The Rolling Stones – Hackney Diamonds (Album Review)

With rumours of a new album set for release in mid-2026, it’s the perfect moment to look back at The Rolling Stones’ Hackney Diamonds, their first album without Charlie Watts. Watts’ drumming, however, can be heard on “Mess It Up” and “Live By The Sword”, but performing in Watts’ place, for the majority of the record, is Steve Jordan, an accomplished and exceptional drummer in his own right. Despite the lineup change, Hackney Diamonds remains a Rolling Stones album from the first note to the last and is amongst their greatest creative works. In some respects, as much as we’d all love to see another album of new material, consisting of the leftover songs from these recording sessions, I feel Hackney Diamonds is, in a similar manner to Alice Cooper’s The Revenge Of Alice Cooper, a release that offers an idyllic closing chapter to a spectacular career.

Released in 2023, Hackney Diamonds is The Stones’ 24th studio album, in a career that spans an astonishing six decades. Yes, this record could also be considered their 26th studio release, if we consider the US release schedule, but given The Stones’ UK origins, I’m calling it the 24th. Nevertheless, Hackney Diamonds is significant as it represented an 18-year gap, without a release of original material, as Blue & Lonesome (2016) was a covers album, and their last original material release was heard on 2005’s A Bigger Bang. Yes, they had released new songs, such as “Doom And Gloom”, “One More Shot”, and “Living In A Ghost Town”, but Hackney Diamonds proves that the era of the playlist, and its focus on individual songs, is no longer the stranglehold it once was.

With a runtime ideally matched to the single LP length, you’ll quickly find a connection with many, if not all, of the album’s 12 tracks as the conciseness and flow meld easily with one’s soul. The album artwork, however, takes a bit of getting used to as its over-the-top styling may be fitting for the era, but isn’t necessarily indicative of The Rolling Stones. Add to that the multitude of variants, which were a collector’s nightmare, and what you’ve got is a release that is musically aligned with The Rolling Stones, but one that simultaneously could have come straight out of the Taylor Swift production mill. Granted, the release of different editions is nothing new, but with 43 different vinyl editions to choose from, it’s excessive and quite frankly unnecessary.

The other problem, aside from giving the most dedicated of fans FOMO, is that this release schedule artificially inflates sales numbers. Granted, in the modern era, sales of any artist, on physical media, is nothing more than a blip on the radar, but this is one practice that I wish was restricted because many peers, and independent artists, do not have the resources to release such volume and are at as much of an disadvantage as they are in the streaming world where playlist inclusion often determine success. This aspect, however, shouldn’t take away from what is an exceptional release, one which would go on to win a Grammy Award for the Best Rock Album, but it does make one question just how popular certain releases have been, when fans and collectors strive to collect multiple copies.

As it pertains to the recording, mix, and mastering aspects of the album, it has been mentioned broadly online that the CD is unlistenable, and while I’ve yet to hear that particular edition, the Apple Digital Master, delivered as a Hi-Res Lossless release, is absolutely pushing the limits of Apple’s mastering guidelines. Yes, Hackney Diamonds is a loud release, but the tech giant’s mastering specifications still pull the overall recording and presentation back in line, thereby allowing for a thoroughly enjoyable listening experience.

While I haven’t heard a vinyl release of this record either, that particular format generally dials in loud masterings for a smoother and more relaxed listening experience. Still, despite the hot mastering choices, it’s indicative of a Rolling Stones’ release which features their raw rock and roll approach, that comes through loud and clear, even if the soundstage is a little boxed in. In a strange dichotomy, this sonic presentation gives the album a bolder styling that is closer to a live performance than a studio recording.

This boldness, however, is reduced when listening to the Dolby Atmos mix. Yes, the soundstage is deeper than the stereo mix and is a little more dynamic, but my preferred edition remains the core stereo recording as I find it to be more in line with my expectations of how a Rolling Stones record is supposed to sound. Nevertheless, if you choose to listen to the Atmos mix, you will get a greater appreciation for the layered production as elemental aspects, especially the backing vocals, are far more pronounced.

The bottom line, as it pertains to sound quality, is that Hackney Diamonds will likely appeal to longtime fans and newcomers alike for it’s got the flair of their 70s-era combined with modern day recording styles and influences; thanks in part to Andrew Watt’s guidance in the production chair. If you can get over the loudness aspect of the recording, you’re in for a treat! But, as always, don’t take my word for it, give the album a listen as we take a look at the songs that make up this, soon-to-be classic, release.

Angry launches the album on the right note with an aggressively charged, punchy riff. Reminiscent of their greatest rock numbers, “Angry” is unapologetically Rolling Stones’ and is the modern equivalent of their unique and highly celebrated sound. While it may not be a classic yet, give it a couple of decades and “Angry” will be amongst the Stones’ most notable tunes as it possesses a Tattoo You-era styling with up-to-date production values.

Get Close slows the tempo somewhat with a looser presentation than the highly strung “Angry”, and while it isn’t a standout, per se, “Get Close” has a funky-jazz feel to it that is highly compelling.

Depending On You is classic Stones, and is another reason why Hackney Diamonds is a modern classic, as The Rolling Stones haven’t sounded this good, arguably, for decades. Yes, it plays to the softer side of the band, but the Stones have never been what I’d call hard rock, so this classic rock tune is nothing short of a sensational masterpiece.

Bite My Head Off picks up the tempo with this funk-driven punk-inspired number. Included on bass is Paul McCartney, for the first time on a Stones’ record, and his distorted bass is perfectly suited to this tune. His inclusion adds a level of attitude that only peers, and friends, vibing off each other, could achieve. “Bite My Head Off” is, ultimately, one of the best songs in their collective careers.

