Bruce Springsteen – Darkness On The Edge Of Town (Album Review)

Darkness On The Edge Of Town, for me at least, is where the Bruce Springsteen story begins. Those of you who adore his earlier releases, particularly Born To Run, will vigorously refute that suggestion, but I find those records to be mediocre as they pertain to the album experience. Yes, those albums have exceptional songs that have stood the test of time but they aren’t nearly as cohesive and fluid as Darkness On The Edge Of Town; Springsteen’s fourth studio release. 

While Born To Run and Born In The U.S.A. may be Springsteen’s most striking and memorable albums, from an artwork perspective, the low-profile cover art of Darkness On The Edge Of Town offers a superb insight into the man minus the stardom. It’s also indicative of the era and upon reflection from within the current zeitgeist, I can’t help but see a simpler time. Of course, as is the case with all of Springsteen’s music, his lyrical messages are not as straightforward and will appeal to those who thoroughly enjoy interpreting lyrics.

While I’ve yet to pick up a vinyl edition of Darkness On The Edge Of Town, the lossless Apple Music Stream, an Apple Digital Master, is smooth and there’s no harshness to be heard in the treble range. The downside is that some may lament the slight reduction in clarity. As I tend to prefer a warmer sound, which often comes as a result of reducing the treble and boosting the bass slightly, this isn’t an issue for me. That said, the overall recording and mastering of the album is nothing short of extraordinary as you’ll feel the music in your bones as well as your soul. It’s as if Springsteen and the E Street Band are in the room with you, giving you a private performance. 

Badlands has a killer drum introduction, but sounds a little compressed in the soundstage; an aspect that isn’t an issue on any other song on Darkness On The Edge Of Town. A shame considering it’s a killer tune.

Adam Raised A Cain is an amazing, brilliant, sensational, blues-inspired rhythmically-charged song that I simply adore. Springsteen doesn’t get much better than this, does he? How I would have loved to have been a fly on the wall when they were recording this masterpiece. It honestly amazes me that it wasn’t released as a single. 

Something In The Night is stunningly beautiful. It’s such a delicate composition and is perfectly positioned in the album’s sequencing. The musicality is off-the-charts good and Springsteen’s drawling vocal is so perfectly suited that I couldn’t imagine anyone covering Something In The Night; although I would like to have heard Billy Joel cover it. That drum beat, along with Springsteen’s vocals, is a piece of musical history that I’d argue will never be repeated to such effect and impact ever again. 

Candy’s Room changes the tempo and I love Max Weinberg’s drumming on this track, plus the band is on fire. It’s furious, yet restrained, but ultimately sets the tone for the song with Springsteen’s poetical off-beat lyric delivery being the perfect accompaniment. 

Racing In The Street is a magnificent song that leaves me speechless each time I listen to it. 

The Promised Land is a great song, but after Racing In The Street, the stylistic shift is a jolt to the senses. That said, Darkness On The Edge Of Town was originally released on vinyl and The Promised Land was subsequently the first song on Side B so there’s no doubt that this aspect would have been considered when the tracking order was discussed. With that in mind, The Promised Land would have been the perfect opener for the second half of the album. 

Factory is a solid toe-tapper; a thoroughly enjoyable song! 

Streets Of Fire flows nicely from Factory and while it isn’t the strongest song on the album, Streets Of Fire would have to be one of the greatest filler tracks Springsteen ever recorded. 

Prove It All Night is sensational with its jazz, blues and rock influences. I love it!

Darkness On The Edge Of Town highlights not only the musicality of The E Street Band but Springsteen’s poetic delivery; superb!  

Darkness On The Edge Of Town, with a runtime of 43 minutes, is the perfect length ensuring that I never tire of it and can listen to the album on repeat countless times before moving on to Springsteen’s other recordings. On this particular release, Springsteen and The E Street Band were at the top of their game. If you’re trying to introduce someone to Bruce Springsteen, I don’t believe there is a better album that fully showcases what The Boss is all about.

