Crosby, Stills & Nash - CSN (Album Review)

Released in 1977, CSN is the second official release from the folk-rock supergroup trio known simply as Crosby, Stills & Nash. While some will point to the eponymous debut as their greatest work, CSN has a greater sense of uniformity as each master musician perfectly complements the other, thereby making this a perfect entry point and arguably their most accessible album.

Some may lament Neil Young’s absence, but as valued as Young was throughout the years to the Crosby, Stills, Nash & Young (CSNY) lineup there’s something special about the vocal harmonies of the original trio that transcends the quartet. 

That uniqueness is also seen in the album artwork; an album that I still need to acquire on vinyl. Part of its appeal is the joy expressed by the band members and the feeling that they are ordinary people just like you and me thereby making the album and their music even more relatable. That said, modern re-issues, including streaming releases, have a different cover photograph to the original album release (pre-CD era) whereby all three are looking off in different directions as if harmony isn’t present amongst them. I prefer the newer, more positive, artwork as I feel it works better with the album experience. However, having both would be much more realistic to the entire art imitating life philosophy as a photograph is a mere moment of happiness often followed by despondency. While album artwork can certainly change our perception of music, what isn’t in question is the audible perfection heard on CSN.

The lossless 24-bit 44.1 kHz ALAC Apple Digital Master stream, from Apple Music, is full-bodied, detailed, and engaging. While there is an analog-like sound in this particular mastering of CSN, I can’t help but wonder what Steve Hoffman’s remaster (24K+ Gold CD Series - Audio Fidelity - AFZ 144) from 2013 would sound like as his work is generally well-regarded. The stream isn’t disappointing by any means but there are moments when listening to songs like Shadow Captain and Just A Song Before I Go where I wonder if there’s a little more detail, depth, and overall soundstage that could be pulled out of the original master recording. 

Nevertheless, sit back, relax, and join me as we take a look at the songs that make up CSN. 

Shadow Captain highlights the overarching style of CSN and is a solid opener. The rhythm and depth of the soundstage are particularly captivating but Russ Kunkel’s drum and conga beat are subtle but full of energy. Normally the continuous hi-hat element would drive me insane, but it’s perfectly mixed thereby not being too forward in the mix and allowing other musical elements to build upon it. 

See The Changes has a stunning vocal harmony that works perfectly with its basic composition thereby validating that sometimes less really is more for I couldn't imagine this song with more complex sonic elements. See The Changes is nothing short of pure perfection. 

Carried Away is phenomenal! The recording, mix, and mastering is second-to-none. It’s undoubtedly one of the best songs Graham Nash has written. Add to this, Crosby’s backing vocal combined with the harmonica results in a textbook recording that any new artist should aspire towards for they rarely make music like this anymore. 

Fair Game is cringe-inducing and that Caribbean style does little to help the song or the flow of the record. It isn’t bad enough to tarnish the album but this is one song that should have been omitted.

Anything At All is a magnificent song that will captivate you from the very first note as the percussive elements ring out beautifully. Crosby’s vocal is performed and recorded so well that you’d swear he was in the room with you. Could this be the greatest vocal recording of his career? It’s certainly up there if it isn’t. There’s also a sense of truth here for Crosby is declaring that his opinionated personality has been the cause of numerous squabbles throughout the years. Yet, simultaneously, Anything At All is reflective thereby breaching the divide between authorial transparency and reader perception and interpretation. In other words, Anything At All is as much my song and your song as it is Crosby’s song for we are all fallible when it comes to letting our ego get the better of us.

Cathedral immediately reminds me of Genesis; Phil Collins’ era. I love it when a song reminds me of another artist. It’s as if my mind has a built-in discovery algorithm and thankfully I appreciate both bands so this correlation is complementary. Getting back to Cathedral, it’s a masterpiece and one of the best songs CSN ever recorded with memorable lyrics that will stick with you well beyond listening to the song. As with Crosby’s Anything At All, one has to suggest that this is Nash’s finest composition.

Dark Star is a solid tune but it’s one that I would have loved to hear CSN record with Young for it needs a gritty boost in the vocal harmony. That said, the Latin vibe is addictive thereby making Dark Star a perfect toe-tapper. 

Just A Song Before I Go is a perfect amalgamation of vocal harmony and instrumentation. It’s a gorgeous song and while some may lament its brief runtime, I consider it to be the perfect length. The only thing I wish is that it was the closer for CSN, for it suits that role, from a lyrical standpoint, far better than I Give You Give Blind. 

Run From Tears has a killer guitar riff that, along with Stephen Stills' lead vocal, takes a B-side and turns it into an A-side. 

Cold Rain has a delightful piano introduction before building into another harmonic masterpiece. It’s sonically beautiful and an absolute pleasure to listen to.

In My Dreams is textbook Easy Listening. 

I Give You Give Blind would have been a perfect song to include Young on, for it has his edgy style written all over it, but in his absence, I feel it’s overproduced and a little too pop-focused. While it’s still a great soft rock tune, it doesn’t quite hit the heights that I believe it could have and I feel it was a flawed decision to close CSN with it. My choice for the final song, as previously mentioned, would have been Just A Song Before I Go. 

Overall, CSN is one of the finest albums ever recorded, even with the inclusion of Fair Game. If nothing else, it’s a career highlight for Crosby, Stills & Nash.

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Aerosmith – Aerosmith (Album Review)

Released in 1973, Aerosmith’s eponymous debut is, in retrospect, somewhat of an anomaly as it is arguably more unique than any other album in their illustrious career. While Aerosmith would hit their stride, and greater success with Get Your Wings (1974) and Toys In The Attic (1975), the self-titled Aerosmith would see Steven Tyler sing in a faux blues vocal style that has often been referred to as being closer to Kermit the Frog than Tyler’s intended mimicry of traditional blues singers. Yes, dear reader, once you’re made aware of the Kermit reference, it’s difficult to un-hear the correlation but, if nothing else, it offers a unique perspective. 

