The Angels (Angel City) – Face to Face (International Version) [Album Review]

Australia’s answer to AC/DC wouldn’t necessarily be the correct way to introduce a review for The Angels’ 1978 release Face To Face, but it wouldn’t be wrong either. 

While AC/DC will always be billed as one of Australia’s greatest exports, their success ultimately meant that their hometown sometimes feels a little despondent for the beloved rockers have spent more time abroad than at home and when success came calling, who can blame them for embracing any and all opportunities. The Angels, however, never quite matched the international heights of AC/DC and are very much Aussie to the core; still playing the pub and club scene, in the land down under, to this day. 

None of that, of course, means that The Angels didn’t see international success, for they’ve been incredibly influential, and successful, in their own right, but the troubling aspect that would haunt music lovers, just as it did with AC/DC, was the variances in editions between the homegrown Australian release of their early albums and the international versions. 

Known in some regions as Angel City, The Angels’ second studio album Face To Face would also consist of a different track listing for our international neighbours; an element that may have worked when the world was less connected than it is today, but as a byproduct of that era, it becomes frustrating when deciding which version of the album is the one that is best to listen to. 

In recent years, many artists that have had differing regional releases have chosen a standard release, usually the international edition, to be the official release henceforth, but The Angels haven’t taken this approach and instead give fans the ability to choose for themselves as three versions of this incredible album have been made available via Apple Music. While it can be fascinating to see varied editions, it also has the potential to cause indecisiveness and is therefore essential that after preliminary listens, music lovers decide on one particular release to focus on henceforth. 

The first version to consider is billed simply as Face To Face and contains the original cover art and track listing that one would have experienced if one picked up a copy in Australia in 1978. It isn’t great! That statement will likely be met with criticism, but Straight Jacket is a terrible opening tune and thankfully isn’t included on the international release. Love Takes Care is also album filler whereas the entirety of the international edition is a non-stop rocker. Live It Up is a solid tune but the live aspect doesn’t flow well from Marseilles. Songs that I do wish had made it to the worldwide release, however, are Be With You, Outcast, and I Ain’t The One; fantastic tunes!

The second version is an expanded release of the original album that also includes five live tracks and is billed as Face To Face (Alberts Classic Series). I’ve never been a fan of adding live recordings to the back end of studio albums, but in this case, they’re solid performances and a value-added proposition for fans who enjoy live recordings.  

The third option, and my preferred, is the international release that retains the Angel City band name, on the album artwork, despite being filed under The Angels. It simply has a flow that works far better than the original Australian release thereby ensuring the album experience remains paramount. As for which edition you will prefer, well I can’t say as we all have subjective likes and dislikes, but for this review, we’ll stick with the international release for simplicities sake. 

Listening via Apple Music, this edition of Face To Face is the CD counterpart in every way sans the tactile aspect, of course, and it rocks. It isn’t the final word in audio quality and I feel a remaster is in order, but a slight boost in the mid to low end will likely result in a more appreciable experience overall for most listeners. Yes, Face To Face was remastered for a CD reissue in 2011, but the Apple Music stream is not sourced from that release. As to why, I’m honestly not sure, but I can surmise that it was due to the CD being re-released under the Angel City banner rather than The Angels. Hence, when it came to streaming, the older mastering was supplied to Apple Music et al. I know, it’s a tad confusing, but at this point in time, if you’re after the remastered edition, it appears the only way to get a hold of it is to track down a copy on CD. 

Take A Long Line is a high energy upbeat number, with an addictive groove, that you’ll immediately gravitate towards. While it could be said that Take A Long Line is a run-of-the-mill rock and roll tune, and I’d likely agree, there’s nothing wrong with that as it opens the album well and sets the tone for the entire record.  

Marseilles is one of those songs that you’d be forgiven for thinking was an AC/DC tune, as the lead guitar, and overall composition throughout the song is eerily similar. Of course, Doc Neeson’s vocal is noticeably different to Bon Scott’s, so while correlations exist, they cease to be as prominent once the vocal kicks in. Now, this may be blasphemous to say but I feel Neeson is a better vocalist than Scott. Neeson has a smoother and more well-defined vocal with a little less treble that I thoroughly enjoy as I find it to be a little less fatiguing. Of course, your subjective opinion may, and likely does, differ from mine, but that doesn’t take away from the fact that Marseilles is a killer rock and roll tune by any standards. 

After The Rain is toe-tapping head-bopping gold with a killer, albeit brief, guitar solo. What a great tune!

Am I Ever Gonna See You reminds me of the music featured in countless coming-of-age films. Hence, the musicality is a little cringeworthy. It doesn’t mean, however, that it’s a bad song, but it isn’t one that I seek out on its own, outside of the album listening experience. 

Shadow Boxer has a punk feel to it. Perhaps this is a perfect example of how The Angels differ from AC/DC in that while much of their music is a replication of itself, songs like Shadow Boxer show that The Angels were capable of far more musical diversity.   

Comin’ Down is a rocking tune and is one of The Angels’ greatest recordings. 

Out Of The Blue is more mellow and will likely remind you of artists such as David Bowie, Nick Cave, and Lou Reed. It’s a great song and regardless of The Angels being inspired, or inspiring others, I love making these correlations, whether they were intentional or not, as it further explores my love of music. 

Can’t Shake It is It’s A Long Way To The Top; an AC/DC classic. As with Marseilles, the similarities subside once the lyrics enter the mix, but that guitar lick is so memorable that the similarity makes me want to spin up High Voltage.

Waiting For The World has my body moving involuntarily to the rhythm; a sign of an exceptionally good song!

No Exit is a perfect closer. The rawness presented throughout, along with the guitar tracking, overall rhythm, and Neeson’s vocals, easily ensure No Exit is one of the best songs from Face To Face. 

