Van Morrison – Moondance (Album Review)

No matter which way you look at it, Van Morrison’s Moondance may well be the most relaxingly intimate album experience of all time.

Released in 1970, Moondance is Morrison’s third studio album, and while many may disagree, citing 1968’s Astral Weeks as a far more essential release in Morrison’s celebrated catalogue, I’d argue that Moondance is his magnum opus. The higher production values, alone, make this a much stronger release, for Astral Weeks is akin to a demo by comparison; a bold statement, yes, but a valid perspective nonetheless. Morrison’s signature sound, and uniquely compelling vocals, also ring out greater on Moondance, thereby making it not only a timeless classic, but a release that appeals to a broad range of music lovers.

Blending rhythmic blues rock with jazz and pop elements, along with singer/songwriter sensibilities, Moondance has taken on a life of its own and is not only amongst the greatest albums in all of recorded music history, but is delivered with one of the most iconic album artwork designs of the 20th Century. Thankfully, the sonic presentation is right in line with the compelling artwork, and as it pertains to the Hi-Res Lossless Apple Digital Master, as heard via Apple Music, that edition has a delicate clarity that doesn’t detract, but enhances the overall smoothness of the recording.

Being one of the most iconic releases of the 70s, Moondance has seen numerous reissues, but the stream, which is based on the highly regarded 2013 remaster, can be best described as detailed, sultry, and lush. While I’ve not heard an original release, and cannot categorically declare this as the pinnacle of sonic quality, the most telling statement I can offer is that it simply sounds right. There’s no need to consider EQ adjustments, and it plays beautifully at all volume levels, thereby leading to a thoroughly pleasing musical experience.

Despite being recorded over five decades ago, Moondance has a modern feel to it, and while the stereo recording is extraordinarily pleasing, in its own right, the Dolby Atmos mix takes the album to another level of enjoyment for those who are fortunate enough to have a surround sound setup. Thankfully, streaming has given everyone the ability to sample multi-channel music, but provenance is still a problem.

If we look at the most recent Blu-ray Audio reissue, from 2023, it becomes clear that the stream must be from the Steven Wilson remastered Atmos remix from 2023, rather than the 2013 5.1 surround mix as the publishing date on Apple Music would otherwise indicate. Interestingly, Wilson also did a 2023 stereo remix that is included on the disc but absent from Apple Music et al. Confusing, yes, but one advantage of the Blu-ray Audio release is that particular edition features both the newest Dolby Atmos mix and the 2013 5.1 surround mix for those who would like to appreciate both interpretations. I could digress further, but may I suggest you check out Life In Surround, as Mike not only delves far deeper into the surround options than I do, but as it’s his primary focus, he’s far more qualified to offer an opinion.

What I will say about the Dolby Atmos stream on Apple Music, however, is that it’s highly appealing, so much so that it will make you sit up and question which edition, stereo or surround, you prefer. Morrison’s vocals are smack bang in the middle, while the musical elements are delivered in a spacious manner that makes you further appreciate the layered musicality of the recording. The presentation is also smoother, fuller, and more relaxed, compared to the stereo mix; a remarkable aspect given just how laid-back the album is in general. So, which version do I prefer? Well, let’s just say that when listening back via my Atmos-compatible setup, I’ll be listening to the surround sound version moving forward, but for all other times, the stereo mix and presentation are simply stunning.

And It Stoned Me launches the album with a sense of storytelling wonderment set atop a simply beautiful musical bed that immediately sets the tone for the entire album. The saxophone elements are of particular note, as the song would be significantly lacking had it not been for Jack Schroer and Collin Tilton’s inclusion; for as solid as the rest of the music is, and as exceptional as Morrison’s vocal is, it is the culmination of all aspects that truly make “And It Stoned Me” the song that it is.

Moondance is one of the most incredible jazz-styled numbers you’re ever likely to hear. It’s accessible, smooth, and knows few peers. You’ll be toe-tapping, head-bopping, or gliding across the floor, perhaps with your significant other, as this masterpiece plays, for it’s impossible to listen to and not jazz along to (pun, most certainly, intended).

Crazy Love is a gorgeous romantic ballad. For fans of the Motown sound, you’ll most certainly enjoy “Crazy Love”, for the composition and backing vocals are perfectly suited to the style, the era, and Morrison’s vocal presentation.

Caravan sees Morrison deliver a bolder vocal than that heard on “Crazy Love”, but that isn’t a detrimental aspect, as his somewhat strained vocals, certainly by comparison to the previous track, are the ideal delivery method for an otherwise exceptional tune. While it may not be a standout, “Caravan” is, as many of the songs are on this release, an ideal album-only number that ensures Moondance is an album experience first and foremost.

