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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Queen – A Kind of Magic (Album Review)

Released in 1986, A Kind Of Magic is Queen’s twelfth studio album and is a rather distinctive entry in their celebrated discography, due to its close association with the cult fantasy film Highlander, where six of the album’s songs were recorded for and incorporated into the film. So, the question naturally needs to be asked: Is this a Queen album or a quasi soundtrack?

For many Queen fans, even the most dedicated amongst us, the Greatest Hits and Greatest Hits II releases are likely more than we will ever need, as they represent a coherent overview of, literally, the British rockers’ greatest hits. Greatest Hits II is particularly appealing if you’re a fan of the notable tracks from A Kind Of Magic, but not the album in its entirety. I mention this only to note that while I consider A Kind Of Magic to be one of Queen's best albums, it does have its quirks regarding additional, and perhaps unnecessary, song elements. Nevertheless, if one looks beyond the association with the film and considers A Kind Of Magic as nothing more than a mid-80s Queen album, then the entire album experience becomes far more appealing, unlike the disaster that was Queen’s Flash Gordon soundtrack/album.

Given that the record was released in the 80s, well after the 70s disco-dancefloor vibe had died down, the cover art seems somewhat out of place within the era. That is, until you listen to the album’s more lively numbers, especially those that stick with you as an earworm, such as the title track. The lively aspects continue throughout with a production, mix, and overall recording style that is worthy of Queen’s legacy, but the mastering, particularly as it applies to the Apple Digital Master, is somewhat lacklustre.

For context, I have been fortunate to have owned both the CD and Vinyl 2011 remastered reissues, via the Deluxe Edition CD release and the Studio Collection vinyl box set. In both cases, the album was presented, sonically, beautifully, as the soundstage was wide and enveloping, unlike that of the Lossless Apple Music stream. Given the stream is derived from the same remastering sessions, there should be no difference, or very minimal differences to report. Yet the stream sounds concealed and boxed in with less sparkle, resulting in a sonic presentation that is far too reserved for Queen’s overall style. It isn’t necessarily bad, and if you don’t compare, you may not care. However, I can’t shake the feeling that what I’m listening to via the stream is akin to the sonic qualities that are commonly associated with cassettes that feature Dolby Noise Reduction. With that in mind, give it a listen for yourself. You may thoroughly enjoy it. I, however, would recommend that you seek out a physical release for the streaming edition falls short of sonic expectations.

One Vision is a solid opener and a great song, but the introduction and ending both seem extraneous. The edited version on Greatest Hits II thankfully addresses some of this with a tighter version that ensures One Vision remains one of Queen’s most notable stadium rockers, complete with soaring guitars, punchy drums, and a dynamic vocal performance that accurately captures Queen’s passion.

A Kind Of Magic is magnificent and is the perfect title track as it’s catchy, loaded with hooks, and features a tight arrangement with a danceable groove. It’s unsurprising that this became one of Queen’s biggest hits of the 80s, for it’s not only perfectly aligned with the era, but it’s also remained timeless.

One Year Of Love is interesting in that it doesn’t include Brian May’s legendary guitar tones as he isn’t featured on the song at all. Roger Taylor’s contribution was also reduced to playing the tambourine as John Deacon utilised a drum machine and associated synthesisers to get the majority of the song’s sonic styling. The saxophone element offers a stunningly good alternative to the guitar component, courtesy of saxophonist Steve Gregory. One Year Of Love is, ultimately, one of those very unique songs whereby it shouldn’t work, yet it does, and it’s a long way from Queen’s proud declaration in the 70s that “nobody played synthesiser”. It just so happens that it’s also one of the very best songs Queen ever recorded.

Pain Is So Close To Pleasure shifts the album’s tone into uncharted territory for it’s considerably different to the rest of the songs on the album. Yet, there’s something to really like about this Motown/soul-influenced number as it provides the album with a funkier, fun diversion, which plays into Queen’s artistic diversity.

Friends Will Be Friends is a classic-styled rock ballad that features a memorable chorus, heartfelt lyrics about enduring friendship, and a strong vocal performance that will encourage you to sing-along to another of Queen’s standout hits.