Naturally controversial, especially upon reflection, not all of the songs on Aerosmith would be sung in this style for Dream On is delivered beautifully in Tyler’s natural range. That isn’t to say his faux-styling is distracting, for I rarely recognise it and accept that this debut, while a little rough around the edges, is arguably perfect with a series of songs, with catchy hooks, that blend well together and have in most cases stood the test of time.

What isn’t controversial is just how good the 2013 Record Store Day vinyl remaster is. Mastered by Ryan Smith at Sterling Sound, this release sounds amazing. While the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is beautiful in its own right, the vinyl re-issue is slightly more fluid in its delivery with the same level of detail that is present in the digital stream. The fullness of sound that is a vinyl trademark certainly plays a role here and helps the album to really shine, thereby making it more personable and allowing you to become further immersed in the music. Of course, these are not night and day differences and are only apparent when comparing releases.

The record itself comes housed in a high quality, clear (with a pink hue), anti-static sleeve and is flat and heavy. While 180-gram vinyl isn’t an indication of quality, despite marketing to the contrary, this pressing has a significantly low noise floor thereby allowing the music to be at the forefront of the experience. 

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As it pertains to the reproduction of the album artwork, this reissue is a solid facsimile. It isn’t an exact match, as other artist reissues have aimed to be, but it is close enough that most fans will be thoroughly happy with the release. These particular pressings were also numbered and I’m fortunate to have number 1978 of 5000, but the same mastering has been available for years since this release was issued; sans the pressing number. If only I had gotten number 1973, I would have been in Aerosmith heaven. Although, given the impressive quality of the pressing, I’m already there.

Make It is raw to the bone with a killer guitar twang. While it hasn’t always been my favourite song on the album, it has grown on me to such an extent that if I consider this early recording as being done by a garage band, with a live club performance feel, then it is extraordinary. 

For those who wished for a little more production value, Aerosmith did re-record Make It in 2007 for release on Guitar Hero: Aerosmith. This re-recording is interesting and certainly, from a musical perspective, offers a little more spit and polish, but Tyler’s vocals aren’t great on the re-recording and in all honesty, whenever I hear this edition, I’d prefer to put on the original. It isn’t readily available, but a quick search on YouTube will allow you to hear it. 

Regardless of which version you end up preferring, Make It is one of those underrated songs that should be included in every inspirational playlist for we all want to make it in whatever we do. 

Somebody has a country-rock vibe that borders on rockabilly. As solid as Somebody is on Aerosmith, the recording as heard on 1971: The Road Starts Hear is significantly better. Not only are Tyler’s vocals more natural, but the band is on fire with some killer playing that simply didn’t make it to the studio recording. 

It’s also the first time on the album that we hear Aerosmith’s trademark cowbell. The inclusion matches the music perfectly and is as welcome as Tyler’s harmonica; both helping to define that signature Aerosmith sound.  

Dream On is the power ballad to end all power ballads. While it didn’t chart well upon release, a re-release in 1975 took it to the top of the charts. Despite being played ad nauseam, I never tire of Dream On as it’s the standout on this eponymous release if for no other reason than it features Tyler’s natural singing voice. 

As one of Aerosmith's most popular songs, it stands to reason that it’s been played extensively in their live performances. Of the live versions available, the edition on Live! Bootleg is an absolute masterpiece. The performance on A Little South Of Sanity is pure bliss for it doesn’t change the fundamentals of the song but adds more filler thereby making it a great rendition. While the Classics Live! recording is adequate, if you were hearing this edition for the first time you’d likely wonder what all the fuss was about. That, however, doesn’t set you up for the horrendous live recording that is featured on the Last Action Hero soundtrack. Seriously, what were they thinking about allowing this version to go out? I’m not opposed to the symphonic elements, but the band sound as if they’re bored and just couldn’t have been bothered. Even Perry’s solo is sloppy and uninteresting.

What isn’t sloppy, however, is the cover by Ronnie James Dio & Yngwie Malmsteen on A Salute To Aerosmith. Dio is a vocal god, but it is Malmsteen’s guitar work that is otherworldly and should put Joe Perry to shame. Even as incredible as the performance by Tyler and Perry, with the Southern California Children’s Chorus is, it doesn’t match the Dio/Malmsteen recording.

If you’re interested in how music can be interpreted across genres, you’ll likely enjoy Eminem’s Sing For The Moment as the master of hip-hop/rap sampled the song superbly thereby introducing an entirely new audience to the music of Aerosmith in a manner similar to the Aerosmith/Run-DMC version of Walk This Way. 

One Way Street introduces that trademark harmonica and an addictive foot-tapping rhythm. One Way Street is arguably the most underrated song on the album, likely due to its raw but reserved nature, but it is in this element that it becomes a true masterpiece. 

Mama Kin kicks the album up a notch with a killer guitar riff and momentarily pauses at just the right time. It’s blues rock and roll at its finest and the inclusion of the saxophones is a subtle but welcome addition. 

With regards to the available live recordings, unlike Dream On, the performance on A Little South Of Sanity is a muffled mess, especially where the guitar mix is concerned. That said, Tyler sings it well and I appreciate how he goes in and out of his natural voice and that which he used on the eponymous debut as it offers an interesting contrast. The Live! Bootleg edition isn’t much better, but the Classics Live! recording is somewhat redeemable but it’s nowhere near as good as the Guns N’ Roses’ cover on G N’ R Lies. 

Write Me (A Letter) is a solid rock and roll tune. While it hasn’t been performed extensively, the performance from Boston in Nov. 1976, as featured on Pandora’s Box is, in my opinion, superior to the studio recording as it’s a little more rock and roll with a greater sense of energy and band synergy. 

Movin’ Out starts with yet another classic Perry guitar riff that sets the tone for the song and is most notable for being the first song penned by Tyler and Perry. It’s one of my favourite tracks on the album with a chorus that belongs in rock and roll heaven. That said, you can tell the band is still finding their sound on this track. I’d love to have them re-record this song to see what they could do with it as it reminds me of a demo tape release; an albeit exceptional one!

The alternate rendition, as heard on Pandora’s Box, has a more solid start than the album version. It’s stripped back with an overall simpler mix and recording style thereby making it my preferred version of the song. 