Into The Mystic is amongst the album’s most well-known tracks, and for good reason, as its laid-back, free-flowing style, similar to that of many John Denver tunes, offers a highly rewarding listening experience for those seeking a more subtle Van Morrison recording.

Come Running would have been the first song on side two of the album, but as digital delivery methods, from the CD onwards, allow for a more fluid musical experience, it can be suggested that “Come Running’ presents a jolt to the system. While I believe that to be true, once you’ve settled into the song, it too sets the tone for the second half of Moondance, as despite being a cohesive album experience, it can most certainly be appreciated in two parts.

These Dreams Of You is another compelling musical exploration that is not only perfectly suited to Morrison and the album, but also to the era in which it was released. The subtle musical backing allows Morrison’s vocals to soar, but the playful instrumentation ultimately makes the song what it is.

Brand New Day is one of those songs that remind me of why there’s so much appreciation for singer/songwriters. Yes, it’s one of many exceptional tunes, particularly from this release, that could be highlighted as such, but each time “Brand New Day” plays, I sit in contemplation and ponder just how extraordinarily creative the human mind can be and how some individuals are so blessed as to create something so beautiful, from seemingly nothing.

Everyone is the black sheep of the song selection from Moondance as it shifts its tone significantly and is, unfortunately, the weakest song from the album. It isn’t so bad as to tarnish the record, but it also doesn’t quite fit the flow and overall feel.

Glad Tidings is a quintessential closing tune that not only compels me to spin the album again, but also allows for contemplation of the music that’s just been heard, as it offers a culmination of musical elements from across the entire record.

Moondance is one of those rare albums that not only meets expectations but, upon repeat listens, exceeds them. While some may have been perturbed by Morrison’s stylistic shift, from his earlier releases, Moondance is the album that he was meant to make; certainly from a music lover’s perspective. While the timeless masterpiece statement is thrown around too easily, particularly here at Subjective Sounds (given the site’s positive approach), Moondance certainly qualifies for that statement, as few albums, of any era, are as transformative as Moondance was to Morrison and the music-loving public.    

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Uriah Heep – Very 'Eavy, Very ‘Umble (Album Review)

Released in 1970, this debut is amongst the greatest the English rockers ever recorded, and more than five decades later, the production, recording, and overall sonic presentation remain fresh and compelling. With its signature blend of rock, and what is now considered classic heavy metal, Very 'Eavy, Very ‘Umble can not only be seen as a pioneering progressive rock release within the heavy metal music genre but as nothing less than an impressive debut.

Similarly compelling is the album’s artwork, but, as with most digital offerings, it is inadequately represented. While not as restricted as many counterparts, the original cover art design makes use of the vinyl gatefold to portray the entire photograph, including frontman David Byron’s hands, covered in webs. It’s a disturbing image, especially amongst those of us with arachnophobia, but it isn’t quite as bad, in some respects, as the US releases which don a nightmare-inducing centipede-meets-serpent-like creature.

What isn’t traumatising, however, is Andy Pearce’s 2016 remaster. As many music-loving audiophiles will note, remasters are not always the be-all and end-all as it pertains to the sonic quality of a record, but this one is done extraordinarily well. Listening to the CD-quality Lossless editions, via Apple Music, one can’t find much to criticise, as every element is balanced beautifully in the mix with plenty of room between musical elements. My only complaint is that I have yet to pick up this particular edition on CD. Yes, it’s mastered to modern standards, but it’s not overly loud either and can be thoroughly enjoyed at both moderate and ear-bleeding volume levels. So, hit play and join me as we take a look at the songs that make up this classic release.

Gypsy is a killer opener with a funky vibe that sets the tone for the entire record. The riffs are out of this world, as is the percussive backing, but the most compelling aspect is the song’s overall progressive composition that will encourage you to pump the volume. Of course, all would be for nil had Byron’s vocals missed the mark, but that wasn’t to be, as he was one of the finest singers to have ever stepped in front of the microphone.

Walking In Your Shadow is a little less mystical than Gypsy, but it sees Uriah Heep deliver a blues-based hard rock number that is thoroughly pleasing, with a tonne of attitude, that will appeal to just about any rock and rolling air guitarist. Mick Box’s guitar tracking, here and throughout the entire record, is masterful.   