Whole Wide World continues the energy of “Bite My Head Off” but not only is it Stones’ 101, but it reminds me of Midnight Oil and is one song I’d love to see the Australian rockers cover. A driving rocker with a sense of urgency is an apt description, as “Whole Wide World” is an incredible tune and one that will be relevant long after the Stones have closed the door on their storied career.

Dreamy Skies shifts the tone to that of a slow country-blues vibe, but the album’s sequenced so well that it isn’t a jolt to the senses; if anything, you’re expecting a slightly more relaxed tune and “Dreamy Skies” delivers.

Mess It Up will find you head-bopping and toe-tapping along, that is, unless you’re on your feet dancing to this number that features Watts’ backbeat. Jordan is an exceptional drummer, but Watts’ styling, combined with the rock and roll nature of The Rolling Stones, offers a special element that simply can’t (and shouldn’t be) replicated. It makes “Mess It Up” one of the most appealing songs from the record and one of the catchiest tunes The Rolling Stones has ever recorded.

Live By The Sword also features Watts on drums and sees Bill Wyman return on bass guitar after a three-decade-long absence. Add to that a piano element by none other than Elton John, and what you’ve got is a highly compelling tune that acts as a bridge between the modern Stones’ styling and that which came before, particularly from the 70s. While it may not be a standout, “Live By The Sword” is a killer album-only number, one that makes Hackney Diamonds so appealing.

Driving Me Too Hard, with its tight riffs, catchy chorus, and straightforward production, makes one think immediately of classic Stones. That isn’t a negative aspect, however, for as much as the creative freedom of artists is a great thing, often resulting in unique creative endeavours, there are times when going back to one’s core is of benefit and “Driving Me Too Hard” is the sonic equivalent of going home.

Tell Me Straight is a masterful song that sees Keith Richards on lead vocals. His weathered vocals offer a level of authenticity that contrasts beautifully with Jagger’s more flamboyant style, but it’s also one of his greatest performances.

Sweet Sounds Of Heaven includes Lady Gaga on vocals, but this is Gaga like you’ve never heard her before. Yes, she’s an incredibly versatile artist, but something sounds off. If she hadn’t been listed as a contributing artist, you’d likely not make the connection, as her usual vocal cues are missing. Nevertheless, “Sweet Sounds Of Heaven” is a solid tune that, in a rare case, has received far more recognition than it deserves.

Rolling Stone Blues sounds inherently different to the rest of the recordings on Hackney Diamonds, but for good reason, as it’s a cover of Muddy Waters’ original, "Rolling Stone"; a song that was highly influential to The Rolling Stones’ origins. Its sonic presentation also differs as it’s a stripped-down recording and was the only song from the record that was recorded to analogue tape. The result is an interesting sonic patina that will stay with you long after the album has ended. It isn’t necessarily the strongest tune from the record, but given its influential heritage, one can’t help but sit and reflect on what a sensational album this is, and what a long-lasting career the British rockers have had.

Overall, Hackney Diamonds is everything you’d want from a Rolling Stones release at this stage of their career, as it’s confident, reflective, and still brimming with that unmistakable rock and roll spirit. Should it prove to be the final chapter for the band, then it closes their storied career perfectly with a collection of songs that not only make it a great album, but also honour their past and reinforce their legendary status.

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T. Rex – Electric Warrior (Album Review)

There are classic albums, and then there is T. Rex’s Electric Warrior; a killer '70s rock and roller! While not quite as polished as their 1972 follow-up, The Slider, Electric Warrior laid the groundwork for what was to come, despite this being their sixth studio album overall and second under the T. Rex banner. It did, however, deliver a musical shift that favoured an increasingly electric approach, one which had started with their self-titled 1970 release, rather than the acoustic styling they’d previously been known for. As a result, the glam meets rock with touches of funk was met with great success, and Electric Warrior remains T. Rex’s most commercially successful release.

Aside from the musical shifts, much of Marc Bolan’s songwriting on this release revolves around personal experiences and while lyrical intent is not necessarily the focal point of music, particularly for this music lover, one thing is for certain, and that’s that T. Rex benefits from this shift in songwriting as well. Add to that Tony Visconti’s production brilliance, and what you’ve got is an album that is not only highly compelling but sonically impressive. The musical trickery of Visconti took the quartet to much bolder musical heights that couldn’t have been conceived without his influence, and he is, in many ways, a core member of T. Rex, having produced just about everything the band put out until their 1975 release, Zip Gun.

Electric Warrior is also notable for its striking album artwork, which effectively sets one’s expectation, while simultaneously matching the overall musical style of the record. While the album’s artwork maintains its emphasis on small-format digital screens, the stark gold on black design would, undoubtedly, be best appreciated via the larger vinyl canvas, and its ability to be displayed amongst one’s collection. While I’ve yet to be able to appreciate it via that format, the CD-quality lossless Apple Music stream is sonically exquisite. Based on the 2012 remastered/reissue, this streaming edition is ideal for those who have yet to venture into one of the many physical releases and will likely appeal to most music lovers.

You’ll be met with a digital reproduction that sounds warm and enveloping with a full-bodied sound. There are, however, a couple of instances when the cymbals can sound a little jarring, particularly at higher volumes, but it’s a minor gripe that is likely a non-issue on the more rounded and smoother vinyl editions. Nevertheless, the greatest gift of streaming is that we can sample the music, and so, as we take a look at the songs that make up this classic release, give it a listen and decide for yourself.

