Michael Jackson – Off The Wall (Album Review)

For many, Michael Jackson’s greatest release will always be Thriller, yet I consider that album to be his weakest, from a musical perspective, instead suggesting that Off The Wall is far superior, closely followed by Bad and Dangerous. Off The Wall is tight, purposefully fluid, and lacks filler. With disco vibes, funk, and soft rock influences, merged with some sensational pop styling, Off The Wall is not only one of Jackson’s greatest albums but is one of the best albums released in the 70s; particularly in 1979. 

Jackson’s first album with Quincy Jones in the production chair showcased just how far he could go as a solo artist with the right team behind him. Yes, his earlier solo Motown releases were thoroughly enjoyable, but they lacked Jackson’s opinions, for he was positioned to be the singer of other people’s songs rather than his own. No more is this relevant than on his 1975 album, Forever, Michael; a solid release of catalogue tunes but one that failed to capture the attention of the music-loving public. While Jackson and his brothers would move to Sony Music in 1976, and subsequently begin to write their own music, The Jacksons showed promise and released some of my favourite Jackson-family material, but going solo with Jones provided the singular focus and creative freedom that allowed Jackson to achieve superstardom, ultimately transforming himself into the King of Pop. 

Of course, it wasn’t merely these two men who should be congratulated for the results heard on Off The Wall. The musicians and entire production team should be praised for recording an album that is a textbook example of how music should be recorded and mixed; thank you, Bruce Swedien! There isn’t a singular misstep in the entire 42-minute runtime and while Jackson would only pen three songs from this 1979 masterpiece, when you have the likes of Rod Temperton, Paul McCartney, Stevie Wonder, and David Foster writing some of their very best music, there leaves little doubt as to why Jackson and Jones would record these songs, ultimately making them Jackson’s own. Even though Paul McCartney recorded Girlfriend with Wings in 1978, it isn’t good and is likely the worst song McCartney ever recorded. Yet, while not the most notable song featured on Off The Wall, Jackson performed it exquisitely. 

As it pertains to the mastering, Off The Wall hasn’t always been as uniform as the recording demands. While I’ve been fortunate to own the 2009 Music On Vinyl (MOV) reissue, the noise floor of this particular release is a little higher than I’d ideally like, thereby creating a distraction when playing at higher volume levels. While this could be overlooked, given the fact that a diamond-tipped needle is being dragged through the vinyl groove, and it’s still remarkable that records can even reproduce sound, there’s a little too much shrillness and focus on the treble range as well as a little cymbal crunching that’s grating on songs such as Rock With You. Given MOV releases are digitally sourced, this one reportedly being from the 2001 remastering sessions that reduced the overall dynamic range of the recording in preference for loudness, I shouldn’t be surprised with the less-than-perfect sonic reproduction. Jackson’s vocal also suffers a little and while he has always had a minor level of sibilance, you notice it more on this vinyl reissue as the mastering causes it to be more pronounced; particularly on I Can’t Help It and Off The Wall. Still, these quibbles aside, the mid to low-end aspects of this pressing are quite nice with a solid and speedy bass response and enough oomph to get you on the dance floor.  

Turning our attention to the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, the aforementioned issues from the vinyl reissue are gone. What we’re left with is a thoroughly enjoyable reproduction that has me feeling somewhat ambivalent towards the vinyl counterpart. Put simply, the stream undeniably sounds right. Yes, there’s a little less bass but at the same time it’s taut and well-defined while not being overbearing, thereby allowing the stream to present the album in greater detail with amazing separation between instruments and all musical elements. There’s so much clarity that you’ll swear Jackson is in the room with you, particularly on the classic vocal-focused piece, She’s Out Of My Life. 

While Off The Wall is one album that most certainly should be owned on vinyl, for the fold-out gatefold is exceptional, it’s strongly recommended that you listen to the Apple Music stream before picking up a physical release as you may find that it is more than enough to adequately suit your needs. 

Don’t Stop Til You Get Enough is self-affirming, in much the same way as Queen’s We Are The Champions is, in that Jackson’s lyrical intent need not be literal with regard to how the listener will interpret the song. While the spoken word introduction has always felt strange to me, I couldn’t imagine Off The Wall opening any other way. Despite that, I do question if it was needed. Besides the addictive upbeat dance floor rhythm, Jackson’s falsetto-styled vocal is simply magnificent and challenges Barry Gibb’s for superiority. One element Jackson had over the Bee Gees, however, was his renowned use of scat vocal techniques. While not the first to use such non-verbal vocal cues, Jackson perfected the technique ensuring that it was subtle, yet purposeful in adding to the overall presentation of the song. 

The live recording from The Jacksons’ 1981 release, Live, is a little more rock and roll with a touch of funk when compared to the album version and while there’s nothing wrong with that, and it’s a fun uptempo live performance, it’s unlikely that you’ll seek this rendition out, as it simply isn’t on par with the album version. Yes, I acknowledge the differences between studio and live recordings but even after considering that, I stand by the previous statement.

The music video, however, is still fun after all these years and while the filming techniques have transitioned well beyond what was capable in 1979, it still impresses and is a window into the disco era for those of us that couldn’t experience it for ourselves.  

Rock With You, a mid-tempo ballad, is the perfect song to follow Don’t Stop Til You Get Enough and is just one example of why Off The Wall is a perfect example of a cohesive album experience that is full of killer tunes with absolutely no filler. Rock With You will not only get you on your feet, but it’s a great tune to sing along to with its catchy lyrics and all-encompassing rhythm. 

The live recording from The Jacksons’ 1981 release, Live, has a synth-styled presentation with jazz cues mixed into the overall tempo. As with Don’t Stop Til You Get Enough, this isn’t the strongest performance and I’d go so far as to say the Jackson brothers added no value to the song. Nevertheless, for an early live recording, it will appeal to fans who wish to hear all available versions of this timeless tune.