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Dire Straits – Dire Straits (Self-Titled Album Review)

Dire Straits, or more specifically Mark Knopfler, in the role of vocalist, lead guitarist, and writer, created a uniquely timeless sound that would resonate with music lovers the world over. Perhaps most surprising is just how polished this self-titled debut is. Granted it’s a little rough around the edges, but few artists have such an initial outing; one that can still be celebrated and appreciated decades later. 

Released in 1978, Dire Straits would catapult the British rock band to the top of the charts with memorable songs like Sultans Of Swing and Water Of Love. Of course, it wasn’t just the singles that would set this debut apart from the crowd, but the entire body of work that is as close to perfection as a debut possibly could be. Yes, Communiqué is a step up and while some declare it to be nothing more than a carbon copy of this debut, I find it to be less edgy with a smoother all-over presentation that sees the band evolve from this debut release. Still, Dire Straits, when not directly compared, is a masterpiece in its own right and is without a doubt one of Dire Straits’ greatest albums.

As it pertains to the sonic presentation of the recording, the lossless Apple Music stream is listed as remastered and therefore should be on par with the 1996 remastered CD edition; most likely the source of the stream. In any case, there’s no noticeable loss in fidelity as the stream sounds stunning with a complex, detailed, and atmospheric soundstage. 

When digital reproduction sounds this good, one must question just how much more sonic bliss can be attained from the original master recording. As with Dire Straits’ entire catalogue, it has been reissued ad nauseam and while I adore this debut release, I’ve yet to feel compelled to pick up one of the various vinyl editions. Yes, there will be those of you who question my dedication and love of Dire Straits following that admission, but when the music sounds right, it’s important that we listen to it, appreciate it, and stop looking for something that may or may not be quantifiably better. Seriously, the stream is so enjoyable that the only benefit of tracking down a vinyl copy is to attain the slightly warmer analogue sound that’s associated with the format.

Down To The Waterline captivates you from the very first note with some mystical guitar licks and some of the most beautiful atmospheric music you’re ever likely to hear. The mix is utterly brilliant with a level of immersion that will consume you as Down To The Waterline sets the tone for the entire album. 

Water Of Love is the perfect mixture of rock and folk-styled music. Imagine, if you will, a lazy sunny afternoon with a beverage and Dire Straits tickling the sonic senses. It’s a tranquil thought, isn’t it? 

Setting Me Up is one of the songs that doesn’t grab me on this debut release. The tempo is too fast, especially considering where it’s positioned in the album's sequencing. Additionally, the twang of the guitar, while suited to the song, causes a stylistic shift that detracts from the previous calmness of Water Of Love. 

Six Blade Knife would have been perfect following Water Of Love for its smoother, with a focus on humble rhythmic elements that will see you toe-tapping and head-bopping throughout. 

Southbound Again is incredibly groovy and sometimes, that is all that is needed. 

Sultans Of Swing is, without a doubt, a masterpiece. It’s akin to magic in a bottle and the musical interplay and guitar licks leave little wonder as to why it’s one of Straits’ most recognisable tunes. 

In The Gallery is where Knopfler’s vocal really shines as it is perfectly refined and toned for this style of song. Of course, In The Gallery also has some captivating guitar playing thereby making it one of the best songs on the album and one of Dire Straits’ most underrated songs. The mix is also of particular note here as it’s well-defined, three-dimensional, and enveloping thereby allowing every musical aspect to shine. 

Wild West End shifts the tone of the album and is one of the rawer-sounding songs on this self-titled debut. Yet, there’s something to appreciate here for it may sound like a demo but it’s this unassuming aspect that makes Wild West End a compelling listen. 

Lions is a solid performance that closes out Dire Straits nicely, but the introduction is a little too slow for my liking. Thankfully, once the song gets going, all is good but it remains an irritating aspect nonetheless. 

As far as overall enjoyment and flow are concerned, Dire Straits is up there with their greatest releases and is not only one of the best debut albums of all time but is one of the best albums from 1978. In my mind, it is only bested by their second album, Communiqué; thereby offering a double punch of magnificent rock music that still, to this day, offers a unique experience. Yes, dear reader, they don’t make music like this anymore; not even Mark Knopfler. 