Who Wants To Live Forever is one of the most hauntingly beautiful songs that Queen has ever recorded. The sweeping orchestral nature, thanks to the inclusion of the National Philharmonic Orchestra, carries an emotional grandeur that is amongst Queen’s more resonant compositions.

Gimme The Prize is the heaviest song on the album, driven by aggressively intense guitar riffs and snarling vocals. While it may not appeal to all Queen fans, those who appreciate Queen’s rawer earlier recordings from Queen, Queen II, and Sheer Heart Attack will likely thoroughly enjoy this tune.

Don't Lose Your Head is a fun, atmospheric number that has been built around electronic rhythms, sampling, and synth-heavy textures. The experimental tone, which borders on futuristic stylings, may not be the most well-known track from the album, but it adds a layer of sonic variety to the record.

Princes Of The Universe is the perfect closing statement for this cinematic epic as it features an explosive blend of dynamic tempo shifts, high-octane rock theatrics, and one of Freddie Mercury’s most electrifying vocal performances. It’s a finale so powerful, it practically demands an immediate replay of the entire album.

Overall, A Kind Of Magic is unique in that it’s part soundtrack, part standalone work, but unless you’re a fan of the associated film, A Kind Of Magic can be appreciated far more as a Queen album than a quasi soundtrack. Yes, there are elements that are inescapable that link it to Highlander, but that shouldn’t take away from the brilliance of this release, for the album experience is, arguably, greater than the sum of its parts.

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Meat Loaf – Blind Before I Stop (Album Review)

The 80s weren't kind to Meat Loaf, as the theatrically bombastic style of Bat Out Of Hell (1977) had long been forgotten amongst most music lovers other than the most dedicated of fans. It’s a shame, for as incredible as his opus, in collaboration with Jim Steinman, is, to ignore the spectacular Bad Attitude, this album, and his other 80s output is to snub some of the most incredible music in all of recorded music history. Undoubtedly, many will disagree with my opinion here, but take a listen to this material, distanced from the Bat Out Of Hell recordings, and I’ve no doubt you’ll find Blind Before I Stop, Meat Loaf’s fifth studio release, to be a compelling and fascinating album; even if its purpose had only been to meet contractual obligations.

While fans may have been longing for more of Meat Loaf’s interpretations of Steinman’s epic compositions, Blind Before I Stop explores new sounds in the shifting musical landscape of the 80s and does so with genuine intensity, emotional resonance, and stylistic choices that are perfectly aligned with the era. Yes, it is a slightly different Meat Loaf than one seeking the hits will generally gravitate towards, but the only downfall of this release is in its substandard album artwork. Even the alternate US release cover art fails to impress. Seriously, if you’re working at a record label, and have a recording artist of the calibre of Meat Loaf in your lineup, and you decide that artwork such as this is adequate, you deserve to be fired. Thankfully, most of the cover art throughout Meat Loaf’s career is in line with expectations, but don’t let a cover determine the music contained within, for doing so is to miss out on some exceptional music.

As for the recording, mixing, and mastering of the record, it’s Meat Loaf. Longtime fans will immediately understand that statement, and just as The Rolling Stones have a sound, so does Meat Loaf. It’s not audiophile, by any means, yet it is uniquely his own. As for the Lossless Apple Music stream, a CD-quality counterpart, it’s pleasing with no major issues to report. Could it do with a remaster? Yes. Is it of the era? Absolutely. The 80’s thinness does plague the stream, but I’ll take that over a hot mastering whereby the entire soundstage is brickwalled to hell and back.

Despite the lack of popularity, Blind Before I Stop has been reissued in recent years on CD and Vinyl. As I haven’t heard either of these releases, I can’t comment on sound quality or if the mastering is the same as that delivered via the stream. Regardless, it’s a win for fans who prefer to own their music, and the reproduced cover art does look exceptional.

Execution Day is a fantastic opener, especially for those of us who appreciate a more ominous and brooding atmosphere. Meat Loaf’s familiar theatrical styling is present as the tension slowly builds via the verses, before launching into a thunderous chorus with an indicative 80s vibe.

