’s Holiday is an incredible, and ideally titled, instrumental track that showcases the skill of Beefheart's Magic Band. It’s a relaxed jazzy piece that offers a reprieve from Beefheart’s vocal intensity but is ideally situated in the album’s sequencing. While this track doesn’t aim to be notable, it provides a lovely interlude to the album’s middle section that should be celebrated for it’s one of the most exceptional instrumental tunes you’re ever likely to hear.

Rock ’N’ Roll’s Evil Doll has a fun, upbeat vibe, with a touch of rockabilly that will get you toe-tapping and head-bopping. Though much more straightforward than much of Beefheart’s earlier works, it’s another song from the album that could be best associated with his experimental era.

Further Than We’ve Gone slows things down considerably with this soulful number that has a melancholic beauty to it, with tender instrumentation, and a compelling melody that captures a softer side of Beefheart. Further Than We’ve Gone also has one of the very best piano and guitar performances that I’ve ever had the good fortune of hearing, for the musical bed heard on this tune is some of the very best in all of recorded music history, thereby making this not only a highlight from the album but a hidden masterpiece from the 70s.

Twist Ah Luck features a killer rhythmic groove with a touch of funk that is extremely engaging. It’s songs such as this that make one question why this is one of Beefheart’s most disliked releases and all I can suggest is that one should not contrast it with his other works for isolating this release on its own will likely yield greater acceptance and appreciation.

Bluejeans And Moonbeams is a surreal ballad-styled piece that features one of Beefheart’s most gentle, yet exceptional, vocal performances. If nothing else, Bluejeans And Moonbeams is an ideal title track and a perfect closer that will not only leave you in a reflective mood but will encourage you to spin the record again for once Bluejeans & Moonbeams captures your soul, you can seldom listen to it only once.

Bluejeans & Moonbeams, while often regarded as one of Captain Beefheart's most controversial albums, also appeals to his traditionally unpredictable nature for it, in itself, is a musical experiment that stands out in Beefheart’s eclectic catalogue. Fans of Beefheart’s chaotic genius may find the simplicity and accessibility of this release to be too far removed from his broader catalogue, but Bluejeans & Moonbeams reveals a different side of Beefheart—a more melodic, introspective artist capable of crafting gentle and emotionally resonant songs. For listeners willing to embrace this softer approach, this album offers a rewarding experience; one that is amongst the greatest released in 1974.

Check out more reviews by Subjective Sounds

Blue Magic – Blue Magic (Self-Titled) [Album Review]

Released in 1974, Blue Magic’s self-titled debut album, Blue Magic, is an essential release in the continued development of 70s soul, showcasing the smooth vocal harmonies, lush orchestration, and romantic themes that would define their style. Blending elements of Philly Soul and classic R&B with tender ballads and infectious grooves, Blue Magic, the album and the band, became adored within the genre. While the album may not have had mainstream success, aside from the chart-topping results of its second single Sideshow, it’s a masterpiece that should be in every music lover’s collection.

The question about which version one should have in their collection therefore naturally arises and while opinions will differ, and I prefer not to seek out pre-owned releases, it has been well over a decade since the album was reissued (on CD) and that Japanese release is difficult to get a hold of, as is the 2009 vinyl reissue. Granted, Blue Magic isn’t the household name that would continuously drive sales, so I can understand the hesitation when considering a reissue. However, it would be lovely to see this classic album re-released, in the near future, thereby allowing new music lovers to discover this timeless classic.

In the absence of readily available physical releases, it is fortunate that we have digital delivery options. As it pertains to the Apple Music stream, the standard lossless edition is sonically lovely. The Remastered Bonus Track Version is also available and has a bolder sonic presentation, thereby bringing it more in line with modern standards, but I find it loses a little of the smoothness from the original recording. Subsequently, as I’m not drawn to bonus tracks, my preferred version of this classic album is the original mastering heard via the standard release that I’ll share with you below.

Sideshow is arguably the crown jewel of Blue Magic and an ideal album opener. The over-the-top ballad styling will appeal to those of us who appreciate such tunes, but as the song’s orchestration builds, so does the wonder of the song and its signature falsetto for its addictively good and it’s no wonder that it ended up being a chart-topping hit when released as a single.

Look Me Up is more upbeat with a funky groove, showing Blue Magic’s versatility that combines their silky harmonies with funk-influenced rhythms. While not a dance song, per se, the beat and catchy chorus will see you toe-tapping and head-bopping along. For those who don’t have two left feet, like yours truly, I’ve no doubt that the dance floor is waiting as Look Me Up is a sensational mid-70s tune.

What's Come Over Me is another standout track, especially with its lush, orchestral arrangement. The adage that they don’t make music like this anymore certainly applies to What’s Come Over Me as the falsetto vocal, backed by elegant harmonies, is hard to resist.

Just Don't Want To Be Lonely is soul meets pop with an incredibly catchy chorus and upbeat tempo. What’s not to like? Just Don't Want To Be Lonely is not only one of the most radio-friendly tracks from the album, but it's a hidden gem from the era and one of the best songs Blue Magic ever recorded.

Stop To Start features smooth, velvety vocals against a backdrop of lush strings and a gentle arrangement. As a ballad, it’s stunning, but it’s also one of the album’s most soulful offerings with a Motown influence that is undeniable.

Welcome To The Club has a playful and energetic vibe, with an infectious groove, that not only contrasts nicely with the ballads on the album but leans into funk and early disco styles. While it’s most certainly an album-only tune, it’s a toe-tapper that adds further variety and showcases Blue Magic’s musical diversity.

Spell is another ethereal ballad full of dreamy orchestrations and the group’s signature harmonies. That said, the chosen mix isn’t the greatest as the vocals are on par with the musical bed and while harmonically beautiful, the lyrics sound somewhat concealed as they’re overshadowed by the instrumentation. The result is that the vocal tracking sounds a little muffled, in comparison, to the rest of the songs on the album. Granted, that could be attributed to a recording style, as it isn’t the first time music has been mixed in this manner, but the problem that exists is that the mind struggles to separate both instrumental and vocal elements, particularly as it sounds as though the vocals are being played via terrestrial radio.

Answer To My Prayer brings fresh energy to the album, following Spell, with its compelling rhythm and impassioned vocals. It’s a lovely song and despite not being a standout is one reason why this debut album is one of the greatest released in 1974, for an exceptional album experience is more than just the hits; it’s the sum of its songs.

Tear It Down closes the album with a lush ballad that is not only the ideal closer but will stay with you long after the album has concluded. Yes, Tear It Down causes the infamous earworm, but it not only permits reflection but also compels the playing of the album again due to its emotional depth and musical sophistication.

Overall, Blue Magic is a quintessential soul album that showcases the smooth harmonies and romantic themes that made the group a force in the 70s soul scene. With the mega-hit Sideshow leading the way, the album offers a beautiful mix of soulful ballads and up-tempo numbers that keep the listener engaged from start to finish. Blue Magic’s ability to blend vulnerability with lush orchestration, all while maintaining tight, polished harmonies, makes this album a timeless classic. Whether you’re a fan of Philly Soul or simply appreciate well-crafted R&B, Blue Magic is an essential listen, particularly for those who love songs delivered with sincerity and class.

Check out more reviews by Subjective Sounds