While the correlations between The Angels and AC/DC are unavoidable, in a large way due to similarities within the production team, The Angels offer music that not only pays homage to the original trendsetters but offers significantly more diversity, thereby resulting in a stunningly fresh rock and roll album that you’ll want to play time and time again.

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Chic – C'est Chic (Album Review)

Released in 1978, C'est Chic is the second studio album from the disco, funk, and R&B masters. While many were, and are still, wowed by their original self-titled release from 1977, it never truly resonated with me. Something was missing, yet I can’t explain what. That may sound deliberately obtuse, but C'est Chic, in retrospect, is a masterpiece that not only plays like a greatest hits compilation but is amongst the very best that disco, funk, and R&B have to offer. 

Music lovers of eras long past will likely concur that part of the appeal, outside of the music, is the album artwork. In this case, however, C'est Chic was presented with drastically different album artwork, track listings, and even an album name change to Très Chic when released in Europe. While these variations can be frustrating, I’ve often found them fascinating as they offer an inside look into the trendsetters, or certainly those who thought they were, within a specific region. Yet, I can’t get past how Chic’s European cover art was so incredibly different and completely unrelated to Chic. Atlantic Records Europe, what were you thinking? 

Thankfully, since then, common sense has prevailed and the worldwide releases of C'est Chic now feature the original artwork that is as iconic as the music contained within. While I still wouldn’t declare it their most appealing album cover, for Risqué holds that rank, there’s just something about it that works. Perhaps it’s that it reminds me of the cassette era when the LP-sized artwork would be reformatted for the smaller canvas and in many cases was left intact with a song selection printed under the artwork. I’m sure many people detested those covers and while pre-recorded cassette artwork was an opportunity to experiment with different creative styles, I often appreciated the simpler layout, as seeing the songs would often trigger interest in playing the album. 

Of course, as it pertains to music streaming, artwork replication isn’t of the utmost importance; a shame considering the technology exists and the now somewhat defunct iTunes LP offered one extraordinary example of how such a melding of the old and new could be achieved. However, what Apple Music lacks in artwork presentation, it makes up for in sonic prowess. 

Delivered to music lovers in Hi-Res Lossless and Dolby Atmos, the Apple Digital Master for C'est Chic has to be heard to be believed. Admittedly, I haven’t had the privilege of hearing a physical counterpart, but we all know that when music sounds as good as this album does, and when it resonates with your soul, the format is a secondary concern. 

That said, even via Apple Music, one must choose their preferred format and while I had always thought that the original stereo mix of C'est Chic couldn’t get any better, I listened to the Dolby Atmos mix and was thoroughly impressed. It’s warmer, fuller, and more immersive; all buzzwords we’d often associate with the analogue sound of vinyl. It’s as if C'est Chic was always meant to be heard in surround sound. Yet, it isn’t so different from the stereo mix that long-time fans will revolt for it’s complementary to the original release. It just sounds livelier. 

Surround sound fans will likely recognise the name, Steven Wilson, for good reason as the Porcupine Tree founder is one of the world’s foremost authorities when it comes to discrete surround mixes and we’re incredibly fortunate that he’s worked his magic on this very release for it is that good.  

So the question comes down to which version I prefer listening to. Well, on my main surround sound system it will forever be the Atmos mix. On all other non-atmos stereo-based systems, the original Hi-Res Lossless stereo mix will be my go-to for appreciating C'est Chic. The bottom line is that both present a thoroughly enjoyable listening experience and when music sounds this good, again, format isn’t a major concern. Let’s just be thankful that both exist and are made available on Apple Music.

Chic Cheer starts with a faux live audience feel and while it isn’t the greatest start to the album, particularly within the first few seconds, it is true to the style of the era. When the audience backing subsides, and the song comes into its own, we’re met with a rhythm that is intoxicating and gets you prepared for the album ahead. While you’re unlikely to seek Chic Cheer out on its own, as the album opener, it’s perfect.

Le Freak is Chic 101. As their most popular disco-styled tune, with plenty of funk, it’s so well-known that it has become synonymous with disco culture and requires no further introduction or fanfare. Simply put it on, turn the volume up, and get yourself to the dance floor.

Savior Faire slows the tempo with a symphonic pop-styled instrumental tune with a little jazz added for good measure. Nile Rodgers’ guitar tracking is simply exquisite and the overall recording is utterly magnificent, with a perfect mix (both stereo and surround) and soundstage, culminating in one of my all-time favourite Chic songs.

Happy Man brings us back to the dance floor for this upbeat tune; a great song!

I Want Your Love is one of the best songs Chic ever recorded and Alfa Anderson’s lead vocal, on this particular tune, is stunning and perfectly suited to the recording. Truth be told, I could listen to Anderson all day long. It amazes me that she wasn’t more successful within the music industry, but the recordings she has made are truly a gift to music lovers the world over. 

At Last I Am Free is another vocal masterpiece with an out-of-this-world harmony that is simply beautiful. While I don’t care too much for the verses, the chorus is where At Last I Am Free truly shines. Absolutely magical!

Sometimes You Win is an incredible disco tune that will compel your body to move involuntarily as it connects to your soul and allows for a form of musical expression that has to be experienced firsthand to be fully appreciated.

(Funny) Bone reintroduces the faux audience technique and while I mentioned that that aspect wasn’t the greatest start to the album, I also would have preferred it to have been excluded during the opening of (Funny) Bone. Logically, had it been included in only the closing moments of this song, I would have been much happier with that decision for it would offer a greater sense of closure to the faux live performance Chic was likely aiming for. Nevertheless, (Funny) Bone is a solid closer and encourages me to play the record again. 