Come Away Melinda is a cover of the 1963 anti-war song, penned by Fred Hellerman and Fran Minkoff, and first recorded by Harry Belafonte. While I’m not overly familiar with the original, Byron shows just how incredible he was as a vocalist, for the true worth of a hard rock vocalist is how they can perform a ballad-style piece, and in this case, Come Away Melinda is Byron’s magnum opus.

Lucy Blues is absent from US editions due to the inclusion of an early rendition of “Bird Of Prey”, and in some respects, I can see why the shift was made stateside, for Lucy Blues delves, perhaps a little too far, into the blues. Think Gary Moore, it’s brilliant, undoubtedly, but it’s different enough to the other songs on the album that some may suggest the record lacks focus as a result of its inclusion. Regardless, what Lucy Blues does showcase is the continued broad musical range of the band, even if “Bird Of Prey” may have been a better option.

Dreammare is the only song on the record that irritates me, and not because of the mastering but due to the chosen mix as there’s an out-of-phase aspect that is particularly noticeable when listening via headphones as the vocals are present in the right channel, with percussion in the left, but the vocals have also bled into the left channel, making it sound as it someone is whispering in your left ear. Granted, at this stage in music history, many artists were still testing the waters with what could be done with stereo panning and balancing, but this is one killer song that they got wrong in the recording and mixing process. That said, if you’re not a headphone listener, you’ll likely be unaware, for Dreammare is thoroughly enjoyable when listening via speakers.

Real Turned On has a killer bass lick opening this classic rock and roller. While it may be a more basic composition, especially when positioned against the more progressive numbers on the record, sometimes a solid hard rock tune is all that’s required and while not, necessarily, a standout, Real Turned On will likely be one of those tracks that will compel you to play the record time and time again, for once you’ve allowed Very 'Eavy, Very ‘Umble into your soul, it’s difficult to ignore.

I'll Keep On Trying is a progressive rock masterpiece.

Wake Up (Set Your Sights) flows well from I'll Keep On Trying, but the jazz-styled approach is a little too far removed from the rest of the album’s tunes. If we remember, however, that this is a progressive rock release, then this song makes perfect sense as the culmination of styles is a testing ground to see what ultimately works and what doesn’t. There’s little doubt that the first half of the song is representative of the weakest aspects of the album, but as you listen to the second half, you can’t help but appreciate the tune as you reflect on the music that you’ve just heard.

Very 'Eavy, Very ‘Umble is nothing if not an impressive debut. While Uriah Heep may not have reached the heights of their contemporaries, overlooking such an incredible band, and particularly this release, is shortsighted, as Very 'Eavy, Very ‘Umble is amongst the best albums released in 1970 and is one of the greatest records the band ever released.

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Trapeze – Medusa (Album Review)

While there is no shortage of hidden gems from the 70s, Medusa, by Trapeze, is one of the most impressive, underscoring the importance of seeking out music that goes beyond mainstream appreciation and acceptance.

Released in 1970, this is the second album by the British rockers, and while their entire catalogue is worth checking out, Medusa is their magnum opus, even though it was overlooked during its initial run, remaining only noteworthy amongst the most ardent music lovers. With a classic rock meets blues-based style, and elements of hard rock and touches of heavy metal, Medusa will appeal to a broad audience, so share this review, and Trapeze’s music, with anyone who has an appreciation for the aforementioned genres, as it’s about time Trapeze received the recognition they’ve always deserved.

Compared to their self-titled debut, Medusa is considerably different, as the band’s first outing has a greater focus on psychedelic soft rock. Some may find that more compelling, but it’s not nearly as engaging as this second release; an album showcasing their signature sound, despite only being separated by six months.

Visually, Medusa is spectacular and is amongst the most captivating artworks of the era. Unfortunately, modern streaming platforms don’t present it adequately for the face trapped within the trapeze-styled optical illusion is poetically suited to the band’s name and provides a perfect visual accompaniment to the music. One can only imagine how it would have been to have picked up this album upon launch and lose oneself in the mystical nature of the album’s artwork as the record played.

While my only experience of Medusa has been via streaming services, Apple Music offers various masterings, allowing fans to choose the edition that best aligns with their personal sonic tastes. As it pertains to the sonic presentation of the album, the lossless Apple Music stream that I find myself listening to most often is the Ork Records 2008/2010 remastered reissue, as shown below, as it’s highly engaging. There’s also the 2020 Cherry Red Records (Deluxe Edition) to consider, but I find that particular mastering to be a little too reserved in its presentation. Some may prefer that relaxed mastering style, one which is not as loud, with cymbals that ring out beautifully within a nicely positioned soundstage, but I find it’s also lost a little of its sparkle as the presentation is akin to a sheet being placed over one’s speakers, by comparison. As to which ultimately sounds better, that will be up to your subjective interpretation. For me, however, I’m sticking with the older remastered reissue.