Mambo Sun sets the tone for the album with its hypnotic upbeat funky vibe. If you’re not moving involuntarily to the rhythm, you’re most certainly listening wrong, as “Mambo Sun” has a surreal atmosphere that perfectly presents Bolan’s vocal atop the pulsating rhythm.

Cosmic Dancer slows the tempo somewhat, but the initial throwback to a more acoustic sound is quickly overtaken by the gorgeous symphonic presentation that not only enhances the song but showcases the experimental nature of both T. Rex and the glam rock genre itself.

Jeepster has a rock swagger that is perfectly suited to the era. While not necessarily a standout, and one song from the record that suffers from a little too much shrillness in the top end, “Jeepster” is a solid album-only number that fulfils that obligation perfectly.

Monolith is a masterful number. Yes, there’s a little too much focus on the cymbals, but the layered nature of this tune is exceptional and feels akin to a bridging element between legacy T. Rex (Tyrannosaurus Rex) and this bold new musical styling.

Lean Woman Blues is about as country as you’re gonna get from T. Rex, but despite the twang element, it’s the blues-driven styling, the vocal grit, and distorted guitar that, ultimately, makes “Lean Woman Blues” so appealing.

Get It On, also known as Bang A Gong (Get It On), is T. Rex’s magnum opus. Nothing comes close, even though there are many contenders, but from the very first note to the last, Bolan and the band draw you into this groove-filled number that will stay with you long after the album has ended.

Planet Queen flows well from “Get It On” with its softer groove that, while less immediate than the aforementioned tune, is dreamy and hypnotic in a manner that you’ll likely find highly compelling.

Girl is a beautiful tune, one that Bolan knocks out of the park for his vocal delivery, the subtle musical bed, and Burt Collins’ exceptional flugelhorn, meld together in one of the greatest and most unassuming tunes T. Rex ever recorded.

The Motivator picks up the pace, but the heavier groove, with its killer rock riff, is a welcome return to form as “The Motivator” represents the broader musical perspective of the band and is somewhat of a hidden gem.

Life's A Gas is a beautiful ballad. Gentle and melancholic. Few songs are as stunning as this unassuming number.

Rip Off is full of raw energy that, in some respects, is too far removed from the dreamy fluidity of “Life’s A Gas”, but it does serve well as the album’s closing tune for it leaves you wanting more and will likely see you spinning the record again, for Electric Warrior is an album that can be seldom listened to once.

No matter which way you look at it, or whether or not you consider The Slider as a superior T. Rex record, Electric Warrior is timeless and has had a profound impact on musicians and music lovers alike. Yes, the sub-million sales may encourage some to suggest that it was less successful than one might think, but those who have taken the time to listen to Electric Warrior know of its impact; one that will see it highly sought after long after this review, and all of us are but distant memories.

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T. Rex – The Slider (Album Review)

There are classic albums, and then there is The Slider, a record that further solidified the legendary status the English rockers had attained on this, their seventh studio album. While The Slider was not as commercially successful as Electric Warrior (1971), it’s quintessentially T. Rex and if one was to share the band with a music lover, that had yet to experience them, The Slider would be at the top of my recommendation list for T. Rex doesn’t get much better than this, even though I have a soft spot for the experimental Futuristic Dragon (1976).

Released in 1972, The Slider finds T. Rex at a pinnacle moment of their career. With a selection of songs that play akin to a Greatest Hits release, it wouldn’t be far-fetched to suggest that The Slider, despite not reaching the commercial success of Electric Warrior, is the superior album. There will be some who naturally disagree, and they’d subjectively be correct, but The Slider is a glam rock masterpiece that knows few peers.

Featuring a stark black and white photograph of Marc Bolan, courtesy of Ringo Starr (yes, the one and only), the cover art design is striking. Perhaps my only complaint is that my preferred edition, The Visconti Master, utilises the white space from the album’s cover to inform us of the different mastering when presented on Apple Music et al. It shouldn’t matter, and most of the time I overlook it, but it takes away from the original artwork and is a distraction. First world problems, I know, but at least they didn’t make the same mistake as it pertains to the physical releases.

With regard to the sonic qualities, I find the Visconti remaster simply sounds right. And, yes, that is a technical term! For those unaware, Tony Visconti was the album’s producer, and this latest mastering is smoother, bolder in the mid and low end aspects of the recording, whilst also allowing for a thoroughly pleasing wide and enveloping soundstage. It isn’t presented as an Apple Digital Master, but it doesn’t need to be, as the CD-quality counterpart is stunning.

Undoubtedly, there will be fans of the original mastering, but whichever you prefer, join me as I take a look at the songs that make up this legendary release.

Metal Guru is a killer opener with a rhythmic burst that sets the tone for the entire album. Bolan’s emotionally charged vocals help to give the song its glam rock feel, but the backing vocal harmony adds to the mystique, for “Metal Guru” is amongst T. Rex’s finest recordings.

Mystic Lady slows the tempo somewhat, but the flow from “Metal Guru” is so natural that it’s unlikely you’ll sense the shift, unless you’re expecting it. With a near-dreamlike atmosphere, “Mystic Lady” is a lushly layered masterpiece that showcases not only T. Rex’s incredible musical prowess but Visconti’s high production values.

Rock On captivates like no other. You’ll feel compelled to move involuntarily to the rhythm as this song melds with your soul and stays long after the album has ended, but an earworm such as this has never been so pleasantly rewarding to the senses. The gruff, yet highly polished style of the song is part of its appeal, as it provides a contrast that works surprisingly well.

The Slider delves into a grunge-styled tone that provides the backbone to what can only be described as a classic glam-rock number. The layered musical bed is detailed and enveloping, yet Bolan’s vocals sit perfectly within the mix, further showcasing just how well The Slider, the album and this title track, have been recorded and mixed.