While I consider C'est Chic to be an otherwise perfect album, I’d love to hear a mix that omits all the faux audience elements in both the opening and closing tunes, for I can’t help but wonder if it wouldn’t make the album a stronger piece of musical art. Of course, if this occurred C'est Chic would no longer be C'est Chic and that is a thought I’d prefer not to even think of for what I consider are flaws, are fundamental to the album experience. 

Some albums define a generation, even a genre, and C'est Chic is one such release that sounds as fresh today as it did when it was released in 1978. It’s a classic album that humanity will be gleefully enjoying till the end of time. 

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Alice Cooper – From The Inside (Album Review)

There are concept albums, and then there are Alice Cooper concept albums. Other than The Who, I can’t think of another artist that is Cooper’s peer with regard to his superior capability of telling stories through music. Naturally, I’m being obtuse for the list of concept albums and artists that have explored this idea is extensive, to say the least. I could list all the best ones, but this is an Alice Cooper review and such a list would be better suited to the Ranked area of Subjective Sounds; a place where From The Inside will reside as one of the best albums released in 1978.

From The Inside tells a series of interconnected stories from Cooper’s time in the Cornell Medical Center, a sanitarium that would ultimately help him break the chains of substance abuse. It gives those of us an insight into the inner workings of such a place and in particular the people that co-inhabit the space and their associated psychologies. Of course, Cooper’s story couldn’t have been told as eloquently without the inclusion of the great Bernie Taupin and while there are other notable writers collaborating on these songs, From The Inside is very much a Cooper and Taupin collaboration. In fact, From The Inside could almost be classed as an album whereby Alice Cooper meets Elton John for Davey Johnson plays lead guitar throughout while Dee Murray plays bass on the title track. Even Kiki Dee is involved as a backing vocalist.

Looking through the liner notes, you’ll come across a who’s who of the music industry at the time for there are some heavy hitters involved in the production of From The Inside and it’s, therefore, no surprise that this album has endured throughout the decades. Is it Alice Cooper’s greatest album? No, but it’s up there! While this review will largely focus on the lossless Apple Music stream, I want to bring your attention to the physical counterpart before we look at the music itself.

The 70s was potentially the greatest time for physical media, as it pertains to album artwork, for the designs, from various artists, are simply incredible. From The Inside visually took you within the asylum as the vinyl cover opened out from the centre, gatefold style, as if the doors were opening up and we were going into Cooper’s psychotic mind, thereby living virtually through his experiences. However, many of the reissues have lacked the hidden flaps, thereby limiting the impressive, almost origami-styled, design of the original pressings. Nevertheless, the design elements are utterly incredible and there isn’t a streaming platform on earth that can compete with that. 

While Music On Vinyl (MOV) would reissue the album in 2014, partially replicating the original artwork, I never really connected to the mastering of that particular reissue. The artwork, however, was impressive. It didn’t replicate everything perfectly, but what it did do was enough to please the modern music collector who didn’t wish to track down original pressings. Nevertheless, for this music lover, the music still comes first and if I’m not going to play the record, because of the sonics, I would prefer to sell it and let someone else enjoy it for we all appreciate music differently. 

The pressing itself was flat, with a low noise floor, but I found it lacked emotion. In fact, I found more sonic pleasure was achievable from the lossless streaming counterpart; a CD equivalent. While a few adjustments to the EQ dial were able to bring some life back into the presentation, it just never quite sounded right. Granted, Music On Vinyl reproduces their records from high-resolution digital sources, rather than analogue masters, but I have plenty of their releases that are warm and enveloping. It’s on a case-by-case basis, obviously, but in this particular instance, it just didn’t work for me. That said, I’ve no doubt there will be plenty of fans who will be happy with the clean and crisp reproduction.

For those of you that enjoy the CD format, most editions have been released sans the intricate and expansive artwork, but Warner Bros. Records in Japan released a mini-LP replica in 2012 that included some of the gatefold goodness. The smaller canvas, naturally, makes it a little more difficult to reproduce on mass and, unfortunately, it’s no longer available and fetches a pretty penny on the secondhand market but if you can get it for the right price, it would be a perfect addition to any Alice Cooper collection. Similarly, The Studio Albums 1969-1983 box set, released in 2015, replicates the artwork nicely, even if not completely, but has also been out-of-print for a while thereby making it difficult to come by. Either way, the artwork is done so well that you should try to track down a physical release if you’re a fan of this classic Alice Cooper album. 

While I’ve discussed the sonic reproduction of the vinyl reissue, the lossless Apple Music stream is respectable. You may find that you need to boost the mid and low end a smidgen, but it retains the emotion that I feel was missing from the vinyl reissue. Is it the final word in sound quality? No, but it will suffice until a high-quality remaster is undertaken and if one is never done, I could listen to the stream, without issue, indefinitely.

Moving on to the music, while many who adore concept albums may be looking for a detailed analysis of each and every tune, here at Subjective Sounds the focus is on the music, and the emotion it evokes, more so than the lyrical interpretation. No doubt countless others have explored the lyrical greatness of From The Inside in great detail; a Google search will likely point you in the right direction.

From The Inside is a solid opener. Davey Johnson’s addictive guitar licks are of particular note and while not an immediate hit, this is one tune that will most certainly grow on you.

Wish I Were Born In Beverly Hills kicks things up a notch. It’s got a classic Cooper band feel to it with a modern twist, for the era, but you’ll also hear a little Saturday Night’s Alright For Fighting influence; not that that’s a bad thing. Wish I Were Born In Beverly Hills is classic rock 101; no bells, no whistles, just a rocking tune.