The live recording, as featured on Classics Live! II, focuses strongly on Joey Kramer's drum beat and Tom Hamilton’s bass accompaniment thereby making it a killer recording and one worth checking out if you haven’t already heard it. 

Walkin’ The Dog is an awesome bluesy rock and roll standard that has been covered extensively. While Aerosmith performs it well, with an interesting introduction that includes the use of the Wood Flute, it is amongst the best covers of Rufus Thomas’ original, more pop-focused, hit. Many fans would be familiar with The Rolling Stones cover and in comparison to Aerosmith’s it’s less rock and roll and more closely aligned with the original song, including some of the quirkiness from the original tune.

Overall, Aerosmith’s eponymous debut is a must-own for any Aerosmith fan, even those who prefer their latter highly polished releases, but if you’re remotely interested in blues-inspired rock and roll, with a rough-around-the-edges feel to it, you’ll love this album. 

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Eric Clapton – Slowhand (Album Review)

By the time 1977 rolled around, Eric Clapton was already well-established with a series of hits with The Yardbirds, John Mayall & The Bluesbreakers, Cream, Blind Faith, and Derek and the Dominos, along with four well-received solo albums, including the chart-topping 461 Ocean Boulevard, yet nothing in my mind compares to the consistency and flow of Slowhand. It’s Clapton’s magnum opus.

Perfectly recorded, mixed, and mastered, Slowhand simply has to be heard to be believed. The lossless Apple Digital Master, available via Apple Music, is an experience in and of itself with a warm and enveloping sound signature. Some fans will inevitably point to the SACD release and its associated surround mix but as I haven’t had the privilege of hearing that particular release, Slowhand for me will, for the foreseeable future, be a stereo-focused masterpiece. That said, I do hope that we’ll see the surround mix re-released on Apple Music; not in Atmos, but Dolby Audio (a format that comes under Apple’s Spatial Audio moniker but is not remixed for Atmos thereby matching the original surround mix in an albeit lossy format). Naturally, vinyl editions are plentiful, but the Apple Music stream simply sounds right. Vinyl aficionados will likely be rolling their eyes at that statement, but I don’t find myself looking for more as it pertains to the sound quality of this release; the stream is that good! 

Where the vinyl counterpart would be of value is in the album cover department. While several Clapton albums have iconic cover art, Slowhand is one of those marvels in music where you’ll feel captivated to listen to the album while simply looking at, and holding, the album artwork. Immediately identifiable, the cover art captures the sound, the spaciousness in the mix, and ensures that it isn’t only a musical experience that one can enjoy. 

Behind the scenes, it’s imperative to give credit to the great Glyn Johns for his production and engineering work for Clapton acknowledges in Eric Clapton: The Autobiography that the disciplined producer brought the best out of Clapton and the band, even though they were all getting drunk and stoned¹. Perhaps the most interesting aspect of this admission is that, like many of the greatest albums ever recorded, intoxication was a key element in allowing the performance to speak for itself and in a way, become timeless. Of course, I’ve long suspected that the drugs of the 60s and 70s were of a special batch, for they simply don’t make music like that anymore, and while I don’t condone substance abuse, the correlation can not be ignored. 

What else can’t be ignored are the songs that comprise Slowhand; let’s take a look, and a listen, shall we? 

Cocaine may not be a Clapton original, but his interpretation of J.J. Cale’s original is incredible, adding a more bluesy rock feel to the song while simultaneously removing the twang Cale used in his rendition the year before. 

Wonderful Tonight is one of the most magnificent ballads ever recorded, although I’ve no doubt that some may find it cringeworthy. If nothing else, we surely can all agree that Clapton’s slow hand on this tune is simply exquisite. Naturally, with a song of this style and success, there were bound to be covers and Boyce Avenue’s and Ronnie Dunn’s are thoroughly enjoyable, although it doesn’t stray too far from the original. Michael Bublé’s and Damage’s interpretations, however, aren’t great as they shift the core elements too far thereby destroying the magic of the original composition. Babyface’s, Paul Canning’s and Khalil Fong’s aren’t bad but in all cases, Clapton’s original can’t be beaten. Although, Masaaki Kishibe’s new age instrumental version comes close. 

Lay Down Sally is a toe-tapper but I much prefer the instrumental aspects of the song for while I appreciate Clapton’s vocal, I find Marcy Levy’s backing vocal to be too present in the mix. Whereas, on The Core, I feel her vocal is better placed. Admittedly, The Core is a duet so it should be expected that the vocals were recorded and mixed in a similar manner in an attempt to not overshadow either artist. It’s a shame Lay Down Sally wasn’t mixed similarly. 

Next Time You See Her is blues to the core with a simple hook; sometimes that is all you need.  

We’re All The Way is closely aligned, musically, with Wonderful Tonight. While We’re All The Way may lack the timeless feel of Wonderful Tonight, it’s still a gorgeous song. 

The Core is a solid duet and in a way, it’s surprising to hear Marcy Levy take the lead on the first verse. It’s somewhat unexpected but works extremely well. As mentioned earlier, the vocal mix here is perfect. Also of note, The Core is the longest song on Slowhand and while it could be suggested that it’s too long, the rhythmically infused guitar elements are wonderful to listen to and if you enjoy listening to music while driving, put this on, on your next Sunday drive, and you’ll notice just how magical it is as you traverse through roads less travelled, seeing the countryside, and appreciating the music in your soul. It likely wasn’t written with that intent, but it translates to the scenario perfectly.  

May You Never is a John Martyn cover and not that I have anything against Martyn, but I’m so grateful that Clapton re-recorded it for Martyn’s original is akin to a demo rather than a finished song. 

Mean Old Frisco has a deep blues sound signature that is simply irresistible. While it may not set new ground, and is somewhat predictable, I find that comforting from a listener’s perspective because you can simply meld with the groove and thoroughly enjoy the song. 

Peaches And Diesel is an incredible closer despite being an instrumental tune. Sonically it returns our attention to Wonderful Tonight, a highlight of the album, and subsequently compels me to listen to Slowhand again. 