Rock 'N' Roll Mercenaries is a killer tune, but the vocal aspects throughout the introduction seem a little unnecessary. Perhaps it’s just me, but I can’t help but wonder if Jonathan Wolff was influenced by this tune when it came to writing the Seinfeld theme song. Nevertheless, Rock 'N' Roll Mercenaries is a bombastic 80s tune where the guitars wail, drums boom, and synthesised elements shimmer, thereby allowing Meat Loaf and John Parr to stand out on this solid duet.

Getting Away With Murder has a funky rhythm that’s firmly ensconced in the synth era. It is, however, a B-side, at best, but when that catchy chorus enters the mix, the song takes on a life of its own. Yes, it’s a leaner and groove-driven sound that may seem a little out of place, but the more you listen to the record, the more you’ll appreciate Getting Away With Murder.

One More Kiss (Night of the Soft Parade) is a slower-paced synth-pop number that is thoroughly enjoyable. It would be accurate, however, to say that even though this is an exceptional ballad, it lacks the emotional punch that is most commonly found in Meat Loaf’s most well-known rock ballads. It’s still an admirable performance, but this is one song that I would have loved to have seen Meat Loaf re-record, for there’s a hit here; this particular version, however, plays more like a demo.

Blind Before I Stop flows seamlessly from the previous song and is one of the best songs on the album. Meat Loaf gives a spirited, and memorable, performance on this title track as the hard rock synth-driven characteristics work perfectly for Meat Loaf’s overall style and attitude.

Burning Down is another slow burner, with some killer guitar licks, that is severely underrated from a musical perspective. Yes, Meat Loaf could have delivered his vocals with more finesse, but that doesn’t take away from just how thoroughly enjoyable Burning Down can be.

Standing On The Outside is a lovely, mellow tune. The chorus and backing vocal harmonies work exceptionally well, and the only way the song could have gotten better would have been if Meat Loaf had put a little more gusto into his vocal recording. Still, it remains highly compelling and is a core reason why Blind Before I Stop is a top-tier album performance, as it is the culmination of songs, rather than a few standouts, that make it so enjoyable.

Masculine has a quirky introduction, but it’s the song’s peppiness, driven by rock and roll stylings and a touch of synth, that ensures the one thing this song isn’t is boring. Add to that some exceptional guitar licks, and the culmination ensures that I’m toe-tapping and head-bopping involuntarily to the overall rhythm.

Man And A Woman is a solid album-only tune that strips back most traditional musical elements, in favour of synths, to produce a song that doesn’t quite reach the emotional levels Meat Loaf was capable of.

Special Girl is a bubbly uptempo pop-rock number with a radio-friendly feel to it. While it was never going to top the charts, Special Girl most certainly could have been a mid-tier performer, but it failed to chart successfully, most likely due to a lack of interest and radio-play at the time, especially considering it was the album’s fourth and final single.

Rock 'N' Roll Hero is a gritty rocker with punchy guitars and is a song that is more in line with the expectations of longtime Meat Loaf fans. The energetic no-nonsense approach is the ideal ending to the album and will encourage you to spin the record again or enjoy the other landmark releases in Meat Loaf’s impressive discography.

Blind Before I Stop may not be the definitive Meat Loaf album, but for fans willing to look past the bombastic theatrical style of his most renowned releases, there’s a thoroughly pleasing album to explore and appreciate. As such, Blind Before I Stop is a hidden gem; one worthy of every music lover’s collection, especially those with more than a casual interest in Meat Loaf.

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Joe Cocker – Cocker (Album Review)

By the mid-80s, Joe Cocker had cemented his reputation as one of the most soulful and raw vocalists within the pop-rock genre. With a gravelly vocal that could tear the roof off one moment and break your heart the next, he entered 1986 with Cocker, his tenth studio album; a polished and radio-friendly release that continued his 80s-era reinvention while also being an ideal follow-up to the thoroughly enjoyable Civilized Man.

Though not as gritty as his earlier material, Cocker embraces slicker 80s production values without compromising his signature emotional intensity. The rich blend of ballads and mid-tempo rockers will appeal to just about all music lovers, and while the album artwork isn’t anything to fawn over, it’s ideal for Cocker in that it’s what one would have expected from a solo artist during that era.