The Quiet Room is where I truly feel From The Inside begins. It is the more mellowed approach that I appreciate and while the first two songs needed to be a little more rocking, The Quiet Room is simply stunning and showcases Cooper as more than just a shock rocker for his vocal is extraordinary. While I could point to numerous songs, The Quiet Room is one that truly highlights Cooper’s vocal prowess and is, in my opinion, one of his greatest recordings. The musicality is also second to none with a mix that is a musical wonderland for each time you listen, you’ll hear different audible elements; pure magic! 

Nurse Rozetta is head-bopping toe-tapping gold and its tempo shifts are the key to its success; an exceptional tune by any standards. 

Millie And Billie flows beautifully from Nurse Rozetta and while not billed as a duet, Marcy Levy’s duet-styled vocals are magnificent; what a performance! The symphonic styling of the musical backing is equally impressive and while Millie And Billie isn’t the most well-known Cooper track, those who haven’t heard it are missing out for it’s one of his greatest.

Serious is considerably more frantic and while you wouldn’t think it would work, being positioned between two ballad-styled tunes, it doesn’t cause this listener’s mind to miss a beat. Admittedly, it is the Side 2 opener and while streaming doesn’t permit a delay in the playback of the music, as vinyl does, it remains seamless. Ultimately, it isn’t a song you’re likely to seek out on its own, but as part of the concept album experience, it works.

How You Gonna See Me Now is a stunning power ballad that will appeal equally to Barry Manilow fans as much as it will to Alice Cooper aficionados. 

For Veronica’s Sake is a raw rocker. It sits perfectly within the tracking of the album, but it’s more filler than a highlight.

Jackknife Johnny is a much better album-filling tune than For Veronica’s Sake ever could hope to be. That said, Jackknife Johnny has something about it that makes it an intriguing deep cut within Cooper’s back catalogue, yet I can’t quite explain the appeal. Take a listen for yourself and see if you thoroughly enjoy it, for no reason at all. Sometimes that is the magic of music as we don’t necessarily need to analyse why music appeals to us. As long as it moves us, then sometimes it has done its job.

Inmates (We’re All Crazy) would be an ideal song should Cooper ever choose to perform with a symphony orchestra. That said, I can’t help but declare that Inmates (We’re All Crazy) is perfect as it is an example of an ultimate closing tune; one that encourages repeat plays.

From The Inside is one of those albums that can be difficult to get into, especially if you’re not a fan of its story-driven style, but if you let yourself get drawn into the psychology, as well as the music, there’s little doubt that it becomes a therapeutic musical experience. 

The songs, either on their own or as a collective, are amongst Cooper’s greatest and while they may get displaced in his illustrious back catalogue, if you take the time to listen, you’ll likely position them more prominently in your own Alice Cooper playlist as From The Inside is an exceptional, but criminally underrated album.

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AC/DC – Powerage (Album Review)

As a longtime fan of AC/DC, I’ve been fortunate enough to collect all their releases, yet despite a massive back catalogue of music, there are some albums, such as Powerage that simply don’t get spun that often. Yet upon putting it on the turntable, I marvel at the sonic masterpiece before me and wonder just why I don’t seek Powerage out more often. 

Released in 1978, Powerage is the rock legend’s fifth studio album and is easily one of the best Bon Scott era recordings. Despite loving Highway To Hell, I may even go as far as declaring Powerage the best 70s release from AC/DC. Yet, I just don’t seem to reach for it. It’s as if it has been overshadowed by Highway To Hell, Back In Black, and Scott’s unfortunate passing in 1980.

As a result, underrated, is likely the best way to describe Powerage for it’s a monster of an album but it just isn’t the one that everyone talks about, nor is it the album that you immediately think of when you think of AC/DC. While I acknowledge that I prefer Brian Johnson’s vocal style, and that leads me more to his side of the AC/DC catalogue, Bon Scott was an incredible vocalist in his own right and no more is that true than when listening to his searing vocals on songs such as Rock ’N’ Roll Damnation, Riff Raff, and Sin City.

Of course, Powerage is more than one single man as it is also Cliff Williams’ first recording with AC/DC. Bass player aficionados can best debate his appointment, but you won’t find me criticising Mark Evans; the man he replaced. In fact, and this will undoubtedly be blasphemous to some, I don’t hear a radical shift between the two players. Perhaps Williams played it safe, and in many ways, he was never a flashy bass player, but I’d argue that he never really stood out because his main role was to keep a steady pulse that connected all band members thereby guaranteeing the hard rock blues-based vibe all AC/DC fans know and love.

Speaking of AC/DC’s sound, let’s shift our attention to the sonic presentation and distribution of Powerage. While I’m fortunate to own the 2003 vinyl reissue, along with having access to the Hi-Res Lossless Apple Music stream, it is imperative to note, for those who are fans of Powerage, that different mixes exist. Yes, dear reader, the UK release was originally issued with an entirely different mix of the album. That mix is subsequently no longer available, as the US mix was chosen as the gold standard. Hence, if you wish to delve into the minutia of Powerage, you might want to seek out an original UK vinyl or cassette pressing. To be clear, I’ve never heard it and for me, at the moment, I’m content with the worldwide reissue from the 2003 remastering sessions. 

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As with all AC/DC vinyl reissues from 2003, Powerage is immaculately presented with an inner sleeve that details the era in relation to what was happening within the band and how those shifts impacted the music. In many respects, it is akin to a short biography that offers fans a little insight into the recording process of the album. 

While the liner notes are well presented regarding the outline, band photographs, and production details, it is sans lyrics. In many respects, that isn’t really an issue, as the original releases of the album didn’t come with lyrics either, but if you’re a fan wanting to ensure you don’t embarrass yourself with a mondegreen during your next karaoke night, you’ll have to turn to Apple Music’s lyrics, rather than the physical counterpart, for that aspect. 