Black Cloud is a bold rock and roller to launch the album on, one that sets the tone for the entire record with some incredible vocals and a musical presentation that lights up, particularly as the chorus enters the mix. It’s ideally suited to the early '70s, but despite being of the time, it remains fresh and compelling in the modern era; a testament to the talent of the three master musicians at the helm.

Jury initially slows down the tempo to that of a ballad, yet it’s one of the most stunningly beautiful tunes you’re ever likely to hear. As the song builds, one can’t help but appreciate the performance and intricate nature of this rock and roller, for it remains reined in while also having a level of attitude that one would expect from some of Black Sabbath’s most memorable tunes. Even the false ending will blow your mind, for the composition is well thought out and is nothing short of masterful. No, Jury was never released as a single; a shame considering just how extraordinary it is and how in tune it was to the musical zeitgeist. The bottom line is, if you’re not listening to Jury at ear-bleeding levels, you’re listening wrong, for this is one legendary tune.

Your Love Is Alright shifts the tone of the album with a livelier and more upbeat tempo. It’s a solid song, with some killer riffs and an impressive vocal performance, especially during the bridge and chorus, but it’s far from a standout and is, subsequently, an album-only tune that is unlikely to compel you to return to the record. That said, as part of the album’s linear structure, “Your Love Is Alright” works well enough that any shift in styling isn’t so apparent that it detracts from the overall album experience.

My Life is toe-tapping, head-bopping, gold. As a rhythmic wonderland, “My Life” encompasses a sonic middle ground that Trapeze was brilliant at achieving. It’s classic rock at its very best!

Seafull is a magical experience, one that must be heard to be fully understood. The guitar licks are out of this world, as are the backing percussive elements, while the vocal delivery is amongst the greatest in all of recorded music history.

Makes You Wanna Cry is a funk-infused rock number with a slight off-beat rhythm that works remarkably well for the song and the album’s overall flow. While not necessarily a standout, “Makes You Wanna Cry” is one of seven core reasons as to why Medusa is such an incredible album experience.

Medusa is a stunning title track and an ideal album closer, one that allows for not only contemplation of the music that’s just been heard, but one which will encourage you to play the album again for Medusa, both the song and the album, can seldom be listened to once.

No matter which way you look at it, Medusa remains one of the most underrated rock albums of the 1970s. While Trapeze never achieved the recognition they deserved, Mel Galley, Dave Holland, and Glenn Hughes would each go on to leave their mark with Whitesnake, Judas Priest, and Deep Purple, respectively, with Hughes also forging a successful solo career. In hindsight, this release, and the band, in general, feels like the birth of a future supergroup, capturing three exceptional musicians at the very moment their careers were about to explode. More than fifty years later, it remains one of the finest hard rock albums of its era.

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Black Sabbath – Paranoid (Album Review)

Released in 1970, Paranoid is Black Sabbath’s second studio album, and while their self-titled debut landed in record stores in February of the same year, this September release saw the British Heavy Metal rockers expand upon their origins with a heavier, more bombastic, yet seductively succulent musical style. Yes, its themes are darker, more demonic, and apocalyptic in nature, but don’t let that deter you, as listening to this kind of music will most certainly not open a doorway to hell. It will, however, expand your horizon as the down-tuned musical style melds with your soul in a hypnotic manner that won’t let up until the final note has rung out.

It isn’t all about the music, however, as Paranoid’s album artwork is a thing of beauty, yet it wasn’t always intended to be that way. It’s said that War Pigs was to be the album’s title, yet during the final stages of the record’s release, a decision was made to change the title but keep the existing artwork. As such, you can see where the pig-inspired faux warrior, wielding the sword, would have made sense, but in an interesting dichotomy, the album’s cover art works perfectly with the title Paranoid, for it screams of paranoid delusions. Either way, as is the case with much of Black Sabbath’s extraordinary catalogue, it’s the perfect visual counterpart to the exceptional music contained within.