Baby Boomerang is an ideal glam-rock tune, for the short and punchy styling is undeniably catchy.

Spaceball Ricochet is a musical exploration that needs to be heard firsthand in order to be fully appreciated. While those not overly familiar with the era, or T. Rex, may point to “Spaceball Ricochet” being akin to a David Bowie tune, that would be a complimentary statement. The sparse, yet evolved, styling of the song is perfectly suited to both artists and is a great example of glam music at, arguably, its apex.

Buick Mackane is amongst the heavier tunes on the album, and while I’ve always appreciated Guns N’ Roses’ 1993 cover, from The Spaghetti Incident, the original is all that one ever really needs to listen to, as its muscular driving riff, while maintaining the band’s glam aesthetic, is nothing short of exceptional.

Telegram Sam is derived from one of T. Rex’s most iconic compositions, "Get It On". With a touch of funk, a dab of rock, and a healthy dose of glam, “Telegram Sam” is as instantly irresistible and catchy as the aforementioned track and a highlight amongst a collection of songs that are some of the very best in all of recorded music history. Some may be perturbed that the riff and overall styling were reused, but when you have such an incredible tune, why not repurpose it? AC/DC has been doing it successfully for decades.

Rabbit Fighter is a boldly dramatic number that sees T. Rex at their most theatrical and grandiose, whilst simultaneously delivering one of Bolan’s most impressive vocal performances.

Baby Strange is a raw, stripped-back rocker that will find you head-bopping and toe-tapping along. The riff and Bolan’s vocal delivery are the highlights on this tune, and while it may have been seen as a little pedestrian, the strength of “Baby Strange” is its simplistic approach.

Ballrooms Of Mars is one of the slower compositions on the record, but it’s an absolutely magnificent tune and another that highlights not only the band’s overall musical ability and tightness, but Bolan’s incredible vocal capabilities that, in this case, have a slight John Lennon styling in a respectful tip of the hat to the former Beatle.

Chariot Choogle is a killer high-energy number with an incredible riff and rhythm that you’ll feel as much as you’ll hear it, for this is one number that will encourage you to move both involuntarily and intentionally to the rhythm.

Main Man is a magnificent closer, with a dreamy mystique that is reminiscent of “Life’s A Gas” and is, subsequently, difficult to ignore. It will encourage you to play the record again, as well as offering you the opportunity to sit and reflect on the music you’ve just heard.

From start to finish, T. Rex’s The Slider is nothing short of an exceptional release that has not only stood the test of time but also remains one of the greatest albums ever recorded. It is T. Rex at their finest and, if, like me, you’ll find yourself playing this record on repeat for hours, for The Slider can seldom be listened to once.

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Neil Young – Harvest (Album Review)

Despite the prolific nature of Neil Young’s creative output, and as enjoyable as much of his extensive catalogue is, few releases compare to his 1972 record, Harvest. It’s not only one of his most iconic and enduring works, but it also captures the singer-songwriter at a pivotal moment in his career, shifting tone slightly to a warmer, country-tinged sound, alongside his remarkable lyrical poetry and emotional depth.

While some fans will be divided between this solo outing and his noteworthy collaborations with Crazy Horse, the tone Crazy Horse adds to Young’s musical palette is one of a heavier rock vibe that is somewhat of a contrast to Harvest’s more laid-back approach. It’s important to note, however, that this more relaxed style was due to Young’s inability to physically play the electric guitar at the time, following an accident that, ironically, became a significant aspect that made this release a defining moment in Young’s career.

With a minimal album artwork to accompany the music, some may find it a little underwhelming, but I’d argue that it’s strikingly compelling. There’s a relaxed aspect that shines through the design, one that perfectly matches much of the album’s musical styling. The old, tarnished look also adds a sense of warmth that complements the music well.

Speaking of warmth, Harvest has a smooth tonality that will captivate your soul, but all editions are not necessarily created equal. That’s somewhat surprising, given Young’s penchant for purity as it pertains to what the listener ends up hearing, but it’s an accurate assessment. Over the years, I’ve been fortunate to have owned the HDCD reissue, and if you have a CD player that will decode the HDCD element, you’re in for a treat. Without that functionality, however, the CD can sound a little harsh, particularly if you don’t have the treble dialled back a little.

As it pertains to the Hi-Res Lossless Apple Digital Master, available on Apple Music, that version has a lovely presentation, but isn’t quite as lively as the aforementioned HDCD. Had I never heard the HDCD release, I’d likely find myself smitten with the Apple Digital Master. The Dolby Atmos mix (also available on Apple Music) is another beast entirely. As one may expect, there’s excellent instrument separation and depth, but there’s also a substantial increase in the bass and midrange. It’s not bloated and does enhance the mix by adding emphasis, but it also doesn’t sound quite right. Of course, after all these years, I’m used to the stereo mix, so it may simply take some adjustment for the additional boldness of the mix to merge with my senses. If nothing else, the surround mix is more enveloping when compared to the stereo mix, but it isn’t fundamentally better, just different.

One aspect I did notice, which I’ve never experienced before with this release, is a sense of fatigue when listening to the Atmos mix. It was only apparent towards the back end of the album, but it was distracting nonetheless. Most likely, it’s due to the senses needing to adapt to the increased detail within the surround mix. While I can appreciate the surround mix and do find it compellingly different, I’ll stick with the original two-channels. But, don’t take my word for it, dear reader, take a listen for yourself and see which mix you subjectively prefer, as there really is no right or wrong way to appreciate this classic release.

