Herb Alpert – Rise (Album Review)

Gone are the kitsch, but eye-catching, album covers of Alpert’s creative output with The Tijuana Brass for his solo works, which are equally exceptional, present a less flamboyant flair but just as you should never judge a book by its cover, Rise is one of the most energetically exciting releases of Alpert’s career and is without a doubt one of the best albums released in 1979.

Alluding further to the cover art for Rise, I find it to be stunning with full praise going to photographer Barry McKinley. The perspective vinyl record artwork behind Alpert, along with its lighting and the overall composition, is a work of art that is truly worthy of displaying; especially on vinyl.

While I, unfortunately, don’t own a copy on vinyl, the lossless Apple Music stream, an Apple Digital Master, is sonically magnificent. About the only thing that the vinyl counterpart would bring to the table, minus the larger artwork and the tactility of the format, is a further level of warmth and smoothness to the sound. That said, it really isn’t needed for Rise will have you toe-tapping and head-bopping throughout.

Some may lament the change in direction for there is a little less jazz and mariachi-styled music to be heard here but these styles aren’t missing entirely as Alpert has infused them with disco and rhythm and blues cues; a combination that likely appeals to a wider audience. There’s even a little soft rock to be heard throughout. On paper, it may appear to be a mishmash of creative ideas, particularly as the first half of the album is assigned to original compositions by Andy Armer, Herb Alpert, and Randy Alpert while the second side is a collection of covers, but the proof is in the listening as this is one album you’ll want to play again and again; it’s intoxicating!

1980 opens Rise magnificently, paying homage to Alpert’s core styling while simultaneously introducing new musical elements that set the tone for the entire album. 1980 is most notably transitional and in the best way possible for it becomes instinctive as you listen to interleaving styles that you’re about to hear throughout the rest of the album. Interestingly, 1980 wasn’t written with that intent for it had been earmarked as the official theme for the 1980 Summer Olympics in Moscow only to later be used, arguably more appropriately, for the FIFA World Cup in Mexico in 1986. Despite that, there isn’t a song that Alpert recorded that would have been a better opener for Rise. 

Rise was a Billboard No. 1 hit and a Grammy Award-winning song for Alpert and rightly so. Without a doubt, it’s the highlight of the album. Perhaps on a note of disappointment is the fact that Andy Armer and Randy 'Badazz' Alpert, despite being nominated, didn’t win a Grammy Award for Best Instrumental Composition; they truly deserved it! Rise is rhythmic gold with an incredibly immersive soundstage that will captivate your soul. 

While nothing can beat the original, Rise was sampled masterfully on The Notorious B.I.G.’s Hypnotise and covered beautifully by Glass Candy.

Behind The Rain slows the tempo a little, certainly throughout the introduction, but its sweeping sound will captivate the senses as it moves between musical influences including a killer rock and roll guitar solo that doesn’t overpower the mix but compliments it. 

Rotation has a modern sound that hasn’t aged a day since it was recorded. Yes, good music shares this timeless aspect, but Rotation is a little different for there are few modern musicians that record in a style such as this, yet it sounds as if it was only recorded yesterday. 

Street Life is one of the greatest songs ever written and while I adore The Crusaders’ original, Alpert reinterpreted it like no other could. It matches the original, even bests it, yet it quizzically takes nothing away from the seminal recording. Few cover songs are done so exquisitely that they become a celebration of the song itself rather than a bastardisation. 

Love Is is the only song on Rise that I feel indifferent towards. While it wasn’t entirely uncommon for Alpert to perform vocally, it isn’t his forte. Musically, however, there’s some exceptional playing if you care to listen beyond the repetitive vocal. Love Is was originally recorded by Bill Withers and while this rendition is very similar, I feel the song is better suited to Withers. Fans of the song will note that Alpert removed all lyrical elements aside from the repetitive chorus. That approach certainly works as the vocal becomes a harmonic musical element, rather than a storytelling device, but I remain unconvinced that the vocal aspect was needed at all.

Angelina has a personality all of its own. It’s the type of song that tells a story without the need for lyrics and is how all good instrumental music should be presented. Angelina has plenty of influences, from various musical styles, with even a little country being mixed with the eclectic sounds of the Caribbean. 