The music video, in this instance, isn’t as impressive as the one for Don’t Stop Til You Get Enough. While closer in style to other mainstream music videos of the era, the biggest failing is that Jackson is presented alone throughout the entire video, and given the context of the song, one would have assumed that there would have, at the very least, been a love interest present throughout the video or a dance club full of people rocking out with Jackson. That said, it’s not fundamentally bad, but in retrospect, it could have been so much better.

Workin’ Day And Night is funky and is one of the greatest tunes from Off The Wall. The Immortal version is, however, terrible. Understandably, it was created with a different intent than the original album recording but I increasingly grow weary of alterations made to the music we all know and love. It’s as if the estates of deceased artists can’t help but cash in on an artist’s legacy. If I had my way, I’d leave the catalogue untouched and simply make sure it is continuously available, in every possible format. 

The live recording from The Jacksons’ 1981 release, Live, isn’t as bad as the other songs featured on that particular recording, although the ending is atrocious. The Jacksons certainly didn’t work Day and Night to perfect this performance as it’s a little too loose in every aspect; although Michael’s vocal presentation was spot on.

Get On The Floor is disco 101. It may be blatantly obvious, but this is one song that will get you on the dance floor; exceptional!

Off The Wall, in retrospect, appears to be a musical influence for Thriller, particularly with regard to the introduction. In truth, however, it’s just a solid rhythmically disco-charged tune with plenty of rhythm and blues elements. While worthy of the title track position, its upbeat tempo and lyrics, looking positively beyond the mundane and troubling aspects of life, are compelling from both lyrical and musical perspectives. 

Girlfriend is corny and cliché but it’s so good. The original Wings’ version, as alluded to earlier, isn’t!

She’s Out Of My Life is a magnificent ballad that highlights Jackson’s vocal prowess like no other song in his catalogue of music. The delicate resonance in his vocal humanises the song as you can feel the emotion in Jackson’s voice, despite the song not being written, and therefore not personalised, by the King of Pop himself. 

The demo version from This Is It is understandably raw but this bare-bones recording is simply exquisite for Jackson has an incredible vocal that, in its natural state, is stunning! While it won’t supplant the final album version from Off The Wall, it’s well worth checking out if you’re a fan of the song. 

The live recording from The Jacksons’ 1981 release, Live, is similar to the studio recording but is one of the better performances of Jackson’s solo material from this particular release. As lovely as it is, however, I dare suggest that it would have been even better had it been performed with only an acoustic guitar; akin to the demo. Regardless, it’s a solid performance and another value-added proposition for fans of the song.  

Further to that, you really need to hear Willie Nelson's magnificent interpretation. It is honestly a toss up as to who performed it better. 

The music video is about as good as you’re going to get. She’s Out Of My Life really isn’t music video material, yet, when watching it, you’ll become even more captivated by Jackson’s performance than the song itself. It’s an interesting dichotomy but one that I can’t take my eyes off. 

I Can’t Help It has a glorious sonic soundscape with a soft fluid jazz feel to it. Stevie Wonder and Susaye Greene penned this tune and while it isn’t, and was likely never intended to be, a chart-topper, the culmination of these incredible musicians ensures that I Can’t Help It is memorable and will keep you coming back for more.  

It’s The Falling In Love picks up the pace perfectly without jolting the senses. As with I Can’t Help It, It’s The Falling In Love is somewhat unassuming and is the quintessential B-side. That said, I dare you to sit still and not sing along to this wonderful upbeat tune; I can’t do it! Patti Austin’s intermingling vocals on this song are similarly exceptional and complementary to Jackson’s incredible performance. Interestingly, Jackson wasn’t the first to record this catchy song for Carole Bayer Sager (co-writer of the song with David Foster) recorded it for her 1978 release, …Too; a solid recording in a similar style, but make no mistake about it, Jackson and Co. took it to another level entirely. Dee Dee Bridgewater also recorded the tune with sultry vocals for her 1979 release, Bad for Me while Dionne Warwick’s rendition from 1980 attempted to modernise it with an 80s vibe. As good as these other interpretations are, however, none come close to Jackson’s recording. 

Burn This Disco Out is the perfect bookend for the album for it leaves you wanting more. I don’t know about you, but I’ve never been able to play Off The Wall only once; a true testament to its production qualities and conciseness. Exceptional!  

There are landmark albums and then there is Off The Wall. Yes, Thriller and the subsequent 1983 Motown 25: Yesterday, Today, Forever performance made him a superstar, but Off The Wall is Jackson’s most musical release. It’s fun, with serious elements, but at its core, it’s an addictive musical experience that is not only heard but also felt. We are, indeed, fortunate that there are a plethora of exceptional Michael Jackson albums for us to enjoy, but there is only one Off The Wall; a timeless masterpiece!

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AC/DC – Highway To Hell (Album Review)

Released in 1979, Highway To Hell would be the last album to feature Bon Scott on vocals and while some continue to lament Brian Johnson’s inclusion on Back In Black, and forever onwards, there is little doubt that Highway To Hell is the perfect closing chapter for Scott. Still, one can only imagine where he could have taken his vocal prowess after this groundbreaking performance that was the greatest AC/DC recording up to that point. Of course, albums such as Dirty Deeds Done Dirt Cheap and Let There Be Rock should not be overlooked, from the Bon Scott era, but other than High Voltage, no other Bon Scott AC/DC release is as coherent as Highway To Hell. It is a blues-based rock and roll masterpiece; an overused expression, granted, but when music is this good it demands that declaration.

Listening to Highway To Hell, it becomes immediately apparent that Scott and the band were at a musical apex. Having long refined their sonic chops, Highway To Hell marked a significant difference in how AC/DC recorded music for it was to be their first album without George Young or Harry Vanda in the production seat. The result is a more polished album, with a laser focus on great riffs, rhythm, and catchy vocals. Yes, these had long been AC/DC trademarks but Mutt Lange rounded out the edges, ironed out the creases, and produced an album that would have mainstream appeal. That isn’t to suggest that Young or Vanda weren’t sorely missed, by the band and fans alike, but the shift ensured AC/DC was ready for superstardom; a shift that would ultimately make them the greatest and most popular hard rock band in the world. The combination worked so well that Lange would go on to produce Back In Black and For Those About To Rock We Salute You; the former of which was an astonishing comeback following Scott’s death.