As you’ll likely be able to tell from the photographs, the record itself is visually magnificent. Simply designed album labels really play to the no-nonsense approach that has been an AC/DC trademark for decades. Plus, and even more importantly, the sonic reproduction that comes off the record is spectacular with plenty of headroom, thereby allowing you to turn the volume knob up and rock out. 

Similarly, the Apple Music edition, an Apple Digital Master, sounds great but arguably is a little more shrill and compressed, unless you boost the bass, thereby resulting in a sound that doesn’t hold together as smoothly as the vinyl counterpart; especially when pumping the volume. That isn’t to suggest that you’ll be disappointed with the digital counterpart, but if you have access to a quality turntable, you’ll likely have a more immersive experience. 

The differences are particularly noticeable on Sin City. As solidly as the bass solo is reproduced, on the digital release, the surrounding musical elements, outside of the solo, are simply less dynamic and jarring on the senses. When listening to the vinyl record, however, you’ll feel the bass in the deepest depths of your soul. Similarly, the opening of What’s Next To The Moon is incredibly open on the vinyl reissue but feels more restricted in soundstage depth and width on the Apple Music release. 

The result is that, for this fan, the vinyl release is simply more enjoyable to listen to. That doesn’t mean that I don’t listen to, or thoroughly enjoy, the streaming version, for you can’t take a vinyl record with you everywhere you go. It’s simply a case of, if given a preference, I would choose the analogue format over the digital version in this particular instance. The delta is small, however, and if you don’t compare the versions, as I have, you’ll not know what you’re missing out on.

Rock ’N’ Roll Damnation is a killer opening track that harks back to It’s A Long Way To The Top (If You Wanna Rock ’N' Roll); another exceptional opener on High Voltage. The guitar work here is exceptional and Scott’s vocal is searing. Interestingly, Rock ’N’ Roll Damnation only saw the light of day as the record label felt Powerage needed a radio-worthy tune. I’d argue there are several single-worthy songs to be heard on Powerage, but radio-friendly, perhaps not. Nevertheless, Rock ’N’ Roll Damnation has become a fan favourite and a mainstay in AC/DC’s back catalogue, even appearing on their compilation soundtrack Iron Man 2. Plus, it’s about the coolest song to have ever featured handclaps; an often overused and somewhat corny musical technique. 

Down Payment Blues could have very well ended up on Stiff Upper Lip; an incredible album in its own right. Just take a listen to this full-bodied blues-based rhythmic rock masterpiece and you’ll see the correlation. It’s an incredible song, one of my all-time favourite AC/DC tunes and another Bon Scott vocal extravaganza. This is blues-based hard rock at its very best! 

Gimmie A Bullet is a solid rock and roll tune, but it’s nothing to write home about, and certainly pales in comparison to Down Payment Blues. Still, Powerage wouldn’t be the same without it.

Riff Raff is an off-the-charts riff-driven song that will have you air-guitaring every time you hear it. The riff is so memorable that you’ll even hear the influence on Rick Springfield and Dave Grohl’s The Man That Never Was, from the Sound City – Reel To Reel documentary soundtrack.

Sin City is a monster track for the opening of Side Two of the record. Just like the seductiveness of Las Vegas, which the song is influenced by, Sin City will reach down to the lowest depths of your soul, infusing it with a masterful rhythmically charged, bass-focused, sonic masterpiece. What more could one ask from AC/DC? More music, certainly, but Sin City is utterly perfect!

What’s Next To The Moon has a guitar tuning that I adore as the level of distortion is spot on. A great song!

Gone Shootin’ is a barebones rock and roll tune but it has such an incredibly addictive rhythm that it becomes an instant classic and a highlight of Powerage. 

Up To My Neck In You continues the rhythmically charged attack on the senses and while Up To My Neck In You was never going to be a standout tune, Angus’ lead guitar licks ensure that Up To My Neck In You is a hidden gem. 

Kicked In The Teeth has a killer, primarily, vocal introduction that is simply incredible. From a vocal perspective, I’d suggest that this is one of the best vocal performances of Bon Scott’s career. If nothing else, it’s a perfect closer for Powerage with a drilling rhythm that will make you want to play Powerage again and stay within AC/DC’s extensive catalogue of music.

Powerage, while underrated, is amongst AC/DC’s greatest recordings as it highlights the raw power and energy of their music. It’s all killer, no filler, pure blues-based rock and roll. If you’re a fan you already know this, but when was the last time you spun this 1978 rock classic? You may be surprised just how long it has been but if you’ve made it this far, you’ve got no excuse; give it a spin!

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Bob Dylan – Street-Legal (Album Review)

Released in 1978, Street-Legal moved the needle of Bob Dylan’s creative output from a folk-based acoustic style to a pop-rock driven form that blends with his poetic singer/songwriter versatility, thereby ensuring that Street-Legal, and future releases, would be more accessible while simultaneously building upon his previous styles. Naturally, not everyone saw the brilliance in this move, and as exceptional as Dylan’s 60s-era works are, it’s his late 70s releases that intrigue me the most. 

As Dylan’s 18th studio album, it, therefore, becomes understandable that longtime fans would have been less than impressed with the stylistic changes, but what isn’t in question is the fact that the music featured on this release hasn’t aged. Sure, there are recording choices that can be linked back to the era, such as a focus on backing singers, but as you listen to Street-Legal, or any of his other albums, other than the topic of discussion within his lyrics, the musicality is as fresh today as the day it was recorded. It’s an incredible feat and one that while not alien to the music industry is an anomaly nonetheless. 

Sonically, Street-Legal has a full-bodied sound and while it would be nicer if the soundstage had a little more width and depth, the shallowness adds to the sonic presentation. While a broader soundstage sounds good in theory, it would likely dramatically shift the album, most likely resulting in a less-than-stellar sonic presentation. 