Aranjuez (Mon Amour) is a magnificent song and is arguably the closest song on the album to Alpert’s style when performing with The Tijuana Brass. While I’m not sure it’s the greatest version of the tune that I’ve ever heard, as it’s a little too disco-driven, Alpert’s interpretation is exceptionally good and closes the album perfectly.

Alpert may have outsold The Beatles in the 60s but as magnificent as his music was during that era, Rise is quintessentially Herb Alpert; a musical masterpiece if there ever was one. 

Check out more reviews for Herb Alpert by Subjective Sounds

The Alan Parsons Project – Tales of Mystery and Imagination (Album Review)

Unlike George Lucas ruining the original Star Wars trilogy, the 1987 remix of Tales of Mystery and Imagination is nothing short of perfection and while the original mixes, from 1976, are worth your time tracking down and listening to, the remix is arguably the best way to enjoy this cult classic. 

Yes, there’s an 80s vibe to this 70s album, but the prog-rock style remains ever-present thereby offering not only refinement in production but a significant improvement over the original. No doubt there’ll be some who prefer the original mix and there’s nothing wrong with that. Subjectively, I prefer the fuller, more atmospheric, sound of the remix along with the inclusion of the Orson Welles’ narration; although it does make for a less fluid and relaxing musical experience. 

While the original mix has previously been difficult to come by, in the modern era, it’s wonderful to note that it is available, as of 2024, via Apple Music et al. However, in going back to the album whilst compiling the upcoming Best Albums of 1976 ranked list, I took the time to listen to both versions and can declare that I remain most impressed with the 1987 remix as it’s more akin to a rock symphony than its original mix. It is simply a sonically better, and bolder, presentation, that works incredibly well with the style of music. 

It’s also important to mention that the 1976 mix was reissued in a 2007 Deluxe Edition and via the 40th Anniversary releases; a release that is not currently available to streaming services. As physical releases go it should be noted that Mobile Fidelity Sound Lab was the first to re-issue the original album on CD in 1994, although this particular release isn’t readily available and goes for considerable prices on the second-hand market. These releases no doubt showcase a perfect example of why physical media reigns supreme, but it’s a missed opportunity for those of us who choose streaming as our primary method for music delivery and it would be nice to see these additional versions released to a broader audience. 

Similarly frustrating is the fact that a higher resolution and the well-respected surround sound mix is missing from Apple Music. The only version present is the lossless CD-quality edition and while it’s an adequate facsimile, it could be so much more immersive. Given Apple Music’s push for Spatial Audio Dolby Atmos streams, it’s bizarre that Mercury Records hasn’t delivered Apple Music for streaming via their network. Most likely, while it is only conjecture on my part, they’re probably waiting for the 50th Anniversary release window before offering an updated release. Some may ponder if the surround mix is available elsewhere, or if a higher resolution is present via TIDAL or Qobuz and the answer to that thought process is no. They have the exact same version, of this album, as Apple Music. While it may be a frustrating omission, let’s hope that we will see additional offerings over the next couple of years as the album approaches its 50th Anniversary.

While fans will be aware of Alan Parsons’ legacy, newcomers may not realise that this project and the subsequent albums didn’t merely come about randomly for Parsons worked with The Beatles, Paul McCartney & Wings, and Pink Floyd as an engineer on Abbey Road, Red Rose Speedway, and Dark Side Of The Moon respectively. To say he’s a legend would be an understatement but no amount of collaborative efforts with these musical masters could have prepared the world for the haunting musical retelling of Edgar Allan Poe’s most classic written works.

Of course, 70s art rock would be for nothing if album artwork hadn’t played a key role. Instantly recognisable, the barren artwork directs your eye to the centre image, one of a shadow man presented on a strip of recording tape. The concept’s great for it is as if there’s an open door in the two-dimensional world that we can see but can’t quite access. From a distant view, it also gives the impression of an audio waveform; at least to me. 

Upon the release of the 1987 remix, however, the cover art did get a makeover that fills in the white space with an even more obscure caricature, taken from the original liner notes, that works surprisingly well with the existing artwork. It also maintains a solid match to the music but whichever way you look at it, both designs can stand on their own, sans the musical accompaniment. 

As with many popular albums from the era, there was a range of alternative cover art, with some of the cassette releases being particularly appealing along with the 1977 vinyl reissues that feature Parsons being wrapped up as if he would become the faceless mummified man. 