Out On The Weekend is a beautiful opening country ballad that sets the tone for the entire album. Musical gold is one way to put it, for every aspect of this recording is perfect with a sereneness that delivers a thoroughly enjoyable listening experience, extending from the very first note to the last. How “Out On The Weekend” was not released as a single is beyond comprehension, for it’s one of the very best tunes from the album.    

Harvest continues the acoustic laid-back styling and will see you toe-tapping and head-bopping along to the rhythm. It may not be the most complex song Young has ever written and recorded, but it suits the album perfectly.

A Man Needs A Maid is a unique song in that the minimal musical arrangement and Young’s distant vocal, particularly in the opening, sound unpolished, yet it isn’t and is as intentional as the inclusion of the London Symphony Orchestra. Part of me would love to hear a bolder version of this song, one with a more lush arrangement, but that would, naturally, take away from the core essence of the tune.

Heart Of Gold is a masterpiece, in every sense of the word, and while this sacred number should never be covered, Diana Krall’s edition, on her 2015 release, Wallflower, is a lovely rendition of this timeless classic. Still, it is, arguably, Young’s greatest song and while “Old Man” tends to receive more attention, “Heart Of Gold” is a vocal and musical wonder that makes Harvest even more compelling.

Are You Ready For The Country has a lively vibe. With an ideal country-rock groove, it becomes the perfect midway point for the album as well as a perfect closer for the first side of the record. It may not be a standout, but all songs need not be hit-worthy to contribute to a top-tier album experience.

Old Man is amongst Young’s most thought-provoking numbers, but it’s the musicality of the tune that, for me, is the strongest element here, as it’s the gentle country-folk rhythm that keeps me coming back for more.

There's A World is musically bold, yet beautiful. It’s the contrast between musical stylings that makes the song so intriguing. Add to that Young’s unique vocal styling, and you’ve got a highly compelling album-only number that will keep you coming back to the record as much as the more celebrated tracks do.

Alabama is a killer tune. With equal parts relaxed and upbeat, this is rhythmic gold. The piano element enhances the raw intensity of the electric guitar throughout, thereby driving the song forward and making it one of the most compelling tracks from the record. In fact, I’d even go as far as saying that “Alabama” is the hidden gem from the record; it just hasn’t received the attention it deserves throughout the years.

The Needle And The Damage Done is a remarkable song, one that was recorded live, that tells of drug addiction, specifically heroin, and the associated consequences. While I seldom listen to music for its lyrical storytelling, instead preferring to appreciate the human vocal as if it were an instrument within the mix, Young is a master storyteller, and it’s his vocal clarity, on songs such as this, that allows the narrative to take centre stage.

Words (Between The Lines Of Age) is an idealistic closer. Incorporating elements from the songs that have come before, “Words (Between The Lines Of Age)” will simultaneously encourage the playing of the album again and contemplation of the music that’s just been heard.

No matter which way you look at it, Harvest is one of Neil Young’s finest releases; one that has not only stood the test of time, but has continued to be lovingly adored by generations of fans. Albums such as this are ultimately timeless, but it's with certainty that there will never be another Harvest, not from Neil Young, or any other artist, but its influence ripples throughout the decades of singer-songwriters that have followed in Young’s footsteps, even if Harvest can be seen as a spiritual successor to Bob Dylan’s celebrated 60s output.

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Crowded House – Temple Of Low Men (Album Review)

Released in 1988, Crowded House’s second studio album, Temple Of Low Men, became an astounding success in both Australia and New Zealand, hitting #1 and 2 respectively, while also charting well worldwide. While this may be hotly debated, Temple Of Low Men, despite its more sombre musical tone, is Crowded House’s greatest release with ten incredible songs that flow so seamlessly together that you’d think you were listening to a greatest hits album. From the songwriting, to the emotive storytelling, to the musical extravaganza, Temple Of Low Men set the bar so high that it has become a timeless classic.

While Crowded House was most certainly a band billed with three members, it’s important to note the influence of Mitchell Froom in the production chair, for he not only produced their greatest releases but played keyboards throughout. In many respects, he could be considered the fourth member of the band and along with a masterful mix by Bob Clearmountain and a beautiful original mastering by Bob Ludwig, the band and entire production team produced a sonic masterpiece that sounds just as good today as when it was first released…that is, if you have a copy of the original CD release, or a repress, with the original mastering.

Yes, dear reader, as much as I laud streaming, particularly Apple Music, the CD, despite being a tad on the bright side, offers a far better representation of the album than the Lossless Apple Music stream. Unlike their self-titled debut, this landmark release isn’t delivered as an Apple Digital Master, which further complicates matters because it’s unclear which mastering Apple is delivering. The publishing date is listed as 1988, rather than 2016, when the latest remastering/reissue of the album was released in a Deluxe offering. Interestingly, that Deluxe Edition is available on Apple Music, but that too has the original release date as the published date, which is, naturally, erroneous for that particular reissue. That particular edition, however, does seem to have a nicer tonality and is a little closer to the CD’s sonic presentation, but not by much.

Adding to the frustration, for modern streaming and digital download audiences, is the fact that Qobuz has access to a Hi-Res Audio 24-bit/96 kHz version, but the publishing date is 2021 and, to my knowledge, the album wasn’t remastered again in that year. As many music lovers with an interest in attaining the highest quality recordings will testify, Hi-Res is not always better, as it comes down more to the mastering, or remastering, and how that was undertaken. Hence, my go-to remains the European repressed CD, with the original mastering, for it simply sounds right and doesn’t cause additional frustration in determining which version I’m currently listening to.