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ABBA – Voulez-Vous (Album Review)

Not disco per se, yet ABBA, and Voulez-Vous, will get you on the dance floor. Released in 1979, ABBA's sixth studio album, Voulez-Vous, rose to the top of the charts with a solid line-up of songs including Voulez-Vous, Angel Eyes, and Does Your Mother Know as well as a few added extras not on the original LP such as the epic and trendsetting Gimme! Gimme! Gimme! (A Man After Midnight). There’s much to appreciate with Voulez-Vous but it is the additional tracks, available via the digital versions, that ensure the album is greater than the sum of its parts. 

One part that has always amused and bemused me, for I can’t help but see the Star Wars influence, is the album cover for Voulez-Vous. Charles Mingus Palm, in the excellent Bright Lights, Dark Shadows: The Real Story Of ABBA, stated the sleeve designer, Rune Söderqvist, wasn’t completely satisfied with the group posing as elegant night-clubbers and subsequently took the design to industry-leading retouching specialists to add some sparkle to the artwork. Well, add it they did for Benny (looking a little like Chewbacca in a tux) is holding what looks like a lightsaber while Bjorn is the spitting image of Luke Skywalker. Thankfully, Frida and Agnetha were looking radiant as usual but the Voulez-Vous cover art does make one question what were they thinking.

While this review, and the subsequent track listing, is focused on the Bonus Track Version, available on Apple Music, I’m also fortunate to own The Studio Albums vinyl boxset. Despite being presented as an Apple Digital Master, the Apple Music stream pales in comparison to the sonic quality of those 2020 vinyl pressings. Usually, Apple Digital Masters are exceptional, but Voulez-Vous has a thin sound that lacks the emotion heard on the vinyl counterpart. Granted, it’s a detailed presentation in that you’ll hear all aspects of the music but in this instance, the vinyl reissue simply sounds right whereas the stream often comes across as too shrill and clinical, especially at higher volumes. The lack of tonal warmth results in a fatiguing listen that can be corrected by EQ adjustments, but such user interaction is not required for the vinyl counterpart.  

Of course, the biggest drawback of the vinyl edition is that the non-album tracks are not included. The 2022 Vinyl Album Box Set, however, addresses that omission with a bonus LP titled ABBA Tracks but I’m not interested in purchasing yet another ABBA reissue. Once bitten, twice shy? Perhaps, but it is the constant re-issuing, and purposely holding back, of back catalog material that dissuades music lovers, for it ceases to be enjoyable when the aim is to resell us the same music over and over again.

As Good As New opens Voulez-Vous with drive and energy that, if you’re not ready for it, will likely be a shock to the senses. While Agnetha’s lead vocals are solid, as is the musical and harmonious backing, there are times when I find As Good As New to be a little tiresome, particularly due to the song’s shrillness. Yes, it's typical of ABBA’s style but I do question if the tempo is a little too fast. Nevertheless, when you’re ready for an upbeat tune, As Good As New certainly fills the void. 

Voulez-Vous is a great song with exceptional rhythm and vocal harmonies. It’s also ABBA’s most disco-esque tune and will see you compelled to put on your dancing shoes and hit the dance floor. Voulez-Vous may well have a similar tempo to As Good As New, but the flow of the song is superior on this second track than on the album’s opener. 

The music video doesn’t quite live up to the vigour of the song, but if you’re after a clip that incorporates all aspects of this tune, then look no further than this classic release.

I Have A Dream slows things down a little with a song that has a unique twang set against an elegant smoothness. It may not be the first song you think of, when ABBA pops into your mind, but there’s no denying the appreciation one receives from listening to this song. Frida’s lead vocal is heavenly and arguably one of her very best and the chorale backing is sensational. An incredible, and underrated, ABBA tune!

Angel Eyes is one of those songs that will compel you to sing along to the chorus. Yet, it is almost guaranteed that you won’t sing the verses. Nevertheless, it’s a fun little tune and perfectly suited to ABBA. 