Speaking of the music, when listening to the 2009 Hi-Res Lossless Apple Digital Master, one can’t help but be impressed by the depth, clarity, and overall tonality of the record, which permits listening at higher volumes, just as an album like this should be listened to, without introducing listening fatigue. It also remains thoroughly enjoyable to those who prefer their volume at less than ear-bleeding levels, meaning that the 2009 edition is ideally suited to a broad audience. Yes, the 2012 remaster is also available via Apple Music, but it’s more shrill and contains known dropouts from the master recording. Plus, I admit that I much prefer the darker mastering of the 2009 remaster as it really highlights Ozzy Osbourne’s vocals, while ensuring the musical bed retains its layered complexity and overall mystique. Yes, there is a case to be made that the 2009 remaster has a noise reduction feel to it (think Dolby NR from the Compact Cassette era), but, in my experience, it makes for a far more enjoyable listening experience. 

The good news is that both remasters are available on Apple Music, and you can decide for yourself. So, hit play, turn the volume to 11, and let’s take a look at the songs that make up this legendary release.

War Pigs is an ideal album opener, as it sets the tone for the entire record and serves as a warning, particularly via the air-raid siren, for the upcoming musical experience that one has to hear to fully appreciate. Not only are the band on fire, but Osbourne’s vocals are amongst the greatest he has ever recorded, the culmination of which leaves no room for one to question Paranoid’s impact on the Heavy Metal genre.

Paranoid has a killer guitar lick that is as raw and forward-driving as the band’s overarching style during these early years. The guitar riff, pounding rhythm, and Osbourne’s near-spoken lyrical approach made “Paranoid” a favourite amongst fans. It isn’t, however, without its controversies as the final verse delivers the lyric: “I tell you to enjoy life”, which is often misheard as “I tell you to end your life”. You’ve got to love a good mondegreen, and this is one of the greatest in all of recorded music history.

Planet Caravan proves Black Sabbath were far more than riff-driven rockers, for this jazzy blues-filled psychedelic number has an ethereal aspect to it that offers a direct, yet ideally positioned and complementary, contrast to Black Sabbath’s heavier hitters. Bill Ward replaces his drum kit with congas, proving just how musically talented he is, and as you listen, you’ll be captivated by the soundstage and layered musicality.

Iron Man is a Tony Iommi masterpiece, for there are memorable licks and then there is “Iron Man’s”; a gift from the gods! That said, the entire band is on fire here, and the chosen mix, recording, and vocal style have made this one of Black Sabbath’s most memorable tunes; one that goes beyond the core fan base, having become part of the social consciousness; it’s that good!

Electric Funeral is a moody attitude-infused number that, while not a standout per se, is a core reason why Paranoid is so revered, for as strong as the album’s first half is, it would be for nil if the back end of the record wasn’t up to par. The only negative aspect of “Electric Funeral” that I can’t stand is the backing vocal aspect mid-song. It really doesn’t work and momentarily takes you out of the song as it’s different enough to be distracting.

Hand Of Doom starts akin to “Planet Caravan”, with a more relaxed styling. That quickly changes as the song ebbs and flows between the mellow and heavier aspects throughout the introduction, prior to the song’s explosive element a third of the way in. “Hand Of Doom” may be an album-only number, but it should never be overlooked as it’s a standout song that just isn’t as well-known as the record’s other landmark tunes.

Rat Salad is short and sweet, with some killer riffs, pounding rhythmic beats, and not a lyric to be heard, as this musical interlude not only shows off the musical prowess and cohesion of the band, particularly Ward’s drumming, but also provides a perfect bridge between “Hand Of Doom” and “Fairies Wear Boots”.

Fairies Wear Boots is an interesting closer. It isn’t the strongest song from the album, but there are moments throughout that are simply wondrous and remind you of the music that has come before it, thereby making it a perfect reflective tune to end the record on.

Paranoid is not only one of the greatest Black Sabbath releases, it’s also amongst the very best albums released in the 70s and includes some of the band’s most revered tracks. Yet, it is the culmination of all songs that ensure this second outing is a top-tier release that can be measured against the best music, from any genre and era, as Paranoid is the very definition of a masterpiece.

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Golden Earring – Seven Tears (Album Review)

Despite an extensive discography and celebrated career, Golden Earring has flown under the radar of many music lovers throughout the years. In fact, I was unaware of the band prior to my ongoing project of exploring the history of recorded music; one album at a time. Nevertheless, in a world where streaming allows for new music discoveries, there’s no better time to explore those albums that have been overlooked, forgotten, or simply didn’t receive the recognition they deserved. Seven Tears, Golden Earring's seventh studio album, most certainly falls into that final category, for it failed to set the charts on fire (outside of their home country, the Netherlands, where it topped the charts), but to say this 1971 release is underrated is the very definition of an understatement.