Of course, the production values and performance of the band would have been for nil if the sonic qualities weren’t exceptional and in this case, Highway To Hell is one of AC/DC’s greatest-sounding releases. Every musical element is perfectly positioned in the mix and there’s just enough low-end and treble reach that ensures the album has a full and immersive sound that can be appreciated at both lower and ear bleeding levels. While some may suggest that this is the AC/DC house sound, and I don’t necessarily disagree, the spit and polish applied to the songs ensured that it stands out from their earlier albums and most other hard rock albums of the era, many of which have a thinner sound that simply isn’t compelling to many rock and roll fans.

As fans would no doubt agree, there really isn’t a bad way to experience Highway To Hell and I’m fortunate to own the 2003 vinyl reissue which is nothing short of spectacular. From the reproduced and expanded artwork liner notes to the pressing itself, if you’re a fan of AC/DC, you need to add a copy to your collection. Thankfully, this remaster was done with kid gloves and while I haven’t listened to every release available, this particular re-issue is about as perfect as the album will ever sound. Naturally, some may be wondering how it compares to the (Hi-Res) Lossless Apple Digital Master and what I can say is that, without a doubt, I prefer the vinyl edition for its darker sonic presentation compared to the flatter sound via the Apple Music stream. Of course, if you tweak the EQ of the stream, a little, the difference is negligible. That said, with a song such as Walk All Over You, Phil Rudd’s drumming in both the introduction and throughout the song sounds more three-dimensional on the vinyl reissue than it does on the streaming counterpart. It’s a minor difference, but one that you’ll notice should you compare the two. It is then personal preference as to which reproduction you prefer over the other.

Highway To Hell is one of the greatest openers of all time. Both the riff and rhythm are infectious, setting the tone for the entire album, while compelling you to turn the volume up. Angus’ solo is also exceptional, although, even though it would have been nice if it had been longer, it’s also the perfect length. Sadly, however, Highway To Hell would forever be altered in the perception of fans following Scott’s death. Originally written as a reference point to the excessive demands of touring, following Scott’s death, Highway To Hell would become a song that was more about personal excesses than the demands of a rock and roll band. Of course, it’s also fair to say that personal excesses are often a byproduct of fame so the two do go hand in hand.

Girls Got Rhythm is rhythmic magic; pun intended! Seriously, the flow from Highway To Hell to Girls Got Rhythm is seamless, indicating just how similar all AC/DC songs are, but that’s a positive element as you know exactly what you’re going to get.

Walk All Over You temporarily slows the tempo and as I mentioned earlier has some exquisite drumming. Love or loathe him, Phil Rudd executed his position as drummer perfectly. That said, I’ve always preferred the looseness of Chris Slade as Rudd can be a little accurate, from a timing perspective, thereby introducing a click-track style backbeat. Walk All Over You as a song, however, is solid but isn’t anything to get excited about. It’s mainly the droning backing vocal in the chorus that grates me, thereby reducing the song’s appeal.

Touch Too Much is a killer tune; its demo…not so much! Yes, there are a few chords that remain but Touch Too Much, as re-recorded for Highway To Hell, is far superior. While I acknowledge that fans often want to have access to early or varied recordings of the music they love, this is one example whereby I feel justified in overlooking bonus non-album tracks for they’re seldom worthy of listening to.

Beating Around The Bush has a recognisable riff; check out Fleetwood Mac’s Oh Well, Pt. 1 and you’ll see what I mean. Regardless, it gives you a greater appreciation for the too often overlooked original lineup and style of Peter Green’s Fleetwood Mac; less radio-friendly but killer blues-based rock and rollers in their own right. Still, it amazes me that Fleetwood Mac never sued AC/DC, especially considering liner notes claim all songs, and this one, in particular, was written by Angus Young, Malcolm Young, and Bon Scott. Of course, if I ever wrote a killer lick and AC/DC decided to cover it, I’d be honoured, so there is always that possibility.

Shot Down In Flames is a killer blues hard rock tune.

Get It Hot continues the blues rhythm, executing it even more satisfyingly than on Shot Down In Flames. Again, many will point to AC/DC simply recording the same song over and over again, with slight shifts, and to that end, I’m grateful for Highway To Hell is a fluid album experience that warrants inclusion on every best albums list of 1979.

If You Want Blood (You’ve Got It) may have been lifted from the title of their live recording in 1978, but who can argue with that, for the title is incredible. As for the song itself, it’s killer!

Love Hungry Man is AC/DC’s answer to the simultaneously loved and hated ballad. Look, it’s got a killer groove, but it’s about as corny as you can get.

Night Prowler has forever been associated with Richard Ramirez’s serial killings but I do not believe that music can force you to become someone you’re not. I strongly believe in music as an art form and I’d further suggest that almost any aspect of art can be taken too literally. The problem is when an unbalanced individual takes suggestive interpretation to be gospel; then you’ve got a real problem! Of course, such associations are disappointing because it shifts the relationship to the music itself, even if we try to disassociate the two highly circumstantial elements. The problem is that once you’ve been made aware of it, it remains difficult to ignore it when the song comes on or when we discuss it with others. Regardless, it is imperative that we try for Night Prowler is musically one of the best songs that AC/DC ever recorded. Angus’ licks are off-the-charts and Scott’s growl and the backing vocal are about the best harmony-driven style you can imagine for a band of hard rockers.

As the closing song, Night Prowler is hard to beat and certainly encourages me to listen to the album again, with one exception. Scott’s spoken word outro drives me nuts as it wasn’t needed and is, for some reason, much more pronounced on the vinyl reissue than it is on the associated Apple Music stream; an oddity of mastering for the format, no doubt!