Where the CD particularly excels is in soundstage and overall sonic detail. There isn’t a single concealed musical element, unlike the lossless streaming counterpart that sounds less lively and dull by comparison. Yes, the treble is reigned in via the stream, but reducing the treble range by a single point on your stereo system will achieve a much better result overall, as it removes a little of the digital glare in the top end but doesn’t dull the rest of the sonic presentation, as is the case with the lossless Apple Music stream.

So, can the Lossless Apple Music stream still be thoroughly enjoyed? Yes, particularly if you haven’t heard an original edition. However, if you’re after a sonic representation that best suits the album, the era, and the overall recording, then I’d suggest you track down a legacy release.

I Feel Possessed is a stunning album opener that sets the overall tone of the record from its very first moments. As you listen, you’ll be captivated by the mix, for the layers of musical elements are thoroughly satisfying and immediately meld with your soul in this otherworldly-styled tune.

Kill Eye shifts the tone considerably to a more aggressive and forward presentation that takes a few moments for the senses to adjust to. As with the album’s opener, and so much of Crowded House’s music, Kill Eye is a musical wonderland where each repeat listen is rewarding as different elements are heard within the mix while never detracting from the song itself. It is, however, the dullness via Apple Music that conceals much of this wonder, and it’s a shame because Kill Eye is a sweeping grind-driven masterpiece.   

Into Temptation slows the tempo and returns the album to a more melodic styling, only this time the shift isn’t as noticeable as Into Temptation is the perfect follow-up to Kill Eye. The highlight here, besides the highly compelling musical styling, is Neil Finn’s incomparable vocal extension and control, as every ounce of emotion is not only clearly heard but also felt. Into Temptation is an astonishingly good song and one of the very best Crowded House has ever recorded.

Mansion In The Slums is an all-time favourite. The vibe, the lyrical context, and the earworm-worthy styling ensure that Mansion In The Slums is not only highly compelling but is one of the deeper cuts that make Temple Of Low Men such an extraordinary release.

When You Come is one of the better-known songs from the album, as it was released as a single. Despite not hitting the top of the charts, When You Come is the ideal counterpart to the album’s most well-known tune, and closer, Better Be Home Soon. As such, the melody will encapsulate you and is an ideal midpoint for the record. For those who have the cassette or vinyl releases, When You Come also signifies the closing of side one, and while you’re likely to play the second half of the album, I couldn’t think of a better song to close out the first half of the record.

Never Be The Same is, in the same context as the perfect opener/closer, an exceptional song to launch the second half of Temple Of Low Men with. Compared to the moodiness of the other songs, Never Be The Same is a little more upbeat in its musical styling, but it’s the wistful nature of the lyrics that are both reflective yet progressive. The result is that Never Be The Same is amongst the most intriguing songs Crowded House has ever released.

Love This Life is another of Finn’s remarkably reflective tunes, for he truly is a master songwriter. The uplifting, yet sombre aspect, is a contrast that plays out perfectly well in regards to both lyrical context and musical styling. While not released as a single, Love This Life is a hidden gem and another reason why Temple Of Low Men is as rewarding a musical experience as it is.

Sister Madly is a fun little number in much the same manner as Nothing Too Serious was for Icehouse. The quirkiness works perfectly, for the catchy, energetic styling results in a playful rhythm-driven vibe that adds a lighter tone and balances out the record.

In The Lowlands is another of those highly sought-after hidden gems. The mix and overall soundstage are remarkably engaging, for you’ll find yourself toe-tapping and head-bopping along to what can be considered an upbeat number in every aspect other than lyrical context. Nevertheless, and this is a core strength of Crowded House, even within their more sombre, more thought-provoking tunes, they’re musically engaging, and In The Lowlands is no exception.

Better Be Home Soon is a simply beautiful Crowded House tune, one that has become a trademark for the band. Seriously, nothing more needs to be said other than to take a listen, particularly if you haven’t already, and you’ll quickly see why Better Be Home Soon is Temple Of Low Men’s Don’t Dream It’s Over.

From Nick Seymour’s magnificent album artwork, to the incredible collection of songs contained within the record, to the recording, mix, and mastering quality (particularly of original releases), Temple Of Low Men is a landmark release that is not only one of the greatest albums Crowded House ever released, but it's one of the very best albums from the 80s and in all of Australian recorded music history. It’s reflective, thought-provoking, but most importantly, it’s unforgettable.

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Black 'N Blue – In Heat (Album Review)

There are records that become chart-topping successes, and then there are those lesser-known releases that make you wonder why, seemingly, nobody knows they even exist. In Heat, by Black ’N Blue, is one such album, as this 1988 glam metal release should have been a hit but failed to gain traction in any market. It’s a shame that so few music lovers are aware of this album, or the band, as this fourth studio release is a quintessential melodic metal record that is not only perfectly suited to the era, but is amongst the greatest 80’s hard rock releases featuring strong rhythmic hooks, duelling guitars, and some incredible vocals by Jaime St. James.

Spearheaded by KISS’ Gene Simmons, in the producer’s chair (for the second time with the band, the first being the 1986 release Nasty Nasty), there’s definitely a KISS vibe present, but with a much bolder hard rock styling than KISS was pumping out at the time. Speaking of KISS, and trying not to correlate too much with them, Tommy Thayer is the lead guitarist and co-founder of Black ’N Blue. As it pertains to In Heat, his licks are magnificent and are some of the very best he’s ever recorded. Naturally, casual fans of KISS may not be aware, but Thayer took over as lead guitarist of KISS, from Ace Frehley, in 2002. I mention this only to note just how underrated Thayer is as a guitarist, for he rivals the very best, and I feel many hardened KISS fans have never given him the respect he deserves. Hopefully, if you’re checking out this hidden gem, you’ll change your mind.