Naturally, an 80s album has that well-acknowledged sheen to the production, and despite the Lossless Apple Music stream being sonically appealing, the album is somewhat of an enigma, as it has, certainly to my knowledge, never been remastered. Hence, one would assume that the Apple Music stream would offer the CD-equivalent counterpart, but the album is delivered at 24-bit rather than the CD’s 16-bit. Hence, it isn’t a direct 1:1 parallel.

While it pleases me to note that the album hasn’t been remastered to questionable modern standards, it’s both a blessing and a curse, as a reissue campaign would be much appreciated for those of us who have come to appreciate Joe Cocker’s extraordinary catalogue in recent years. Still, the streamed edition is thoroughly enjoyable, and I wouldn’t be surprised if it weren’t the same mastering, that has been used on previous CD releases, just the studio-quality version before it was truncated from 24 to 16 bits. Yes, the 80s recording, mix, and mastering sheen remains present, which may deter some, but it’s otherwise thoroughly enjoyable and dialling back the treble range slightly can bring forth a little more warmth in the album’s reproduction should that be your intent. Even if it’s not, join me as I take a look at the songs that make up this often underrated release.

Shelter Me is a great opener, with synthetic elements that, admittedly, connect it to the mid-80s, but Shelter Me has a timeless quality that ensures this classic tune can be appreciated indefinitely.

A To Z has a playful groove that will see you moving your body involuntarily to the rhythm. The arrangement is sleek, complete with funk-laden bass lines and synth embellishments, while Cocker’s performance is spirited, giving this track a sense of fun and ease that lightens the overall mood of the album. While it may not be amongst Cocker’s most well-known songs, this deep cut is one of his greatest recordings.

Don't You Love Me Anymore is a standout and is amongst the most heart-wrenching power ballads the Englishman ever recorded. Cocker’s vocal is raw, cracked in all the right places, giving the lyrics a level of authenticity that is seldom heard.

Living Without Your Love continues the emotional thread, with another touching ballad, this time with a more subdued, introspective tone. The arrangement is understated, allowing Cocker’s vocal space to breathe. While songs like this were never intended to be chart-topping hits, it’s album tunes such as Living Without Your Love that are a core component as to why Cocker is such an incredible album.

Don't Drink The Water is a solid mid-tempo blues rocker that is perfectly positioned within the album’s structure as it bridges the gaps between the previous ballads and the rockier You Can Leave Your Hat On.

You Can Leave Your Hat On was originally recorded by Randy Newman and released on his 1972 album, Sail Away, and while it’s a solid recording, Cocker takes it to another level with his gravelly vocals and a more funky vibe. As such, You Can Leave Your Hat On is not only a standout from Cocker, but it became a defining moment in his career; one that was already illustrious.

Heart Of The Matter is a little less bombastic than You Can Leave Your Hat On, but the subtleness not only appeals to the song but also allows the listener to appreciate the previous song before Heart Of The Matter opens up throughout the chorus. Again, it’s songs such as this that ensure the album experience is upheld.

Inner City Blues is a Marvin Gaye original that was released on his renowned 1971 record, What’s Going On, and it was a bold move on Cocker’s part to record it, but he pulls it off with his own smoky, rock-tinged approach. Despite not necessarily reinventing this classic tune, Cocker pays homage to the original with sincerity and strength.

Love Is On A Fade is a melodic toe-tapper that rewards those of us who listen to Cocker repeatedly, for a song need not be a hit for it to be thoroughly enjoyable.

Heaven closes the album with a serene, uplifting, soulful ballad. It’s an ideal closer that permits a reflection of the music that’s just been heard, as well as simultaneously encouraging you to play the record again, as Cocker’s vocal is exceptionally moving, and you’ll want to hear more of his gravelly tones.

While it’s easy to consider Cocker as an album with only one major hit and, therefore, dismiss it, to do so would be short-sighted. Cocker may be firmly rooted in the mid-80s production qualities, complete with synthesisers and slick arrangements, but Joe Cocker’s vocal and overall style remain timeless, ensuring that it’s a standout from his celebrated career and is amongst the greatest records released in the 80s, particularly in 1986.

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