Interestingly, Don DeVito, the album’s producer, would remix Street-Legal in 1999 in order to offer a slightly different mix that would result in a richer presentation. As far as I can ascertain, the version available on Apple Music, which is the focus of this review, is the remaster of the original 1978 mix. I’ve reached this conclusion as the remixed version of Changing Of The Gods has a runtime of 7:04 whereas the original runs slightly shorter at 6:37.

While the lossless Apple Music stream isn’t an Apple Digital Master, unlike Slow Train Coming, it doesn’t suffer from this omission. It sounds as one would assume the remastered CD would have sounded and is thoroughly enjoyable. The only advantage of an Apple Digital Master, and Hi-Res Lossless presentation, would be a little more refinement in the minutia of the recording.   

For those who aren’t streaming-first music lovers, Street-Legal continues to be reissued on both the black and silver discs of yesteryear and I, for one, am thoroughly pleased with that knowledge for I see streaming as a perfect counterpart to a tightly curated vinyl and CD collection. 

Regardless of how you choose to enjoy Street-Legal, it’s an underrated gem in Bob Dylan’s back catalogue. No, it will never be his greatest record, but as an album, rather than merely a collection of songs, it’s spectacular in its own right and is among his greatest releases. While many will analyse every lyric, I much prefer to consider Dylan’s vocal as an instrument rather than a storytelling device and subsequently won’t delve into lyrical interpretations.

Changing Of The Guards has a slow build. It’s as if someone has turned up the volume after the song had already begun. Let’s be honest, it’s far better than an abrupt opening and is perfectly suited to the overarching style of the album. Coming from Dylan’s 1976 release, Desire, the first thing you’ll notice is the backing singers. While I’m a fan of backing vocals, they can make or break a song and I remain on the fence as to how well they are implemented here, and throughout the entire album, as it has the potential to detract from Dylan’s vocals while also becoming a little repetitive. Yet, after repeat listens, it doesn’t bother you as much as you would think it does and given I thoroughly enjoy Changing Of The Guards in every other way, it’s one aspect that I’m willing to look past in order to enjoy this solid Dylan tune.

New Pony is a moody blues-styled tune with a slow tempo that will see you toe-tapping and head-bopping to the rhythm. It’s a brilliant song that is not only worthy of inclusion on Street-Legal but is essential to Dylan’s back catalogue. Plus, that mid-song guitar solo is what air guitar dreams are made of. It’s just a shame it isn’t longer and more prominent in the mix.

No Time To Think has a lovely slow waltz to it and if you remove the stylistic elements, No Time To Think is more aligned to Dylan’s 60s works than you may otherwise think as the core elements that made Dylan so successful have remained present on this song and throughout the entire album. 

Baby, Stop Crying is a great tune, although I’m not too fond of the opening as I feel it doesn’t get to the crux of the song quickly enough. The backing vocals here are great, and perfectly positioned in the song structure, but I would have loved for them to be turned down a decibel or two as I feel the subtleness would have made the song even stronger by allowing Dylan’s vocal to be more prominent. Regardless, I love this tune! 

Is Your Love In Vain? is musically stunning, with a perfect mix, and is one of my all-time favourite songs from Dylan. 

Señor (Tales of Yankee Power) is a masterpiece!

True Love Tends To Forget segues seamlessly from Señor (Tales of Yankee Power), although, you’ve likely never heard this tune before unless you’ve listened to Street-Legal for it’s another of those hidden gems with a solid mix and overall presentation. 

We Better Talk This Over picks up the tempo a little; a great tune! While you’ll likely never seek it out on its own, as an album track it’s thoroughly enjoyable and it’s important to remember that every song doesn’t need to be a knockout or a hit to have merit. 

Where Are You Tonight? (Journey Through The Dark Heat) is another hidden gem and a lovely closing tune that encourages me to play the album again. 

Overall, while I find Slow Train Coming to be the better of Dylan’s late 70s releases, Street-Legal is compelling and if you give it a chance, without necessarily comparing it to his landmark 60s works, I’ve no doubt you’ll come to a similar conclusion. Sometimes we can be too judgemental in our comparisons and we tend to forget that the aim is to simply enjoy the music. I don’t know about you, dear reader, but I’ll take an album that grooves with my soul over one that is critically and commercially acclaimed but fails to do so. As a result, Street-Legal is subjectively one of Dylan’s greatest releases. 

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Bob Marley & The Wailers – Kaya (Album Review)

Few reggae albums are as relaxed as Kaya, but this easygoing styling is what makes this 1978 release a timeless classic. While many would point to their 1977 release, Exodus, as being their musical opus, Kaya is more consistent, accessible, and plays like a greatest hits release whereas Exodus only comes alive during the second half of the album. It’s a minor variation, but other than the exceptional Legend collection, when I want to just sit back and relax, Kaya is one album that’s always at the top of the list. 

The problem is, as is the case with many albums from the 70s, there are too many editions to contend with. Physical media fans will understand this only too well, but even on streaming we’re met with the standard lossless release, the Dolby Atmos mix, the 40th Anniversary remix, and the Deluxe Edition that contains a barebone live recording from 1978. It simply becomes a troublesome matter of deciding which version to listen to.

Longtime readers will note my general disinterest regarding bonus tracks (even if they’re live, as is the case here) as they’re rarely worthy of listening to more than once and a new mix, particularly one not sanctioned by the original artist, is questionable at best. Hence, I appreciate that The Island Def Jam Music Group has ensured that the original LP track listing and mix remains available on Apple Music, as an Apple Digital Master, as it is superb and highlights the top-notch production values and musicality of the recording. It’s imperative to note that the CD reissue series that accompanied Kaya 40 was released as a double CD and the original mix and Kaya 40 are subsequently placed on different discs; just the way it should be! 