Despite being long out-of-print, streaming and digital delivery platforms have prevailed in ensuring music lovers still have access to this cult classic. As such, the CD-quality Lossless Apple Music stream is exquisite. It’s likely derived from the original mastering, as I don’t believe this album has ever been remastered, but it’s dynamic, bold, and gives plenty of headroom that encourages one to turn the volume up without experiencing ear fatigue or brittleness. Let’s just say that Dave Wittman engineered and mixed the album perfectly, and George Marino mastered it impeccably well.

Of course, it helps to have some incredibly well-written songs, for there simply isn’t a B-side to be heard. The album’s linear structure is EPIC, but don’t take my word for it, give it a listen as we take a look at the songs that make up this extremely underrated and often overlooked release.

Rock On is a killer album opener with Thayer’s soaring guitar leading the charge before the rhythm section sets in to what can only be described as a hit song, had it been released as a single. If this had been a KISS tune, it would have been a chart-topper, for the guitar work, rhythmic drive, and attitudinal lyrical styling make Rock On one of the most melodic hard rock numbers of the 80s.

Sight For Sore Eyes flows beautifully from the opening track, and while there’s a slight shift to the musical aspects of the song, it has 80s-era written all over it. With a ZZ Top feel, Sight For Sore Eyes had potential, for one can only imagine an accompanying music video and how that would have appealed to the MTV audiences of the era. Regardless, Sight For Sore Eyes has an earworm quality about it, for it’s a slick, hard rocker that will quickly meld with your soul.

Heat It Up! Burn It Out! gets off to a slow start, but the break between songs is perfectly done as it allows the senses to reset expectations as Heat It Up! Burn It Out! is one of the heavier songs on the record. It’s pure hard rock, with some stellar guitar licks, incredible vocals, and a backbeat that maintains the song’s high energy. It also has a rhythmic musical breather mid-song that is as stunning as any you’re likely to hear from the era. Seriously, how this album was overlooked, at its time, is beyond comprehension, for it’s one of the greatest.

Suspicious brings the funk and does so superbly well. Yes, it leans a little too much to the pop side of things, rather than pure funk-metal, but Suspicious is a song of its time and is simply fun. Sometimes that’s all that’s needed to have a top-tier album experience.

The Snake returns the album to its hard rock styling with a swagger and tempo that can be best described as a straightforward rock and roller. Again, the musical bed and Thayer’s guitar licks are off-the-charts good, and while The Snake won’t necessarily stand out on its own, it’s perfectly suited to the album’s overall style and is thoroughly pleasing each time it comes on when playing the record.

Live It Up is a killer 80s rock number that blends well with the album’s overall flow. As with The Snake, it isn’t necessarily a highlight, but when you’ve got such solid songwriting and performing, it makes for an ideal album experience; one that is akin to a greatest hits release.

Gimme Your Love is rhythmic gold that will see you head-bopping and toe-tapping along. The swagger is extremely compelling, and even if you’re sitting down, I can guarantee that you won’t be able to sit still as Gimme Your Love is another song from Black ’N Blue that could have been a charting success had it been released as a single.

Get Wise To The Rise dials the tempo back slightly before exploding with pent-up momentum into a duelling guitar masterpiece with incredible vocal dexterity. There’s definitely a Mötley Crüe feel to this tune, but it’s no imitation as Get Wise To The Rise stands on its own with an edgy stadium-filling styling that would be incredible to experience in a live setting.

Great Guns Of Fire is a mismatch of styles, but the metal-focused approach works perfectly well for the song, particularly at this stage in the album’s linear structure, as it reignites the album for the impressive closer.

Stranger is a beautiful, ballad-style tune and the perfect closing track that will compel you to play the album again. It isn’t completely void of aggression, as there are enough hard rock elements blended throughout to satisfy any fan of the genre, but its uniqueness is that it isn’t quite a ballad either. Ultimately, it’s one of those songs that is best listened to firsthand, as words can’t always describe the emotive feeling that a song can deliver.

Overall, In Heat is everything a landmark album should have been had it been better received by the music-loving public. Whether it was a lack of support from the record label, poor timing, or limited radio/MTV play, that’s up for debate, but what isn’t is just how incredible this album is. Without a doubt, it’s one of the best hard rock releases from the era as it delivers a compelling set of songs, tight musicianship, and a melodic rock sound, with a harder-edge metal styling, that will appeal to just about any rock and roll fan, particularly those with an interest in 80s-era recordings.

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

There are defining albums in rock history, and then there’s Whitesnake. Released in 1987, this self-titled record arrived at the height of the Hair Metal era and quickly set the standard for what the genre could achieve. Combining the grit of heavy metal with the gloss of glam, Whitesnake remains a masterclass in both musicianship and style, one which is ultimately timeless and cements their place amongst the greatest rock acts of the era.

As the band’s most successful release, with sales exceeding 25 million units worldwide, one would expect them to be a household name, yet there are times when it feels, as a fan, that this album has flown under the radar. Yes, people know the songs when they hear them, but the simple mention of Whitesnake results in blank stares. Perhaps it has just been overshadowed by other landmark releases from the era, such as Guns N’ Roses’ Appetite For Destruction or Michael Jackson’s Bad (both exceptional albums, and multi-million sellers in their own right). Of course, it could just be controversy that drives recognition and the cultural relevance of an artist. Granted, there was controversy between David Coverdale and guitarist and co-writer, John Sykes, but it was far from the drug and alcohol fuelled sideshow that the LA rockers delivered or the constant radical media claims that plagued Michael Jackson.