Overall, Highway To Hell is one of the hardest rocking albums of the 70s and is certainly the best Bon Scott performance we were ever fortunate to have heard. To say he went out on top is an understatement. While the band would continue without Scott, his legacy lives on through these recordings and while Johnson would adopt a slightly different vocal style, his was complementary to Scott’s thereby ensuring the former frontman has never been forgotten.

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Bob Dylan – Slow Train Coming (Album Review)

Released in 1979, Slow Train Coming is an incredible Bob Dylan release that has long divided fans due to its overt Christian values. Yet, if you listen to Slow Train Coming, sans this knowledge, there’s a good chance you’ll consider it an incredible classic rock album. It’s moments like these that I’m glad that I appreciate the vocal more as an instrument than a storytelling device for lyrics can quickly divide fans and are so interpretable that their meaning, implied or otherwise, can detract from a worthy musical experience. However, for those that appreciate music for its literal intent, Slow Train Coming is one of Dylan’s greatest statements. 

Spirituality aside, Slow Train Coming is a gorgeous recording with Dylan front and centre in the mix meaning that Dylan, the band, and the backing singers sound as if they’re in the room with you. Yes, it helps that the Apple Music stream is presented in (Hi-Res) Lossless and is also an Apple Digital Master, but I dare say that there wouldn’t be a bad mastering of this album to be found. Despite that, the Apple Music stream is so pleasing that seeking out a copy on vinyl would be an act of futility for any other reason than the permanence of owning the album. In fact, I’d go as far as saying that the stream has a very smooth analog sound that further negates the need for a vinyl copy. If you’re into vinyl, however, don’t let that deter you but when streaming sounds this good, it is increasingly difficult to justify the physical counterpart; especially when the cost of vinyl continues its upward trajectory. 

Some may point to the well-received out-of-print multi-channel mix that was originally issued on SACD in 2003 and while I’ve never heard that particular release, I do question what a surround or new Atmos mix would bring to the album for the soundstage of the stereo edition is already immersive, wide, and with an impressive level of clarity. While Dylan’s recordings have generally been impressive, there’s no doubt in my mind that the inclusion of one-half of Dire Straits had a significant impact. 

Mark Knopfler (lead guitar) and Pick Withers (drums) did a masterful job and while Slow Train Coming sounds like a Dire Straits album fronted by Dylan, it’s a combination that I thoroughly enjoy and one that subsequently makes it one of Dylan’s greatest recordings. Of course, that takes nothing away from the other musicians on the record, but the fusion between the boys from Dire Straits and the lyrical mastermind of Dylan ensured Slow Train Coming was unique and luscious in musicality.

Gotta Serve Somebody is without a doubt one of Dylan’s greatest tunes. Yes, some will lament the spiritual nature of the song but Gotta Serve Somebody doesn’t discriminate, based on personal beliefs, but instead applies a common sense approach that permits the listener to consider their life choices. Even if you remove the lyrical intent, Gotta Serve Somebody is a masterful blues-driven tune that is as relevant today as it was when it was written. It is infectious with its musical styling and has a textbook-perfect fade-out. 

If you enjoy Gotta Serve Somebody, then you should check out Take 1 as it is a little more upbeat and jazzy with pop elements in the musical backing that make it super appealing.

The live recording from Nov. 15, 1979, is thoroughly enjoyable with a groove that draws you in. In essence, it matches the styling of the original studio recording while adding live elements, resulting in a stunning performance of Gotta Serve Somebody that is far greater than the lifeless live rendition from June 27, 1981.

Regarding the covers, you should check out Etta James’ blues-based rocking rendition as well as Natalie Cole’s smooth interpretation. There really isn’t a bad cover to be heard of this Dylan classic and no more is that true than when listening to Willie Nelson's masterful recording; one so good that it almost supplants Dylan’s original. 

Precious Angel could very well have been a Dire Straits tune. The combination of Knopfler’s licks and Dylan’s trademark raspy yet smooth vocal makes for an exceptionally pleasing song. 

In case you’re wondering, I’ve yet to hear a live recording of Precious Angel that can come close to the studio recording; they’re all underwhelming! Of course, don’t take my word for it as a few have made their way to Trouble No More: The Bootleg Series, Vol. 13 / 1979-1981 (Deluxe Edition).

I Believe In You has a relaxed verse structure; one that appeals to Dylan’s overall style, but for some reason, the first chorus grates me as I feel Dylan overreached with regard to his vocal delivery. It’s a shame because I Believe In You is an otherwise exceptional tune. 

Slow Train is musical bliss and is amongst Dylan’s greatest recordings. You’ll be toe-tapping and head-bopping but perhaps most importantly, you won’t tire of listening to it. 

Of the available live recordings, the performance with The Grateful Dead (at Sullivan Stadium, Foxborough, MA - July 1987) has a relaxed swagger that plays into the artistry of The Grateful Dead. Despite being different, particularly concerning not adopting Knopfler’s lead guitar styling, it’s simply irresistible. Also worth checking out is the performance recorded on Nov. 16, 1979; an energetic presentation that’s on par with the studio recording. 

Gonna Change My Way Of Thinking has a killer groove and a perfect mix. It’s blues-based rock and roll at its most fundamental and while the song itself wouldn’t necessarily be a standout, I’ll always get my air guitar out when Gonna Change My Way Of Thinking comes on. 

Do Right To Me Baby (Do Unto Others) is a great tune with a solid backbeat and guitar tuning that complements Dylan’s vocals. It’s album filler, but it slots in perfectly to the tracking of the album and I couldn’t imagine Slow Train Coming without Do Right To Me Baby (Do Unto Others). 

When You Gonna Wake Up is a killer rock tune and one that should have been released as a single; it’s that good! The mix and soundstage are awe-inspiring and When You Gonna Wake Up is subsequently one of the best songs Dylan ever recorded. The band was at the top of their game on this one, particularly the brass section. 

Man Gave Names To All The Animals has to be my favourite song on Slow Train Coming. It isn’t that it’s the perfect song, but I enjoy the reggae feel and its quirkiness for it’s a fun little number and sometimes that’s all you need. Yes, one could classify it as a children’s song due to its lyrical meaning and the fact that The Wiggles covered it, but this adult version, that’s what I’m calling it, is masterful. 