The King Has Lost His Crown, like many of the songs from Voulez-Vous, sounds dated to the era and while that isn’t a bad thing, for nostalgia can be just as enjoyable as a modern-sounding record, it will have its detractors. Nevertheless, as part of the album flow, The King Has Lost His Crown is not only masterful in its tracking but the purposeful rhythm, particularly concerning the vocal delivery, is incredible and leaves you wanting more. 

Does Your Mother Know is a great rhythmic song and is ABBA's greatest rock-influenced tune. Björn’s lead vocals are incredible and perfectly suited to the song as it frees up Frida and Agnetha to form the harmonious backbone of the song.

The music video was recorded at the same time as Voulez-Vous, meaning the disco vibe is ever present. Despite that, it works extraordinarily well and is a value-added component for fans of the song. 

If It Wasn’t For The Nights is, not unlike As Good As New, a little shrill at times, especially with regard to the chosen vocal mix and musicality. That said, it’s such a good song that unless I’m tired, or simply not in the mood, I find myself adoring If It Wasn’t For The Nights. It is far more palatable, however, on the aforementioned vinyl counterpart as the Apple Music stream needs a little rounding in the treble range to sound its best. 

Chiquitita is a beautiful song that reminds me of Cassandra; another exceptional ABBA ballad! The upbeat approach to the chorus is different, and is perfect for Chiquitita, but both songs are exceptional catalogue tunes from our favourite Swedish band. 

The setting for the music video, however, is terrible. The snowman behind the band is utterly ridiculous and in many respects, a simple landscape, sans the snowman, would have been a far better option. That said, due to my own quirks, the out-of-place snowman brings a smile to my face every time I watch the clip, thereby making it somewhat memorable. 

Lovers (Live A Little Longer) has a quirky but appealing introduction with cues from their 1977 tune, Eagle. There’s also a slight disco feel to the song and while it may not get you on the dance floor, it’s perfectly suited to the era. The chorus, however, is awful! The shrillness is a jolt to the senses and detracts from the song itself. Throughout ABBA’s entire career, there have been very few notable missteps, but this is certainly one of them. 

Kisses Of Fire is much of the same, but where the shrill nature of Lovers (Live A Little Longer) is a little too present to ignore, it is mellowed on Kisses Of Fire, thereby permitting greater connection with the song. 

Summer Night City has a disco rhythm that will remind you of Grace Jones. What’s not to like? A fantastic tune! 

The music video is a standout as it pertains to ABBA’s music videos. It encompasses all elements of the disco era and is much more appealing than the other music videos from Voulez-Vous.  

Lovelight (Original Version) is one of the best songs from Voulez-Vous. It’s catchy with a level of fluidity that makes for a memorable listening experience. Brilliant!

Gimme! Gimme! Gimme! (A Man After Midnight) is pure gold. While originally a non-album single, instead being released as a new tune for ABBA’s Greatest Hits Vol. 2, Gimme! Gimme! Gimme! (A Man After Midnight) was an instant hit and is brilliantly sampled by Madonna on Hung Up while also being masterfully recorded in Spanish on ABBA’s Gracias por la Música. Cher’s version, however, isn’t great as it is overproduced; a shame considering there are moments that can be heard that indicate just how exceptional it could have been.

The music video for Gimme! Gimme! Gimme! (A Man After Midnight) is one that I’ve always appreciated. Yes, it’s a rather basic behind-the-scenes studio recording, but as someone who has always been fascinated with that aspect of music production, it’s a rewarding viewing experience. Yes, the song was worthy of something flashier, but the editing and camera angles ensure that it is perfectly suited to the song itself. Magnificent!

Overall, Voulez-Vous is a solid release with several memorable songs that are perfectly suited to the disco era. From a creative perspective, however, it pales in comparison to Arrival and The Album. It’s as if ABBA were chasing a sound and never quite cemented the overall theme of the album. Yes, the undercurrent of disco is ever-present but Voulez-Vous is still an album without a purpose. That said, we can still thoroughly enjoy it as it's amongst the greatest records released in 1979.

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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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