To say Eric Clapton is a musical legend is an understatement and perhaps even an insult for his musical prowess is amongst the best to have ever strummed a guitar and he proves that on Slowhand; a laid-back rhythmic masterpiece. 

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City Boy – Self-Titled (Album Review)

Released in 1976, City Boy was the eponymous debut for a band that should have received more acclaim than they did. Offering music lovers soaring guitars to a melodic rock rhythm should have cemented their success but it wasn’t to be. A shame, yes, but thankfully streaming gives us all an opportunity to find an album, and a band, that otherwise would never have been on our radar. 

Produced by Robert John "Mutt" Lange and engineered and mixed by Mick Glossop, City Boy is an astonishing recording that has been mixed with pure perfection and would help cement these two behind-the-boards masters’ careers. Lange would not only produce City Boy’s first five albums but would go on to produce some of the biggest albums in music history; most notably AC/DC’s Back In Black, Foreigner‘s 4, and Def Leppard’s Pyromania. Of course, Lange would branch out beyond rock and produce Shania Twain’s masterpiece, Come On Over. With such a legacy, and City Boy being one of his first outings in the producer’s chair, one would rightly wonder how much of his legacy can be heard on these early recordings, but one need not worry for City Boy has a level of spit and polish that, arguably, couldn’t have been realised by the band themselves. That isn’t to suggest that City Boy weren’t capable, for a debut this is one astonishing recording of a very tight band, but correlations can and should be made between Lange’s later works and City Boy for his signature high production style can be easily heard on City Boy.

Mick Glossop’s career has been equally impressive with a discography that knows few bounds. Perhaps most impressive, however, is his extensive work with Van Morrison having contributed his production, engineering, and mixing skills to 17 of Morrison’s albums. Either way, City Boy showed that when you get Lange and Glossop working together on a production, magic happens.

Of course, City Boy is more than the production team and the musicians, Lol Mason (lead vocals), Mike Slamer (lead guitar), Steve Broughton (rhythm guitar), Max Thomas (keyboards), Chris Dunn (bass), and Roger Kent (drums) deserve immense credit for City Boy is one of the greatest albums recorded in the 70s; despite sales suggesting otherwise. Their musical prowess mixed with a vocal harmony style makes for a very pleasurable listening experience and of particular note is Mason’s vocal dexterity which is beyond reproach and Mike Slamer’s guitar work that is otherworldly. Slamer is, without doubt, one of the greatest guitarists you’ve, likely, never heard of. 

(Moonlight) Shake My Head and Leave sets the rhythm immediately, and you’ll be toe-tapping from the very first note, but I’d argue that it’s the weakest song on the album. It’s a little campy in its structure but stick with it for the song opens up with some divine guitar soloing. 

Deadly Delicious reminds me instantly of Skyhooks and I can’t help but wonder if the Australian natives had an influence on City Boy with Living In The 70’s predating City Boy by two years. I don’t know about you, but I can even hear a Shirley Strachan styled vocal delivery. That correlation aside, Deadly Delicious is a pure psychedelic rock masterpiece that really highlights Lol Mason’s vocal capabilities. There is, however, a percussive element mid-song that has a Caribbean wind-chime like sound that I find to be distracting, particularly as it’s a jarring aspect when contrasted with the other musical elements. It doesn’t ruin the song, but I would have preferred that element to be omitted.

Surgery Hours (Doctor Doctor) will have you grooving and like Deadly Delicious is indicative of the 70s sound. Surgery Hours (Doctor Doctor) would have been perfect for a single release, in my opinion, but I also hope that a modern hip hop artist comes across the song and chooses to sample its addictive hook.

Sunset Boulevard slows the tempo but as a classic rock tune, Sunset Boulevard is sensational, rivalling the very best and most popular songs of the era. Honestly, how this album, and particularly this song, was never admired by the broader music-loving public is beyond belief. It just goes to show that sales success isn’t an indication of quality. Absolutely magnificent!

Oddball Dance is so much fun. It’s quirky but is so addictive that I find myself putting Oddball Dance on repeat every time it comes on. It has everything one could want from a song: soaring guitars, killer bass and drum rhythm, magnificent percussive elements, and a lyrical presentation that is not only soothing but energetic. The interlude, however, can take you out of the song, but it doesn’t last long and when the song returns to its original path it’s a momentous moment. 

5000 Years / Don't Know Can't Tell is another song that showcases just how solid City Boy already was despite this being their debut release. The skill present on this song, and many others on the album, would arguably be reserved for artists with a much greater legacy to fall back on, but in the two years prior to this recording, these master musicians honed their art to such an extent that it defies belief. If you haven’t yet done so, may I recommend you turn the volume knob to the right when 5000 Years / Don't Know Can't Tell comes on. You won’t regret it!

The Hap-Ki-Do Kid has a diverse musical style that works surprisingly well as it takes influence from multiple genres. In fact, much of City Boy’s music is so genre-busting that one would rightly hear correlations from various artists, styles, and genres of music when listening to City Boy. Ultimately, it’s a fun tune but after the almost nine-minute behemoth that was 5000 Years / Don't Know Can't Tell it almost feels as though The Hap-Ki-Do Kid ends prematurely. 

The Greatest Story Ever Told is, arguably, the greatest song ever recorded. Okay, perhaps that is overreaching a little but it is a masterpiece that, without doubt, would be in my Top 100 70s Classic Rock playlist; if I had such a playlist, of course. The mix is perfect and the flow between the verses and chorus is the definition of perfection. Every musical element is perfectly presented, and the fade-out is utterly brilliant, meaning there isn’t a single aspect of the song that I’d change. 

Haymaking Time is a lovely closing tune, encouraging me to listen to the album again, but I would have loved for The Greatest Story Ever Told to close the album with Haymaking Time being the second to last track. Interestingly, however, I would have been less likely to listen to the album again following The Greatest Story Ever Told as it is a far more contemplative song, from a musical perspective, than Haymaking Time so perhaps the band and the production team got the tracking right in the first place. 