One aspect of this release that was incredibly frustrating, however, was the varied releases, in different regions, with different linear structures. While not uncommon, it still amazes me that this was a common practice. If you’re based in Australia, as I am, you’ll likely be familiar with the 11-track release that is titled 1987 and starts with Still Of The Night, followed by Bad Boys, Give Me All Your Love, Looking For Love, Crying In The Rain, Is This Love, Straight For The Heart, Don’t Turn Away, Children Of The Night, Here I Go Again 87, and You’re Gonna Break My Heart Again. Of course, many of our international counterparts would lament that linear structure, but this is far from an isolated case and, thankfully, the good folk at Discogs have given a complete breakdown, in the Notes section, for those of you who wish to investigate further. As for myself, despite decades of listening and appreciating the 11-track Australian CD release, I’ve found that I quite appreciate the 2018 11-track remaster that is found on Apple Music et al, for the flow simply sounds right.

While I may be content with the latest edition that mimics that of the USA release, plus the songs Looking For Love and You’re Gonna Break My Heart Again, the mastering is still somewhat lacklustre. Despite being an Apple Digital Master, this Hi-Res Lossless edition still sounds a little muffled in areas with enough cymbal crunching to grind on the senses. That said, it’s probably the most well-rounded mastering of the album that I’ve heard thus far. If nothing else, it’s definitely got a full sonic presentation with a much-needed boost to the low and mid-range ends of the spectrum. Ultimately, this is one album that needs to be placed in the legendary but poorly recorded and mixed category, in much the same way as Meat Loaf’s Bat Out Of Hell is. Still, don’t take my word for it, or be deterred by this aspect; give it a listen for yourself.

Crying In The Rain (1987 Version) is a killer opener with a rhythmic swagger that exudes attitude and sets the tone for the entire album. Coverdale’s vocal is engulfed within the mix, but it works remarkably well as it gives greater prominence to the killer guitar tracking. As a re-recording, from 1982’s Saints & Sinners, the more polished radio-friendly styling of the 1987 version certainly aligns with the era, yet the grungy moodiness of the original shouldn’t be overlooked, as it will appeal to those who want to hear Crying In The Rain with a tad more blues-based rock and roll sans the pop elements.

Bad Boys is the perfect song to follow the opening track as it maintains the tempo, but rather than standing out, acts more as a connective bridge that holds the album together. That shouldn’t be considered a negative aspect, of course, for every song need not be a stadium-filling number for an album to be successful.

Still Of The Night has an undeniable and compelling funk vibe that melds beautifully with the blues-based rock and roll styling. The composition and mid-song shift is a pure masterstroke, for it drives Still Of The Night to become an atmospheric rock opera that knows few peers. Coverdale’s vocal performance, in particular, is also a highlight and is amongst the strongest of his career. The result is that Still Of The Night is a timeless and legendary musical experience that has to be heard to be fully appreciated.

Here I Go Again (1987 Version) is the second re-recorded track. As with Crying In The Rain, this number originally appeared on Saints & Sinners and while the original is excellent in its own right, the added production values on this particular release really elevate the song to a new level of appreciation. Yes, it’s more radio-friendly, but that isn’t necessarily a bad thing as it offers a significant improvement on this particular recording.

Give Me All Your Love is a thoroughly pleasing head-bopping, toe-tapping number with a catchy chorus, some solid guitar licks, and a high-energy rhythmic styling that makes it a highly compelling rock and roller.

Is This Love is a magnificent ballad, and while some may proclaim it to be the best ballad of the 80s, I’d disagree. Yes, Coverdale’s vocal range and presentation is impressive, and the overall musicality of this number is incredible, but there are so many exceptional ballads from the era that, while it would be amongst the Top 10, it doesn’t quite usurp all others for dominance.

Children Of The Night kicks things up a notch with some thrashing guitar licks that remind listeners that Whitesnake is, most certainly, a hard rock band. While I wouldn’t necessarily consider Children Of The Night to be a standout tune, Sykes’ killer guitar performance is extraordinary.

Straight For The Heart is one of those songs that is a little too campy, despite its glam-metal styling. It’s a mix between KISS and Cheap Trick and works as an album-only number, but it’s far from the first song you’ll think of when feeling compelled to spin this album.

Don't Turn Away flows seamlessly from Straight For The Heart, but unlike the previous song, this is a standout as it blends a ballad with a blues-based rocker, and enough guitar elements to make any air guitarist lose their mind. Don't Turn Away is a great song, one of the best from the record, and one that will compel you to return to the album. It really is that good!

Looking For Love is a hidden gem, especially for US audiences, as it wasn’t originally released in their region. It’s a shame for US-based Whitesnake fans as Looking For Love is one of the very best songs recorded during this era of the band. It’s timeless, a hidden gem, and is nothing short of a sonic masterpiece. It’s one of those songs that, as good as this original is, I wish Gary Moore had recorded it, as it would have perfectly suited his musical styling, particularly during his 1990 era that saw the incredible Still Got The Blues studio album and the live Blues Alive from 1993.

You're Gonna Break My Heart Again closes out the remastered reissue with the second bonus track that was omitted from some regions, and while it isn’t necessarily a standout, this mid-tempo rocker will encourage you to play the record again, as Whitesnake can seldom be listened to once.

Overall, Whitesnake stands as a career-defining achievement for David Coverdale and his band. Beyond the commercial success, Coverdale’s vocals are commanding, powerful, and refined, but it’s ultimately the master musicianship, throughout, that perfectly supports the hard rock grit with a polished, arena-ready styling. No, it isn’t the most well-recorded and mixed album, but it captures the essence of 80s rock and is as compelling today as it was upon release.

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