Delving a little deeper into the different editions, I find the Dolby Atmos mix isn’t anything to get excited about. It isn’t poor, by any standards, yet it doesn’t add anything to the album that wasn’t already there. Yes, some musical elements are clearer via this surround mix, but others are a little more subdued compared to the stereo counterpart. Perhaps it is simply a case that I’m more familiar with the stereo mix and subsequently prefer to stick with it as I seemingly know every note and instrument placement within the recording. I’ve no doubt, however, that those who are new to Bob Marley & The Wailers will likely find their preference leans towards the surround mix as it is a little more in line with modern recording styles and techniques. 

While this review is predominantly focused on the original stereo mix, Kaya 40 is interesting. Believe it or not, that is a compliment! However, as with the surround mix, it changes Kaya and not necessarily for the better. Although, I can appreciate some of the mixing choices on this release, as there are elements that are more pronounced than ever before, that does come with a downside as other elements are minimised or hidden. As with all music, it is subjective and your perspective may, and probably will, differ from mine. Is there a wrong way to listen to Kaya? No, it’s an incredible album with a rich heritage, I just prefer my original releases and mixes far more than modern interpretations. 

Easy Skanking is a relaxed mood setter and is an incredible opening tune. It helps that it was mixed and recorded impeccably well, for each musical element is identifiable throughout the soundstage.

Kaya is a solid title track but this wasn’t the first time the song was recorded for it also made an appearance on the, now out-of-print, 1971 album Soul Revolution Part II. That original recording is about as bare bones as you can get and plays like a demo. Still, if you track it down, you’ll hear the essence of the original tune in this excellent re-recording. 

Is This Love, as I’ve said before, has a simple, yet complex beat, combined with vocals and an overall tonality that will get your body moving. As the most well-known song from Kaya, and one of Bob Marley & The Wailer’s all-time greatest hits, Is This Love remains a timeless classic that will live on well beyond the demise of humanity. Magnificent!

The music video is solid, particularly for the era, but the most magical moments arise from Marley’s incredible smile. You can’t help but see the joy and love on his face and even after all these years, it remains infectious and capable of brightening up your day. 

Sun Is Shining is a re-recording as this song initially appeared on the 1971 release Soul Revolution Part II and African Herbsman in 1973. The Soul Revolution Part II version is fantastic. It’s not as polished as the interpretation on Kaya, but the unique underproduced style is mind-blowingly good. The African Herbsman edition adds a little more spit and polish to that original recording and it’s exciting to hear the evolution of the song. Now, while these are out-of-print, if you head across to YouTube, you can easily find these early recordings. In this case, it is most certainly worth your time. 

Original releases aside, Sun Is Shining is a great tune that fits well within the context of the album. I would have, however, loved to have heard the guitar tracking placed more prominently in the mix as it needs to be upfront with Marley to achieve the required impact. Yes, doing so would have diminished the laid-back styling of the song, but it would have been better nonetheless. The Kaya 40 mix somewhat addresses this element, while also ensuring the bass guitar is more prominent in the mix, but the other elemental aspects, of this particular edition, detract from the soul of the original Kaya mix. 

Satisfy My Soul is a landmark Marley & The Wailers tune, but this version is another that wasn’t originally released on Kaya as it was recorded for Soul Revolution Part II and was titled Don’t Rock My Boat. The original recording isn’t great so save your time and simply listen to this exceptional re-recording.

She’s Gone is toe tapping, head bopping, gold. While some may lament the slower styling heard throughout Kaya, and on She’s Gone, I love it as it’s akin to a meditation session. 

Misty Morning has some lovely horn work, but as with Sun Is Shining, it would have been fantastic had the brass been more prominent in the mix. Yes, the Kaya 40 mix helps a little but it’s also not as relaxed as the original release. All that said, it becomes apparent that Misty Morning could have been recorded with two completely different tempos, both being equally exceptional. Misty Morning is a great tune, regardless!

Crisis has a killer groove and as good as Marley’s vocals are, Crisis is all about The Wailers’ musical layering for there’s so much detail present on the recording that you’ll hear something new every time you listen to it. Incredible!

Running Away is so underrated it’s criminal. This is one reason why listening to albums, rather than compilations or playlists, is essential, otherwise, you run the risk of missing out on some stunning music; Running Away being one such example. Admittedly, Running Away has made an appearance on Bob Marley & The Wailers’ Essentials Playlist but it was left off Legend – The Best Of Bob Marley & The Wailers; an unforgivable omission!

Time Will Tell closes out Kaya beautifully, although Running Away would have been a stronger closer. Nevertheless, Time Will Tell leaves me in a contemplative mood and is great for late-night listening sessions where placing the album on repeat isn’t of paramount importance.

Overall, Kaya is a timeless reggae classic that showcases Marley's prowess as a singer, songwriter, and performer. With its upbeat, feel-good, tunes and Marley's unique blend of political and spiritual themes, combined with his smooth, soulful voice and catchy melodies, Kaya becomes a must-listen for any reggae music fan. 

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Bob Seger & The Silver Bullet Band – Stranger In Town (Album Review)

There are classic albums and then there is Stranger In Town; an album that was monstrously successful in the United States but flew well under the radar worldwide. While releases were different and often region-restricted, back in 1978 when Stranger In Town was released, our modern interconnected world breaks down those barriers allowing us to all appreciate the masterpiece that is Stranger In Town; Bob Seger’s greatest musical achievement.