City Boy is a timeless masterpiece that not only harps back to the 70s era, but is equally appealing to modern music lovers of classic rock. It is with that thought that I feel incredibly fortunate to be able to appreciate music at a time when almost every recording ever made is readily available for if that wasn’t the case, I would likely have never come across City Boy and you, dear reader, wouldn’t be able to enjoy it while reading this review. Unless, of course, you’re one of their longtime fans and have always known just how good, and under-valued, City Boy really is. At least streaming allows the rest of us to play catch-up for this is one album not to be missed. 

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Skyhooks – Living In The 70’s (Remastered) [Album Review On CD & Apple Music]

A debut like no other; an Australian masterpiece!

That is, perhaps, the best way to describe Skyhooks Living In The 70’s, for they may not have known it at the time, but Living In The 70’s would go on to become one of the greatest albums ever recorded. 

Beloved in Australia, Skyhooks never really made inroads into the international music scene. Subsequently, many international readers may be unaware of their music and the influence they’d have over generations of Australian rock bands to come. Thankfully, streaming allows you, dear reader, to listen to Living In The 70’s, wherever you are and there is no time like the present to check out one of the most controversial, yet praised, debut releases ever by an Australian band. 

Living In The 70’s was controversial in that the Federation of Australian Commercial Broadcasters decided to ban six of the songs from the album, from national airplay, citing sex and drug references. Of course, the counter-culture population, at the time, wasn’t going to be told what they could and couldn’t listen to and Living In The 70’s quickly rose to #1 on the charts, selling 226,000 copies in the first year; a feat never before seen within the Australian music scene. 

Not only was their sardonic view of the zeitgeist in Australia in the 70s a pivotal element for Skyhooks, but they had a hook and they caught us hook, line and sinker, with their catchy blues-based groove rock and combined glam rock style. To say Skyhooks was multifaceted would be a borderline understatement, for their musical style defies adequate explanation. Living In The 70’s is, subsequently, an album that needs to be heard to be fully understood and appreciated. Exceptionally written, recorded, mixed, and mastered, you’ll be in pure musical bliss for the entire duration.

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The edition of Living In The 70’s that I’m fortunate to own is the remastered CD from 2004 with the additional B-side, Broken Gin Bottle; a perfect addition to an already flawless album. Although, the CD isn’t quite as flawless as I’d like it to be for the booklet, while at first glance is perfectly fine, has an error in its printing whereby several pages of the liner notes are missing, replaced by liner notes from a Linda Ronstadt compilation. Now, I have nothing against Linda Ronstadt; a phenomenal musician, but this is Skyhooks and I’m missing all the lyrics except for the eponymous track and Broken Gin Bottle. It’s a frustration, to say the least, but the sound quality is so good that I haven’t bothered with a replacement.

Yes, Living In The 70’s is a remaster and while I’ve been critical of remasters over the years, this one is done really well with respect for the source material. It sounds right, unlike Cold Chisel’s disastrous Circus Animals. The soundstage is wide and enveloping and every instrument can be heard with incredible clarity. The Apple Music stream, by comparison, is a good facsimile but isn’t as live-sounding as the remastered CD. As usual, if you don’t compare the editions, you’re unlikely to notice anything is lacking, but the CD most certainly is more fun to listen to as the music has a fluidity that is missing from the streaming counterpart despite being derived from the same mastering sessions.

That all said, it would be nice to see a vinyl reissue. It isn’t that the digital offerings are cold, anything but, but given the 70s were all about an analogue sound, it seems only fitting that one of the greatest Australian albums of the 70s finds its way back to the format that it was originally presented on. 

Living In The 70’s is a killer, rhythmically charged, opener that will have you singing along as you’re grooving to the tune. It has some exceptional guitar and percussion work that showcases the polish and musical skill Skyhooks had right out of the gate.   

Whatever Happened To The Revolution continues with the upbeat tempo and in many respects, Skyhooks has a similar style to The B-52’s, in my opinion, in that it becomes a fun listen that is unique when compared to much of the music at the time. Even by modern standards, Whatever Happened To The Revolution sounds fresh. 

Balwyn Calling, again, has some killer guitar work. I wonder if it would be wrong to suggest that Living In The 70’s is an album that is successful due, primarily, to the intertwining guitar elements.

Horror Movie is, without a doubt, my all-time favourite Skyhooks tune. If you haven’t turned the volume up by now, you’re listening wrong!

You Just Like Me ‘Cos I’m Good In Bed says it all, doesn’t it? A fun track that will bring a smile to your face. While I can understand why the Federation of Australian Commercial Broadcasters banned this tune and five others, I’d call it overkill as we really can take ourselves a little too seriously at times. Nevertheless, it’s a great tune that flows beautifully within the album structure and is another song that showcases just how proficient Skyhooks were; there’ll never be another quite like them!

Carlton (Lygon Street Limbo) incorporates the energy and musicality of Australian music in the 70s. 

Toorak Cowboy is a toe-tapping, head-bopping, good time in a country-style that you’ll either love or hate. It’s a little different to the other songs featured on the album, but it works. 

Smut, like Toorak Cowboy, shifts the tone of the album slightly, but it never feels out-of-place despite the mellower approach here. 

Hey What’s The Matter is groovy; try sitting still through this one. As with much of the album, it’s impossible thereby making Living In The 70’s the perfect soundtrack to your energetic life.

Motorcycle Bitch is riff-driven heaven and Graeme Strachan’s vocal on Motorcycle Bitch, in particular, is magnificent. There’s little doubt in my mind that he was one of the greatest vocalists to ever record a tune. Bon Scott is usually held up as the poster child for Australian rock and roll vocals and while this doesn’t take anything away from his vocal prowess, Strachan was on par if not slightly more capable as a vocalist. I mention this as I don’t feel Strachan has ever received the recognition he deserved. 

Broken Gin Bottle (B-side of original Living In The 70’s Single) was not part of the original tracking of Living In The 70’s, but I couldn’t imagine the album without it. Again, and I know that I’m repeating myself, but the guitar work is extraordinary. Of course, every element makes the song and Skyhooks were on fire with Living In The 70’s. If you only ever listen to one Skyhooks album, make it this one. A debut, yes, but it plays like their greatest hits release.   