If you’re after a live performance, you can always check out the recordings featured on Trouble No More: The Bootleg Series, Vol. 13 / 1979-1981 (Deluxe Edition), but be warned; they’re not very good! 

When He Returns is stripped down with only Dylan on vocals and Barry Beckett on piano. While different in style from the rest of the album, it’s a stunningly beautiful piece that showcases Dylan’s vocal prowess better than any other song on Slow Train Coming. It also offers the listener a reflective respite as well as encourages the playing of the album again. While some may revolt against the religious nature of When He Returns, doing so is short-sighted for this is an incredible song that deserves to be heard and respected as one person’s perspective that may differ from your own.

Whether you agree with Dylan’s inferred Christian values on Slow Train Coming, or not, there is little doubt that this is musically one of his greatest creative achievements and is one of the greatest albums released in 1979. There isn’t a bad song to be heard and even the cover art is appealing to fix one’s gaze upon while slipping into the sonic wonderland that only Dylan, and one-half of Dire Straits, could deliver. 

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Supertramp – Breakfast In America (Album Review)

If you haven’t already, you really need to listen to Breakfast In America as no review can adequately describe the uniqueness of this record. It’s an experience in and of itself and while some may suggest that Crime Of The Century is their greatest release, I’d counter that by declaring that Breakfast In America is, in fact, the most extraordinary album Supertramp ever recorded and is one of the best records released in 1979. 

Released in 1979, Breakfast In America would ride the charts, worldwide, all the way to the top, selling more than 20 million copies and would become Supertramp’s most commercially successful release. That’s hardly surprising with its enjoyable and somewhat amusing tunes and a cover art design that is a perfect visual counterpart to the music contained within.

Speaking of the artwork, if you’re fortunate to own a copy on vinyl, you’ll be captivated by the little details for the city skyline is composed entirely of elements common to diner culture in America. While I’ve yet to pick up a copy on vinyl, I was fortunate to have owned the Blu-ray High Fidelity Pure Audio (HFPA) release but despite a slightly larger canvas, the detail within the artwork was sorely missed, much the same way as it is on the CD and streaming editions of this release. While the music is the most important element, good cover art design, at times, makes the experience more immersive. 

As it pertains to immersion and audible bliss, the lossless Apple Music stream is merely adequate. If memory serves me well, the DTS Master Audio, option on the HFPA release, reduced the sharpness in the treble region that is inherent with this recording. That edition has long since gone, however, following a hard cull of my collection and a refocus on vinyl and streaming.

The lossless Apple Music stream utilises the same mastering that is found on the 2010 remastered CD releases, but if you are content with listening to this album at low volumes you likely won’t have a problem. Pump the volume and you’ll end up with a glassy digital sound that lacks fullness and warmth and is rather fatiguing to listen to. In truth, it isn’t Apple’s fault, for A&M Records could issue them with a better master but has neglected to do so. It’s a strange omission, especially considering Crime Of The Century is presented on Apple Music not only as (Hi-Res) Lossless but also as an Apple Digital Master and it sounds luscious by comparison.

Gone Hollywood gradually builds; it’s a perfect opening tune that sets the tone for the entire record. Its composition and mix are so profound that Gone Hollywood quickly becomes not only a killer opener but one of the greatest songs ever recorded, in music history, by anyone. Bob Siebenberg’s drumming here, and throughout, is some of the best you’ll ever hear but in truth, the entire band was on fire. The mid-song slowdown is simply magnificent and makes me immediately think of the overused adage that they don’t make music like this anymore.  

The Logical Song follows Gone Hollywood well but there are moments where Roger Hodgson’s vocal is a little jarring. It’s a shame as The Logical Song is an otherwise great tune. 

The music video is a faux live recording that is perfectly adequate and representative of the band at the time. Unlike other videos from the era, the editing was done tastefully thereby allowing one to enjoy the song without cringey cuts and overlays. 

Goodbye Stranger is a fantastic Rick Davies’ tune. His vocal here is perfect and the sparse introduction certainly helps to amplify it. While some may lament the falsetto vocal, I feel it is well restrained. Similarly, the interweaving backing vocal is brilliant and even the finger clicking is expertly placed in the mix and not overly used throughout the song. Plus, that closing guitar lick is what air guitar dreams are made of. 

Breakfast In America has a reggae meets jazz meets classic rock feel to it. It’s fantastic! It’s moody and is one of the songs from the album that demands a little more oomph in the mid to low-end audible regions as a too-clinical approach can leave this tune sounding lifeless. Breakfast In America is one song that you’ll want to feel, not simply hear, and sadly the stream doesn’t do it justice.

Oh Darling is a lovely song and despite being nothing to write home about, Breakfast In America wouldn’t be the same without it.

Take The Long Way Home is an absolute classic. If you haven’t played this tune on a Sunday drive, on your way home, you’re missing out. Of course, the song has nothing to do with driving home but that doesn’t make it any less suitable for the task. It’s more about finding where home is, within your soul.

Lord Is It Mine is a beautiful piano-driven song and Hodgson’s vocal is particularly of note here as he takes it right to the edge but manages to restrain himself from taking it too far. The result is one of the best songs on the album and in Supertramp’s catalogue of music.

Just Another Nervous Wreck picks up the tempo a little and is a solid classic rock tune. While it’s unlikely that you’ll seek the song out on its own, when played in the linear album structure, it’s an incredible inclusion that is positioned well within the tracking of the record.  

Casual Conversations deviates a little from the styling of Just Another Nervous Wreck, but it’s a lovely mellow tune. Of course, the song wasn’t derived from such pleasant origins. It’s often been claimed that Casual Conversations is autobiographical and attempts to address the collapse of communication between Davies and Hodgson. At best, it’s melancholy, despite its relaxed nature, and depending on how you choose to interpret music, this is one song that you can appreciate either from a literal lyrical interpretation or a more musical perspective.