One aspect that isn’t so good, especially in the era of streaming, is the lack of acknowledgement of The Muscle Shoals Rhythm Section. Seger obviously had his own band, The Silver Bullet Band, but they would only play on four of the nine tracks heard on Stranger In Town, whereas The Muscle Shoals Rhythm Section played on the other five. Granted, Bob Seger & The Silver Bullet Band, at that time, was sold as more of a band than a solo project for Seger, but while The Muscle Shoals Rhythm Section were respectfully highlighted in liner notes on all physical mediums, streaming offers music-lovers no such acknowledgement which is a shame considering their input to Seger’s creative output. 

Perhaps it shouldn’t bother me as much as it does, but The Muscle Shoals Rhythm Section was an exceptional group of session musicians that recorded hundreds of songs, many of which you’d know immediately by hearing their trademark R&B meets soul with a touch of country; a hallmark sound of the southern United States. One such song, and their most successful hit, was Respect. Yes, Aretha Franklin’s Respect! 

Naturally, this is one aspect of streaming that leaves me cold towards the flexible format, despite its convenience, for it generally lacks information for those of us who deem such knowledge to be imperative. Most music listeners wouldn’t consider this a point of contention, but when you listen to Stranger In Town, you can most certainly hear the different styles between The Silver Bullet Band and The Muscle Shoals Rhythm Section. Hence, Stranger In Town would not be the album it is without the involvement of The Muscle Shoals Rhythm Section. 

While I’m lamenting the absence of liner notes from digital counterparts, I also have to note that Stranger In Town hasn’t seen a physical media release since the 2001 CD remaster; most likely the source of the Lossless Stream on Apple Music for it isn’t an Apple Digital Master and is only delivered in 16-bit 44.1 kHz CD-quality sound. Truth be told, there’s nothing fundamentally wrong with the stream that a little EQ or tone control manipulation can't fix.

Dialling up the mid to low-end bass gets the album rocking a little more as it’s a rather clinical reproduction without this boost to the signal path. Purists, however, will likely point to the clarity and soundstage which is most certainly present, but it doesn’t allow for turning the volume up as the overall sound becomes even more brittle when doing so. A shame considering Stranger In Town is an exceptional, timeless, album that deserves to be played loud. 

Hollywood Nights is a great high-energy opening track that sets the tone for the entire album. Bill Payne’s piano and organ elements are perfectly suited to the song, but I can’t help but wish that they had been more prominent in the mix as I feel it would have taken Hollywood Nights to another level. 

Still The Same is a simply gorgeous soft rock ballad that flows perfectly from Hollywood Nights despite the tempo change. While I don’t know about you, dear reader, Still The Same is one of Seger’s greatest tunes, if not his greatest, as I never tire of listening to it. The inclusion of backing vocals by Venetta Fields, Clyde King, and Sherrie Matthews gives this song an additional, and much appreciated, soul element for it simply wouldn’t be the same song, sans these master vocalists. 

Old Time Rock & Roll is one of Seger’s most memorable recordings and every time it comes on, I can’t help but smile from ear to ear before rocking out. Before even knowing who Bob Seger was, I recall experiencing the song on the 80s television series, Alf. As I aged and began to explore music further, it was with great pleasure that I came across the original recording and subsequent album. While many will take issue with the way music can be appropriated into other mediums, the silver lining is that had I not had that childhood experience, I may not now be so enthralled, or have come across this song at all, for that was an era well before we had almost every album ever recorded at our fingertips. 

Back to the music, however, while we’re rocking out to this upbeat tune, it’s imperative to acknowledge Howie McDonald’s guitar solo and Alto Reed’s saxophone solo for both make Old Time Rock & Roll the timeless classic it is.   

Till It Shines maintains the tempo from Old Time Rock & Roll with a little southern rock influence. The result is a thoroughly enjoyable tune. However, Glenn Frey’s guitar solo should be a highlight, but the tuning sounds off, in relation to the rest of the song, that is. Don’t get me wrong, the riff throughout is great, it’s the mid-song solo that I’m suggesting has a problem. 

Feel Like A Number has some soaring guitar elements and the band is on fire ensuring that they’re not just another number in the grand scheme of things. It’s intriguing to note that even in 1978, being treated like a number was an issue; one that we find ourselves still dealing with to this very day. Whether you identify with the lyrics, or not, this is one of the best songs in Seger’s extensive catalogue of music. 

Ain’t Got No Money is classic Seger with his guttural, yet smooth, vocal. While Seger is front and centre in the mix, Ain’t Got No Money will see you toe tapping and head bopping and it’s fair to say Don Felder’s guitar solo trumps that of Frey’s on Till It Shines. That said, neither is truly exceptional. Given the boys from the Eagles, by this stage, were at the peak of their creativity, I would have expected more. Subsequently, I can’t help but wonder what Joe Walsh would have come up with on a song like Ain’t Got No Money; likely a little more distortion and gruffness that would have better suited the song.

We’ve Got Tonight is simply magnificent and it’s songs such as this that remind me why I love music as much as I do. We’ve Got Tonight is a timeless soft rock ballad love song that is incomparable and fits with the overall style of Stranger In Town perfectly.

Brave Strangers isn’t the greatest song to follow We’ve Got Tonight, unfortunately, for the tempo is mismatched. Nevertheless, Brave Strangers is a solid album-only rock tune.

The Famous Final Scene is a magnificent closing tune, a hidden gem and one of Seger’s finest recordings. I do believe, however, that We’ve Got Tonight would have been a stronger closer for Stranger In Town but that is a minor quibble and should not be seen as a reflection on the song itself. 

As music lovers, we are so incredibly fortunate to have music that is this good. Stranger In Town is a must-listen classic rock album that contains some of Seger’s greatest hits. With its intentionally meaningful lyrics, and a blues-based rock sound signature, it is also Seger’s most accessible creative work and offers newcomers a wonderful introduction to the American singer/songwriter. 

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