What more can be said about one of the greatest albums ever recorded? Not much, the music speaks for itself; it’s that good!

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Eagles – Hotel California (Album Review On Vinyl, HFPA Blu-ray, CD, & Apple Music)

Hotel California is a timeless classic, but does it build upon the masterpiece that is One Of These Nights or is it merely the success of the title track that has given such reverence to this 1976 release?

While the answer to this question will be highly subjective, I’ll give you my opinion based on listening to the album more times than I can recall. Before we discuss the songs that form Hotel California, however, let’s take a quick look at the versions that I’m fortunate to own for each of them is unique in what they offer to fans. 

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2014 Vinyl Reissue: 

While I consider myself fortunate to own this edition, it is good, not great. Mastered by Bernie Grundman from 192/24 bit files, one would assume that the album should sound magnificent yet when comparing to the 40th Anniversary releases, as we will shortly, this 2014 vinyl reissue falls short as it is too bass-focused thereby causing a muddiness to the music. Yes, it takes comparing editions to hear this muddiness, but when listening to the 2014 vinyl reissue, and attempting to clear your mind of other influences, it is likely that you’ll note something is off. Again, the reproduction is good but if you’re after the very best pressing of this recording, this edition is unlikely to impress with its darker sonic signature that conceals elemental aspects of the music.

The packaging, however, is impressive. You’ll be presented with a gatefold design that harks back to the original release. Liner notes are detailed but missing lyrics for all songs other than Hotel California; an aspect that remains true to the original releases. The original band fold-out poster is also included, meaning that besides the barcode and up-to-date release information, this edition is about as pure as you’re going to get unless you track down, or are fortunate to own, an original pressing. 

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40th Anniversary Deluxe Edition:

When one thinks of a box set release, especially the size and complexity of the 40th Anniversary Deluxe Edition set, it wouldn’t be erroneous to assume that a vinyl record should have been included. It is an omission that befuddles the music-lover within for a Deluxe Edition of anything should be an all-inclusive release. Yes, I acknowledge there are Super Deluxe Editions and that they need to leave something for a 50th Anniversary release, but as a music collector it bothers me that we are required to purchase multiple copies of the albums we know and love in order to get everything. It is a collectors nightmare and the record labels know only too well what they’re doing. 

As a result, when the 40th Anniversary came about, a standard CD, Expanded double CD edition, and this Deluxe Edition were released. Yet, to my knowledge, no vinyl reissue was released meaning that the mastering on the vinyl release is subsequently different to that on the digital reissues. I’ve no doubt for many people this will not be an issue, but if you love music as I do, you may find yourself wondering which version would be the best to own. While tastes are highly subjective, I can say without hesitation that if I were to purchase only one release, it would be the standard remastered 40th Anniversary CD. 

Given the 40th Anniversary Deluxe Edition set includes a High Fidelity Pure Audio (HFPA) Blu-ray Disc that contains the 192 kHz/24-Bit stereo mix of Hotel California, one may assume that I would prefer this edition more as the CD is a standard 44.1 kHz/16-bit by comparison and bigger is always better; right? 

Well, it is more complicated than that for the included HFPA Blu-ray Disc is essentially a reissue of the 2001 DVD-Audio release. That isn’t to suggest it is bad, for the surround sound mix is extraordinary. What I am saying, however, is that this edition is a different master to the 40th Anniversary CD. Subsequently, it is the mastering, rather than the format, that I am drawn to. 

In a similar manner, the Apple Music edition, an Apple Digital Master, is also derived from the latest remastering sessions and sounds astonishingly good. Not quite as impressive as the CD, for the CD has a more open and natural presentation, but unless you’re comparing them, as I have, you likely wouldn’t be disappointed in the streaming counterpart.  

Returning our attention to the remastered CD, the advantage it offers over the HFPA Blu-ray stereo mix is that it smooths the edges of the recording slightly. Don’t get me wrong, it isn’t a night and day difference, for if it were, we’d be talking about completely different albums. What I would say, however, is that if you dislike digital glare, then the CD offers a more laid-back presentation. 

One would rightfully question playback equipment, but this too is uniform as both the HFPA Blu-ray stereo mix and remastered CD were played through my Oppo BDP-103 utilising its Cirrus Logic CS4382A DAC. Even the Apple Music stream was played back via this approach as the Oppo Blu-ray players permit adding an Apple TV, via HDMI, thereby utilising the analogue circuitry of the unit. This uniformity certainly assists when comparing different masterings and formats thereby allowing any differences to be more noticeable than if the audio was decoded via various DAC implementations. 

Stereo editions of Hotel California aside, the 40th Anniversary Deluxe Edition set, of course, offers a DTS 5.1 surround sound mix of this classic album. Yes, it is the very same Elliot Scheiner mix from the DVD-Audio, but given that edition has been out of print for years and considerably expensive on the secondhand market, it is wonderful to see that it is once again available for those of us who are interested in the surround mixes. 

The greatest compliment I can give the surround sound mix is that if you’ve got a DTS capable system, stop reading this review and go and track down a copy for it offers a feeling that can only truly be appreciated firsthand. 

Yes, it changes many aspects of Hotel California, that you know and love, especially if you’ve only heard the stereo mix, but you’ll feel it in your bones and in your soul like never before. 

As is the case with all DTS soundtracks, there is a bass-focused aspect that one must consider. It is different to the bass aspects found on the 2014 vinyl reissue, for they muddy the sound. The 96 kHz/24-Bit DTS 5.1 surround sound mix is detailed and enveloping, meaning that while the bass is prominent, it isn’t overpowering but helps to better form a soundstage that will envelop you with sound. Of course, your experience may vary depending on how your surround sound system is configured. 

While I’ve never been fortunate enough to hear the 2001 DVD-Audio release or the respected DCC release from the 90s, I’d argue that there really isn’t a bad version of Hotel California to be found and that each version is a true representation of the original recording with slight variances that may, or may not, appeal to you.

As you can likely gather, choosing the best version is not necessarily an easy task for all editions have their own pros and cons. So, how do you choose? 