Nevertheless, while the cover art may have drawn you to the album, it’s ultimately the music that keeps us engaged and coming back for more. Join me as we explore the music that makes the Tales of Mystery and Imagination so compelling. 

A Dream Within A Dream (1987 Remix) opens the album with Orson Welles’ narration. While it isn’t the best opening, it’s far from the worst and helps the music to build gradually in the background. Once the minute-long spoken introduction has ended, the rest of this tune, instrumental in nature, has an oriental feel to it before morphing into a rhythmic rock piece. A Dream Within A Dream is just that; a multitude of songs within a singular track. Stunning and emotive, A Dream Within A Dream most importantly flows seamlessly through the transitions, blending perfectly into The Raven. 

The Raven (1987 Remix) is the opus here, both from Edgar Allan Poe’s perspective as well as The Alan Parsons Project. It’s magnificent and in part that is due to Alan Parsons’ use of the vocoder that breathes an otherworldly life into the song. Similarly, Leonard Whiting’s non-distorted vocal on The Raven is incredible, as is the guitar solo that is notable for being included in this 1987 remix. Even if you’re not a fan of the entire album, The Raven is one of the greatest classic rock songs ever recorded. 

The Tell-Tale Heart (1987 Remix) has a Led Zeppelin feel to it but it’s symphonic rock at its very best. There are moments of chaos and moments of subtle delicateness, but it all comes together in a killer tune that will set your stereo on fire; figuratively speaking, of course! 

The Cask Of Amontillado (1987 Remix) flows seamlessly from The Tell-Tale Heart, even though the style is much more mellow by comparison. It takes a group of master musicians to pull off such a transition even when contrasted against the era of the linear album format. The adage that they don’t make music like this anymore rings true for The Cask Of Amontillado is audible perfection.

(The System Of) Doctor Tarr And Professor Fether (1987 Remix) is a killer rhythmic tune. John Miles’ did a remarkable job on the vocal but it’s the guitar tuning, and performance, that really sets this recording apart from the rest of the songs on Tales of Mystery and Imagination. 

The Fall Of The House Of Usher [Instrumental] (1987 Remix) while split into Prelude, Arrival, Intermezzo, Pavane, and Fall sections is arguably a collective body of work that shouldn’t be considered as individual pieces when discussing the movement. Yes, it is sectional and could be discussed in that manner but The Fall Of The House Of Usher is stronger as a continuous piece of work that will remind you of Pink Floyd in places, particularly in the Arrival section, and classical symphonies in others. There’s even a classic film vibe, think The Godfather, to be heard within the Prelude area of the movement.

The Fall Of The House Of Usher [Instrumental], overall, is a lovely piece but one would rightly suggest that Side A of the original vinyl release would be worn out, unless you’re more of a fan of the symphonic elements, for that is where the soul of Tales of Mystery and Imagination really lies. Of course, what could be seen as a weakness could also be interpreted as a strength for this album can be listened to, and subsequently interpreted, in different ways. The Fall Of The House Of Usher [Instrumental] is a 15-minute behemoth but it’s as memorable for its length as David Bowman's movement through space and time in Stanley Kubrick's 2001: A Space Odyssey. 

To One In Paradise (1987 Remix) closes the album out nicely while ensuring that you’ll feel like playing it again. Even though To One In Paradise may not compare to the songs found on the first half of the album, it’s contemplative meaning that even if you decide not to spin the record again, you’ll be just as rewarded for sitting back and reflecting on the music you’ve just experienced. 

From start to finish, the Tales of Mystery and Imagination is an experience. One that will captivate you, and allow you to interpret Edgar Allan Poe’s works in an entirely different manner to his written output. Despite its modest success and subsequent cult following, I’m sure that if you take the time to listen, undistracted by the world around you, you’ll also become a fan of The Alan Parsons Project: Tales of Mystery and Imagination…forevermore. 

Check out more The Alan Parsons Project reviews by Subjective Sounds

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.

Check out more reviews by Subjective Sounds

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. 

View fullsize

View fullsize

View fullsize

View fullsize

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. 

Check out more Aerosmith reviews by Subjective Sounds

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. 

Check out more reviews by Subjective Sounds

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. 

Check out more reviews by Subjective Sounds

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.

View fullsize

View fullsize

View fullsize

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!

Check out more reviews by Subjective Sounds