Child Of Vision is the perfect bookend to the album as elements from Gone Hollywood can be heard in this incredible closer. It’s a musical wonderland and is, without a doubt, one of the best songs on the album. That said, it isn’t all wonderful for the bridge between the verse and chorus often drives me insane as I don’t like the chosen vocal delivery and subsequent mix. As a result, I much prefer to enjoy Child Of Vision for its musical aspects and I dare say that if it were not for the instrumental second half of the song, I wouldn’t praise it as much as I do.

Breakfast In America is an experience and is one that isn’t easily forgotten. Despite a few minor niggles, there is little doubt that this is a masterful release; one that plays like a greatest hits album. While each and every fan will have their own preference, and there are some killer tunes to be heard on Supertramp’s other albums, Breakfast In America is a cohesive piece of work that is simply more fluid and powerful than any other Supertramp album.

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Diana Ross – The Boss (Album Review)

The Boss was Diana Ross’ greatest musical achievement since her time in The Supremes for the addictive rhythm and blues styling encompasses disco, soul, and pop elements that ensured this 1979 release wasn’t only a statement for Ross but it was an album that perfectly captured the spirit of the era.

Short on length, but not on musicality, this tenth solo studio album from Miss Ross is arguably her greatest solo achievement for The Boss is all killer with absolutely no filler. Yes, her 1980 release, Diana, had some exceptional tunes but it wasn’t as consistently good as The Boss as there are numerous forgettable B-sides to be heard. Subsequently, The Boss has often been overlooked due to the commercial success of Diana and its hit songs; a shame as the music contained within The Boss will get you jiving as only Diana Ross can. 

It is imperative to mention, however, the husband and wife writing and production team of Nickolas Ashford and Valerie Simpson; best known for writing Ain't No Mountain High Enough and the breakout solo single from Ross, Reach Out and Touch (Somebody's Hand). There is little doubt in my mind that much of The Boss’ sound and presentation can be attributed to these two masters for as magnificent as Miss Ross is, musicians rarely achieve their masterpieces on their own. 

Of course, one cannot connect with the music if the sonic quality isn’t of the highest standard and in this regard, the lossless Apple Music stream, an Apple Digital Master, is nothing short of a masterpiece in mastering production. You’ll feel the groove, and experience moments where you’d swear Ross is in the room with you, all the time being in awe as to the detail presented in the soundstage throughout the entire album. I shouldn’t be surprised, however, as it’s a Motown release and they’re generally beyond reproach in this regard. In fact, the mastering is so good that I don’t feel the need to seek out a better copy; although Ross’ breathtaking beauty, on the front cover, would undoubtedly be the drawcard for picking the album up on vinyl. 

No One Gets The Prize opens the album majestically before introducing the disco elements that will see you on your feet. Yes, when listening to No One Gets The Prize, nostalgia is strong but that’s not a bad thing for it brings a smile to one’s face, and isn’t enjoyment exactly what music is all about? 

I Ain’t Been Licked is one of the best tunes on The Boss. Ashford and Simpson outdid themselves here as it’s not only perfect for Miss Ross, but it flows fluidly from No One Gets The Prize.

All For One has a classic Motown sound with a focus on the vocal and harmony regions of the song. Some may lament the slow down in tempo, given the first two songs were disco-driven, but one cannot ignore just how beautifully delicate All For One is. 

The Boss returns us to the 70s dance floor following the aforementioned respite. It’s so groovy that you’ll not only find yourself on your feet, but you’ll be wanting to turn the volume up to 11. Seriously, try sitting still when listening to The Boss; I dare say it would be an impossible task. 

Once In The Morning has a mid-tempo vibe that, while not as strong as The Boss, is the quintessential B-side we all end up adoring. 

It’s My House is a sonic wonderland with numerous layers of detail to appreciate. Subsequently, the musical accompaniment and mix are nothing short of perfection, but it is in its inferred meaning of independence where this song really shines and becomes a landmark Diana Ross tune. 

Sparkle is perhaps the only song from The Boss that doesn’t sparkle. Yes, I went there. Look, Sparkle is a lovely album song, but it does create a lull in the linear flow of the album. That said, Diana has quite a few songs that fall under the same banner so those of you who are dedicated Diana Ross fans may not see that as an issue, but the more casual listener will likely find this deep cut to be a little too removed from the rest of the music on The Boss. 

I’m In The World is a lovely closer. Yes, it’s mellow but it’s musically fluid and highlights Ross’ vocal capacity like no other song on the album does. What a magnificent artist and what a perfect closing track that allows for contemplation while also encouraging the playing of the album again. 

There is little doubt in my mind that Diana Ross’ The Boss is her greatest solo album for it is a cohesive release with exceptional songwriting and production values. Diana (1980) may have been more successful, with more recognisable hit songs, but as an album, it wasn’t as strong as The Boss; one of the greatest albums released in 1979. 

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Neil Young & Crazy Horse – Rust Never Sleeps (Album Review)

Prolific is an understatement when talking about Neil Young and determining his greatest album is one of the most challenging things that fans can do. Rust Never Sleeps, the 1979 masterpiece with Crazy Horse, however, is certainly shortlisted for that honourable position for it is the culmination of incredible songwriting and recording techniques that makes this such an impressive release.  

Having long been a master in recording techniques, and while he has many detractors, due to his position on the quality of music and the presentation of his back catalogue, there is no denying that Young knows how to get the sound he’s after. As a result, Rust Never Sleeps isn’t your traditional studio-based album as it was overdubbed following being recorded live. When you listen to the album you sense the energy of the band but the spit and polish applied, in the analogue era, is nothing short of astonishing as you’d be forgiven for assuming that Rust Never Sleeps is a slick studio recording with added live elements.  This doesn’t apply to every song, as some were studio recordings, and the flow of the record isn’t disrupted as Rust Never Sleeps sounds like a single cohesive piece of musical art rather than a series of songs haphazardly put together to qualify the work as an album.  