It isn’t easy and the inclusion of the surround sound mix certainly complicates things. However, as I alluded to earlier, when I think about playing Hotel California, I gravitate towards the CD that is included in the 40th Anniversary box set as it provides a sound signature that falls conveniently between the other versions I’m fortunate to own. It simply gets everything right and there are no glaring aspects of concern. It is smooth, with just the right amount of bass and treble. Plus, and I can’t stress this enough, it is widely compatible with the other CD players I own. As much as I appreciate HFPA Blu-ray releases, they are almost as inconvenient as vinyl for very few of us have multiple listening spaces for such a setup. As mentioned earlier, if you’re after a good all-rounder, you can’t go wrong with the standard 40th Anniversary CD for it is readily available, affordable, and is pretty close to the best this album has ever sounded in stereo; from my perspective, at least.  

Of course, in this three-disc collection, I’ve yet to mention the Live At The Los Angeles Forum 10/20-22/76 component. While it is an abridged release, it’s solid from start to finish and despite not being as sonically spectacular as Hell Freezes Over, it’s a great classic live recording that is worthwhile for any collector. If you’re not interested in the HFPA Blu-ray Disc, then the double CD release for the 40th Anniversary of Hotel California has you covered as this live recording is presented on the second disc. Streamers can also rejoice as there is a digital version available as well. 

That all said, there is no doubt in my mind that the 40th Anniversary Deluxe Edition is beautifully presented with the included 44-Page Book containing Rare Photos and Memorabilia, along with a 20-Page Hotel California Tour Book and Three Posters. However, I’m less than impressed with the way the discs are sitting within the box. The rubbery knobs that the discs sits on will undoubtedly be a point of failure in the future and I would have expected much more for the price. As I’ve already mentioned, the lack of a vinyl edition being included is an oversight and to be honest unless you’re after the HFPA Blu-ray Disc, I’d go with one of the CD options as there simply isn’t enough value to justify the cost. 

Hotel California is a masterpiece even if it’s an overplayed one by some people’s standards. However, I never tire of it and consider its introduction to be one of the best ever recorded in music history. The studio recording is flawless, but if you haven’t had a chance to hear the live recording from Hell Freezes Over; I implore you to give it a listen for Hotel California has never sounded better. Hotel California has a little bit of everything and that addictive rhythm, with the intermingling guitar solo is simply magical. There is little wonder Hotel California has been played ad nauseam over the years and I can only imagine what it would have been like to have been in the studio as it was being recorded. Incredible!

New Kid In Town is a great tune that sounds as if it should have been on One Of These Nights and once you’ve got past the stylistic shift, from Hotel California, New Kid In Town is a lovely song in its own right that works perfectly well within the album structure. 

Life In The Fast Lane picks up the tempo and again highlights the guitar-focus that seems to be a trademark of Hotel California. It’s rhythmically charged and while it could be suggested that just as James Dean doesn’t fit the overall style of On The Border, Life In The Fast Lane is similarly a little too rock and roll for this album. 

Wasted Time is one of Don Henley’s greatest vocal achievements. A beautiful song, with a perfect mix, and one that complements Hotel California perfectly. While the upcoming reprise seems a little out-of-place when it comes to digital releases, nothing is better than flipping the record from Side One and having the reprise to look forward to for I could easily argue that Wasted Time is the very best song ever recorded by the Eagles. It blows my mind every time I listen to it. 

Wasted Time (Reprise) is a lovely instrumental counterpart to the core song and while Hotel California wouldn’t be the same without it, I do wish that they would have remixed/edited the album for release digitally, thereby omitting the reprise, as flow and continuity isn’t as important as it was for the original vinyl release.

Victim Of Love takes things up a notch and despite being considerably different to Wasted Time, Victim Of Love is perfectly tracked. While Henley once again is the lead vocalist, his drumming on this particular track is a standout for me as it provides a perfect backbeat rhythm that the rest of the music is built upon. While I’ve pondered if Hotel California is greater than its lead track, songs like Victim Of Love and Wasted Time prove that Hotel California is a masterful achievement. 

Pretty Maids All In A Row continues that masterful style and Joe Walsh’s unique vocal, especially in the opening verse, offers an interesting stylistic shift. I don’t know about you, dear reader, but while Walsh is well-respected in his own right, I’ve often felt that he hasn’t received the recognition he deserved, particularly in the Eagles, for he is one of the greatest musicians of our time. 

Try And Love Again offers yet another vocal perspective to the Eagles style and Randy Meisner knocks it out of the park. While his departure allowed Timothy B. Schmit to join the Eagles, Meisner certainly went out on a high with this song having also penned it.

The Last Resort is the perfect closer and afterwards, at times, I’ll sit and let the music that I’ve just listened to permeate my soul. Yet at other times The Last Resort will compel me to listen to Hotel California again; it is that good!

Hotel California most certainly deserves the recognition it receives and while I’d still suggest that One Of These Nights is their greatest achievement, there are few albums that are as tight as Hotel California. 

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Live At The Los Angeles Forum 10/20-22/76: 

Take It Easy is a great toe-tapper and one of the best live editions that I’ve heard. That guitar solo, while short, works superbly well in enhancing the song from its origins. 

Take It To The Limit was previously released on Eagles Live and I remain convinced that this performance bests the original studio recording. If nothing else, Meisner’s vocal is smoother and less shrill than the studio recording; an aspect that I appreciate. 

New Kid In Town, for this particular live performance, is superior to the studio recording. It is a little more laid back in its presentation, particularly in the harmonies, and that subsequently makes it a little more enjoyable and less jarring on the senses. 

James Dean still sounds out-of-place in the Eagles’ catalogue, from my perspective, and while there is nothing wrong with this recording, it doesn’t break new ground either. That said, I do prefer this live recording over the studio release. 

Good Day In Hell is an interesting choice for a live performance as I consider it album filler. Nevertheless, it’s a solid performance that works really well within this collection and it’s another song that I feel is better than the studio recording. 

Witchy Woman has such a grungy guitar intro; I love it! While first released on their self-titled debut some four years earlier, this free-flowing performance is exceptional.  