Similarly understated is the album’s cover. While Golden Earring has some of the most exceptional album artwork designs you’re ever likely to come across, Seven Tears may appear underwhelming upon first glance. Yet, the simple band photograph, with the painted look, adds a level of mystique to the record. This is particularly true if you have a physical release of the album, as the gatefold is quite impressive and is far better than that achieved via modern streaming services.

As it pertains to the recording and the sonic qualities of the record, Seven Tears is demo worthy for it’s been recorded, mixed, and mastered with kid gloves. While I’m unsure as to which mastering is used for the Lossless Apple Music stream, and it isn’t an Apple Digital Master, to say it’s sonically extraordinary is an apt assessment. Every musical element is respectfully presented, with plenty of room to breathe, thereby allowing for a highly immersive musical experience. The only improvement that could be made, from my perspective, would be to have the album on vinyl, with the same clarity and depth present via the stream, for the warmth (think distortion) of the format would take the album to an even greater level of symbiosis with one’s musical soul.

As always, don’t merely take my word for it. Give the album a listen, particularly if you haven’t already, for Golden Earring’s blend of traditional rock with prog-rock, with a touch of theatrical experimentation, is a gift from the rock gods.

Silver Ships opens the album with epic prog-rock ambitions and a touch of psychedelia. The musical bed is atmospheric and enveloping, drifting between bolder rock elements and softer tonal wonders, unleashing layer upon layer of musical magic. The lead vocals, however, are the highlight here and are amongst the greatest ever recorded in all of music history.

The Road Swallowed Her Name is full of rock and roll heaviness with a guitar riff that would have been the envy of any band of the era. Yet, it has reached through the ages and is still as compelling today as it was upon the album’s release. While the vocal delivery isn’t as powerful as the album’s opener, it’s that riff, with its blues-based foundation, that will keep you coming back for more.

Hope, with a near-ballad styling throughout, has its delicate moments that build before exploding into a progressive rock masterpiece. While the vocals are particularly noteworthy for their reach and control, “Hope” is particularly compelling due to its killer saxophone performance. While there’s no shortage of contenders for the quintessential Golden Earring tune, “Hope” is most certainly among their greatest.

Don't Worry is a rhythmically charged musical wonder. Grounded, most certainly, in a more traditional rock and roll style, “Don’t Worry” not only has an attitude about it, but there’s a funk-infused element contained within that is highly compelling. Rinus Gerritsen’s bass performance, on this track, in particular, is a stroke of genius. Thankfully, the chosen mix ensures that his performance is front and centre as it gives the song its playful momentum.

She Flies On Strange Wings is an experimental epic and one of the most notable moments on Seven Tears. Fully embracing a progressive rock structure, “She Flies On Strange Wings” is somewhat of a hidden gem from the era, despite it being released as the album’s only single. With extended instrumental sections, shifting dynamics, and a hypnotic style, this track has much to offer. Upon repeat listens, you’ll find yourself connecting with different elements of the recording, thereby making this a quintessential prog-meets-art rock number that showcases not only the band’s ambition but their incredible musical cohesion. While I still consider “Hope” to be the standout, on the album, “She Flies On Strange Wings” is very much its equal.

This Is The Other Side Of Life is the most unique song on the album, with not only an interesting composition but an introduction that contains backmasking, which, when played backwards, states: "Uh, this is the other side of life". Backmasking is an intriguing technique that was commonly experimented with during the era, but it’s also fair to say that it detracts from an otherwise solid tune, especially when playing the song, or in this case, the album, in its intended linear structure. Granted, “This Is The Other Side Of Life” was never going to be a standout and is the weakest song on the album, but the dream-like arrangement, with its eccentric-styled backing vocal performance, adds texture to the album as a whole, and all songs need not be a hit for an album to offer a thoroughly enjoyable and cohesive experience.

You're Better Off Free is the perfect long-form rocker to close the album on. The mid-tempo styling works extremely well, and Cesar Zuiderwijk’s drumming is sensational. Add to that Gerritsen’s bass accompaniment, and the killer guitar solo, and what you’ve got is a song that will encourage you to play the record again, for Seven Tears can seldom be listened to once.

While some may suggest otherwise, Seven Tears is an ideal album experience and not merely a collection of songs, as the fluidity of the record, especially when played on repeat, is second-to-none. Is it the greatest record that Golden Earring ever released? Yes, I believe it is, and as much as I appreciate their greater catalogue, Seven Tears is the album I find myself returning to more than any other for it’s a timeless classic.

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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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