Furthermore, from a sonic perspective, the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, is exquisite. Given Young’s penchant for purity and the very best possible sonic reproductions of his work, this should hardly come as a surprise, but Rust Never Sleeps is one recording that will cause you to look up, in wonder, as you question if Young and Crazy Horse are in the room with you, granting you a private audience; it really is that exceptional and other than picking it up on vinyl, or listening via Young’s archives, I seriously doubt you’ll be disappointed for every element of the recording is crisp, well-defined, and positioned beautifully in the mix with absolutely no unintended distortion due to poor mastering techniques. Rust Never Sleeps, along with many of Young’s albums, should be required listening for all mastering engineers as it showcases exactly how music should sound.

My My, Hey Hey (Out Of The Blue) is a perfect bookend opening to Hey Hey, My My (Into The Black), especially if you listen to Rust Never Sleeps on repeat. It’s classic Young; a simple but magical acoustic composition that highlights his vocal while providing just enough musical backing to be thoroughly enjoyable. While the crowd noises have been significantly dialled back, it really works for the song and I simply couldn’t imagine hearing My My, Hey Hey (Out Of The Blue) sans the audience. That said, I feel the song tapers off a little too quickly thereby taking the listener prematurely out of an experiential element. 

Thrasher flows well from My My, Hey Hey (Out Of The Blue) and maintains the tempo and  composition styling to great effect. Sometimes less is more and in this case, Young has applied this mantra by only including the necessary musical elements. Yes, singer-songwriters generally share this trait, but Young is a master of the craft. 

Ride My Llama is a magnificent tune with yet another barebones approach that is a common style amongst Young’s recordings. It’s fair to say that Ride My Llama will likely not appeal to all fans but the more I listen to Rust Never Sleeps the more I appreciate the song as there’s seemingly something new to experience each and every time it is played. 

Pocahontas has a killer rhythm. You’ll be toe-tapping from the very first note. While some will logically cling to every lyric and the song’s associated meaning, longtime readers will note that I prefer enjoying music when the vocal is akin to an instrument rather than a storytelling device and in that regard, Young’s performance is stunning with just enough room echo to give you a sense of spatial depth. 

Young would go on to perform Pocahontas on the MTV Unplugged platform and that particular performance, as featured on Unplugged, is solid but doesn’t capture the magic of the original recording heard on Rust Never Sleeps. An even earlier version (circa 1976) exists and was released by Young on Hitchhiker in 2017; a thoroughly enjoyable, and similar, recording to this one. Other live recordings of this landmark tune also exist on Songs For Judy and Year Of The Horse. Both are worthy of listening to but sometimes, as is the case this time around, the original release is unbeatable. 

Sail Away is one of the most lovely songs you’re ever likely to hear. I’ve no doubt some will lament the vocal structure and Nicolette Larson’s inclusion, but I find the opposite to be true in that it is the vocal and backing vocal mix that makes Sail Away such an incredible tune. Taking nothing away from Larson, this is one song that would have been perfect on any Crosby, Stills, Nash & Young album. 

Powderfinger is distortion heaven with one of the very best rock and roll guitar licks ever recorded. You’ll need your air guitar for this magnificent tune.

The recording on Live Rust is underwhelming as it doesn’t have the same energy as that heard on Rust Never Sleeps. The live performance on Weld, however, is killer.

As with Pocahontas, an earlier recording of Powderfinger exists on Hitchhiker. It’s cleaner and while the distortion that is adored is missing, this acoustic-driven interpretation is exceptional in its own right and is worthy of checking out if you haven’t done so already. 

Welfare Mothers continues the hard-rocking vibe. While it may not come close to the magic heard on Powderfinger, and is arguably a little repetitive, I’ll be damned if I don’t turn the volume up every time this song comes on. 

Sedan Delivery is the only lacklustre tune to be heard on Rust Never Sleeps. It’s a perfect B-side, but the shifting tempo, while chosen for stylistic reasons, results in a less than ideal musical flow thereby limiting the emotive element that permits the mind to the latch onto a singular rhythm throughout. 

Of the live recordings, the performance from Live Rust is fundamentally a carbon copy of this rendition, while Way Down In The Rust Bucket offers a slightly different and modernised rocking interpretation from 1990 when the album was recorded. It is, subsequently, my preferred live version as the recording from Year Of The Horse is too loose.  

Hey Hey, My My (Into The Black) turns the distortion all the way up, but rather than it being a mastering decision it is a style chosen by Young and perfectly applied. As the closing song, it provides a masterful bookend to the album that permits further contemplation of what you’ve just heard while simultaneously willing you to put the album on repeat for Rust Never Sleeps is so good that it’s unlikely you’ll only listen to it once. 

If Rust Never Sleeps isn’t the greatest Neil Young release of all time, I don’t know what is. It's certainly one of the best albums released in 1979. Yes, I love his 1968-74 output and I’ve long appreciated Mirror Ball and Psychedelic Pill but there’s just something special to be heard here; something missing from every other album Young has released. Perhaps it’s the recording style, or the songs themselves, but whatever it is, Rust Never Sleeps is a pinnacle moment in the story of Neil Young & Crazy Horse. 

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Aerosmith – Get Your Wings (Album Review)

The rawness is gone. So is Steven Tyler’s faux vocal style. Instead, Aerosmith’s Get Your Wings, their 1974 sophomore release, focuses on a more polished production with vocal licks from Tyler that are arguably some of his greatest. Unlike many, I never disliked Tyler’s vocal delivery on the eponymous debut for that album is 100% Aerosmith, but even I have to admit that his natural singing voice, as we heard on Dream On, is far more appealing, thereby making Get Your Wings a stellar release that would further refine the band’s unique sound and style. 