Funk #49 is classic Joe Walsh, from his time in the James Gang. It’s a great song and a fantastic cover. In some ways, I wish it was an Eagles’ original, but at least we’re fortunate to have this live recording. 

One Of These Nights is styled somewhat differently from the original studio release; I like it! 

Hotel California is arguably the first live performance of the well-over 1,000 times the Eagles’ have performed this classic song and it’s really good. It isn’t the best, not by any means, for that award goes to the Hell Freezes Over performance. It is nice, however, to hear earlier renditions to appreciate how it would have been presented at the time, especially in regard to the guitar tuning as it offers a different interpretation. 

Already Gone is a solid closer with an addictive rhythm and twang…hold on a sec, I said that very same thing when reviewing Already Gone as the opener for On The Border. And, yes, the woo-hoo-hoo vocal elements remain distracting.  

While Live At The Los Angeles Forum 10/20-22/76 is clearly truncated, and it would have been wonderful to have a more complete recording to enjoy, it has been put together extremely well whereby you’re left wanting more; always a good thing! 

Overall, you really can’t go wrong with Hotel California but as there will undoubtedly be a 50th anniversary release of this album, it is my hope that the shortcomings will be rectified. We will, of course, have to wait another few years to see how the Eagles and their record label will convince us that we need yet another edition of one of the most beloved albums in our collection. Until then, the 40th Anniversary editions shall suffice.

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Eagles – Desperado (Album Review On Vinyl & Apple Music)

A year after their astonishingly good Self-Titled debut, the Eagles returned with Desperado; an album arguably leaning more towards a country-styling, than their debut, as they focused on the old west in American culture. Considering Desperado as a concept album, one can't help but see a correlation between Desperado and Elton John's similarly themed 1970 released Tumbleweed Connection. Perhaps the Eagles copied that concept, but if that was ever an element, it has never been discussed to my knowledge. Either way, as a fan of the old west, when the theme is done well, as it is in this case, it can be extraordinarily rewarding for the listener. 

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Also rewarding is the 2014 vinyl reissue that I’m fortunate to own. Sonically, it is a beautiful reproduction that is dynamically pleasing with an incredible soundstage that is as wide as it is deep. I love it when the speakers disappear, and I become immersed in the music. Part of the immersion can also be attributed to the album artwork that is striking in its presentation and this particular reissue has a textual cover, reportedly the same as the original 1973 vinyl release. While the red text, on the near-black background, looks a little washed out and therefore more difficult to read, it is a major improvement over the Self-Titled debut whereby the text on the inner sleeve was basically unreadable. 

While this re-issue was marketed as replicating the original artwork, the album label is different from the original releases I’ve seen. Where they had a plain white background, this edition features a cloudy background. It isn’t really an issue, but I do appreciate accuracy should a record be considered a replica. Nevertheless, this particular release is mastered and pressed perfectly and therefore I can wholeheartedly recommend it to any fan of the Eagles. 

For those of you not interested in collecting music on physical formats, the Apple Music stream, an Apple Digital Master, is exquisite in its own right and you really won’t long for a better reproduction; unless, of course, you compare the releases as I have and in that instance, this vinyl reissue offers a more captivating experience. 

SIDE ONE

Doolin-Dalton is incredibly compelling. That harmonica just reaches into my soul every time I listen to this masterpiece. It’s also important to note that it is less harsh on the vinyl version when compared directly to any of the digital counterparts.

Twenty-One is too ‘country’ for my liking. The banjo is an acquired taste and while I don't dislike it, I feel it is played too fast for this song and subsequently, it’s as though I’m listening to two different songs when Twenty-One starts playing.

Out Of Control is a solid rock song that I feel would have sounded better on On The Border, just as James Dean is. If you didn't know, James Dean was recorded for Desperado but held back at the time as it didn’t match the album perfectly.

Tequila Sunrise is a beautifully relaxing song that gets better the more often I hear it. I don't know as I could ever tire of this song as it uses every part of the soundstage to ensure you're enveloped in sound. Amazing!

Desperado, despite not being released as a single, has become a fan favourite and is one of the Eagle's very best recordings. Vocally it is a little rough around the edges, but that gives the song character and I couldn't imagine it with any more spit and polish.

SIDE TWO

Certain Kind Of Fool is fantastic with the perfect tempo, guitar strum, and vocal delivery. Certain Kind Of Fool is a hidden gem that casual fans would likely miss but is undoubtedly one of the best songs on the album.

Doolin’ Dalton (Instrumental) is a distraction and while it flows well into Outlaw Man, Desperado would have been fine without this deviation. Interestingly, this instrumental track has never been listed on the back of the record sleeve. It is written on the record label, however. Other than a typo that has remained consistent throughout the years, I can’t help but wonder why this may be the case.

Outlaw Man is a killer song with a spectacular soundstage and while positioned on the B-side of the album, it’s an A-side in my opinion. I love it! On a side note, this song would have been perfectly suited to Fleetwood Mac’s Rumours era.

Saturday Night is a lovely ballad. Perfect harmonics and just an all-around great song. As good as some of the tracks on Side One are, it is the second side that makes Desperado a must-own album. Astonishingly good!

Bitter Creek is one of my all-time favourite Eagles songs. You may not have heard it before as it is unlikely to be played live and doesn’t appear on any of the Eagles’ career perspective releases, but there is something very special here. The simplicity of that guitar strum and intermingling vocal, interspersed with the harmonies, is nothing short of amazing.

Doolin-Dalton (Reprise) is enjoyable but I would have been extremely happy if Bitter Creek was the final song on the album. I’ve never been much of a fan of the reprise, as I would generally prefer to hear the original track again, however, I do enjoy the electric guitar tracking instead of the harmonica as it creates a unique experience that works remarkably well.

Similarly, Desperado (Reprise) builds upon the original song without disrupting the magic that made the original so special. It’s a perfect way to close the album, ensuring I’ll listen again and stay within the Eagles’ catalogue.

Desperado is an album of hidden gems, combined with a few hits and a couple of misses. However, it all comes together in a coherent experience that is thoroughly enjoyable and worthy of the Eagles.

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