It wasn’t just the band that would refine their sound and be truer to themselves, for Jack Douglas’ role as Producer, and overall collaborator, really positions him as the sixth member of Aerosmith; certainly throughout the 70s. From an observer’s standpoint, I wouldn’t suggest that Adrian Barber did a poor job producing their eponymous debut, but it is fair to say that he didn’t quite capture their sound; Dream On being the exception. Nevertheless, Douglas would guide Aerosmith through their classic era until tensions and substance abuse, during the recording of Night In The Ruts, meant he was no longer in control and Columbia Records ultimately decided to replace him with Gary Lyons; not a bad choice by any means but Douglas was as important to Aerosmith as Bob Ezrin was to Alice Cooper. Douglas would go on to produce Aerosmith’s Rock In A Hard Place, Honkin’ On Bobo, and Music From Another Dimension! but as with Ezrin and Cooper, the flow was never quite the same on post-prime releases. Speaking of Ezrin, he acted as Executive Producer for Get Your Wings; a role that focuses on the business decisions relating to the production of the album rather than the musical output commonly associated with the producer’s role. It makes you wonder what Get Your Wings would have sounded like if he was the producer.

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Much like the eponymous debut, Ryan Smith’s 2013 Record Store Day (RSD) vinyl remaster is stunning with a detailed and full-bodied sound that is about as good as you’re going to find on a vinyl reissue of this album. This mastering also wasn’t limited to the RSD release meaning that you can still pick up a copy and experience it for yourself. The only difference is the post-RSD releases aren’t numbered and come with a different hype sticker. 

Switching our focus to streaming, you’ll find the (Hi-Res) Lossless Apple Digital Master, on Apple Music, to be a perfect digital facsimile. Yes, it’s a fair bet that the vinyl reissue was pressed from a digital intermediary, but the process of putting the music on vinyl shifts the sound of the music ever so slightly making it warmer in tonality. That isn’t to suggest that the stream is cold or shrill, anything but, but the vinyl counterpart can be enjoyed without any EQ changes, whereas when listening to the stream, I find myself wanting to reduce the treble and increase the bass slightly. It’s a small difference, granted, but if given the choice I’d gravitate to the vinyl reissue for it has a slight edge over the digital stream. 

The artwork itself, on the vinyl reissue, is a lovely replica. Naturally, there are some differences such as the updated publishing dates, and the numbered imprint, but even the record label is astonishingly close to an original. Hence, if you’ve been looking for a copy, and have not yet found an original in decent shape, you won’t be displeased with this release.

Same Old Song And Dance has a great beat and rhythm with some killer guitar licks from both Joe Perry and Brad Whitford. The brass performance by The Becker Brothers is stunning and was the perfect addition as it makes it more of a standout than it would have otherwise been. However, I've always felt that the drum track is inadequate on Same Old Song And Dance. It’s almost as if the skin tension is loose on the drum heads, or the microphone placement was poorly chosen, for the drum track lacks depth and makes the overall rhythm section sound as if it’s concealed. It could even be a result of a mixing decision but it is not as prevalent on the other songs on Get Your Wings; a shame considering it’s a killer tune. 

Of the live recordings, the edition found on A Little South Of Sanity is excellent. As the song progresses, you get a sense they’ve loosened up and are simply jamming. The Classics Live! II performance is solid, but not exceptional. It has a similar concealed drum tracking, to the studio recording, and I subsequently can’t help but wonder if it is merely a lack of presence in the drum tracking on this particular song. Hence, it’s then plausible to suggest that it was a mixing decision more than any other aspect.

As Lord Of The Thighs begins, the drum track is noticeably cleaner and more authoritative, remaining this way throughout the rest of the album. As a song, Lord Of The Thighs is exceptional with a killer infectious blues rhythm throughout and is foundational as far as Walk This Way is concerned, from Toys In The Attic, as the rhythmic beat is repurposed on that legendary tune to great effect.

Of the live performances, the recording from Live! Bootleg is energetic and full of attitude, while the Classics Live! rendition is similar in length but isn’t nearly as bombastic. The Texas Jam performance from 1978, as heard on Pandora’s Box, is more rhythmic than that on Classics Live! But lacks the attitude and energy of Live! Bootleg.

Spaced commences with low, audible, atmospheric sounds. I don’t know about you, but I thoroughly enjoy it when rock and roll songs start this way and there’s so much complexity to be heard in Spaced that I never tire of the experience it offers. 

Woman Of The World is blues-driven rhythmic rock 101. 

S.O.S. (Too Bad) has nothing to do with saving souls, although that may have seemed appropriate for the band as they were regularly on the precipice of destruction. Instead, it stands for Same Old Shit and that’s one adage I’m sure we can all get behind. S.O.S. (Too Bad) is a fantastic bluesy rock song with a beautiful intermingling of guitar, bass guitar, and a drum rhythm that holds the song together.

Train Kept A-Rollin’ is arguably the most successful song from the album, despite not charting upon release. Aerosmith may not have written or performed it initially, but the boys from Boston certainly mastered it. 

Of the live performances, you really need to check out Classics Live! if for no other reason than the grungier tone that works extraordinarily well with the style of the song. The Live! Bootleg recording is lackadaisical by comparison. Plus, let’s be honest, the tip of the hat to Strangers In The Night, an incredible tune in its own right, somewhat tarnishes the Live! Bootleg performance.

Seasons Of Wither begins with almost a minute of faux audience and wind sounds in an attempt to set the seasonal stage, yet it is the gorgeous guitar work that stands out here. It’s subtle and doesn’t overshadow the song itself, but is notable nonetheless. But, is it a great tune? Yes and no. Without the extensive introduction, it becomes much more appreciable but it’s also true to say that it isn’t one of Aerosmith’s better ballads. It should, however, have been the closing song on Get Your Wings.

I do wish that Pandora’s Box was re-tracked to appear before Seasons Of Wither. It isn’t that it’s a bad song; it just doesn’t flow well after the soothing Seasons Of Wither. Plus, the long-held guitar riff and drum outro on Seasons Of Wither would have made for a far better closer than Pandora’s Box; a solid tune nonetheless.

Overall, Get Your Wings is a must-own for any fan of Aerosmith or 70s rock and roll. It really is quite exceptional and has stood the test of time.

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