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Bonnie Tyler – Natural Force (Album Review)

Bonnie Tyler – Natural Force (Album Review)

There are classic 70s albums and then there are underrated masterpieces such as Bonnie Tyler’s second studio album, Natural Force. 

For those unaware of Tyler’s musical style, her unique Welsh vocal presentation is addictively good. You’ll hear a feminine gentleness along with a guttural extension that constantly amazes you. Her uniqueness is her strength, but the huskiness that has become a trademark may have never come about had Tyler not undergone surgery to remove nodules present on her vocal cords. Subsequently, Tyler has a vocal delivery that is like no other but ensures she is amongst the greatest vocalists of all time.

Released in 1978, Natural Force achieved modest success, particularly within the US, but with a different cover and album title. I can’t begin to understand why the cover art was changed for US audiences as I consider the international album artwork to be one of the greatest album covers of the 70s. The album title change is less of a shift as it adorns the song It's A Heartache for its title track, but other than some beancounter at the record label, stateside, trying to make a name for themselves, I can’t see why this was required. Thankfully, this practice isn’t as prevalent as it once was.

Despite the shift in artwork, the track listing remained the same. That is until the CD releases added Don’t Stop The Music and It’s About Time. Usually, I’m not a fan of bonus tracks, as they can be questionable at best, but as it pertains to these additions, I consider them utterly perfect as they blend in with the other songs seamlessly. It’s as if they should have always been there but were omitted due to the ideal runtime of the vinyl record. 

Additionally, there is now the Expanded Edition, a streaming/digital download exclusive, that includes the German 7” Version of Don’t Stop The Music. While I could lament its inclusion, as it’s somewhat repetitious, you’ll see why I’m not going to, later in this review. 

While not necessarily paramount to the appreciation of Natural Force, I find it fascinating that Tyler didn’t pen a single tune. Granted, not all musicians or vocalists express their art by writing lyrics, but Tyler sings with such conviction that you’d assume she’d be personally invested in the message. Instead, the songs are primarily written by co-producers Ronnie Scott and Steve Wolfe with a cover of Stevie Wonder’s Living For The City and (You Make Me Feel Like) A Natural Woman by Gerry Goffin, Carole King, and Jerry Wexler, along with the rocking upbeat tune Yesterday Dreams by Brian Cadd. While we shouldn’t ignore Tyler’s incredible vocal prowess, it is important to acknowledge these songwriters for if the songs weren’t exceptional, Tyler wouldn’t have been able to imbue life into them.

Sonically, the Apple Music stream is the direct counterpart to the CD release and subsequently should sound the same when played back via the same stereo system. While it isn’t an Apple Digital Master, it need not be for the cd-equivalent stream is simply magnificent with a full-bodied sound and a spacious stereo image that ensures immersion is paramount to the experience. Could it be better? Perhaps, but if a remastering was to change the sonic presentation of the album, not necessarily for the better, I’d then suggest that it isn’t worth doing for the current stream isn’t significantly flawed in any way.

It’s A Heartache is one of the best-selling singles of all time and for good reason; it’s exceptional! Tyler’s raspy, yet smooth, vocal is stunning and the rhythm is so addictive to the senses that you’ll be experiencing it long after the song has ended as it has the potential to create a thoroughly enjoyable earworm within the listener’s mind. While It’s A Heartache is Tyler’s song and no one does it better, you really should check out Rod Stewart’s version for it’s complementary to Tyler’s and is thoroughly enjoyable.

Blame Me is an incredible song with so much raw emotion that it will leave you in awe. Plus, the musicality, while taking a slight backseat, is incredibly complementary to the vocal element, particularly with regard to the reserved nature of the guitar solo that is ever-present, yet not all-encompassing.  

Living For The City is a great rock tune. It has attitude. It has pizzazz. Most importantly, however, it has a rhythm that immediately connects with the listener’s soul and the extension on Tyler’s notes is, again, masterful. As for how Tyler’s interpretation compares to Stevie Wonder’s original recording, it’s significantly better. Wonder’s original, by comparison, sounds like a demo whereas Tyler’s rendition is a full realisation of what Living For The City always should have been. 

If I Sing You A Love Song was the last of the five singles released, from Natural Force, but it ultimately failed to set the charts on fire. That isn’t uncommon as the more singles that are released the less attention they tend to receive. It’s the nature of the music industry but it's disappointing when you consider just how magnificent If I Sing You A Love Song is. It’s a hidden gem, if there ever was one, and is one of the most spectacular recordings of not only the 70s, but in all of recorded music history. Hence, it was deserving of much more recognition than it received at the time and I can only hope you will enjoy it as much as I do for this is one song that needs to be heard and shared. Magnificent!

Heaven, not to be confused with the song Heaven from Tyler’s 1998 release All In One Voice, is a fun upbeat tune that will have you toe-tapping and head-bopping throughout. It isn’t the greatest song on the album, however, and is therefore surprising that it was chosen as the lead single. 

Yesterday Dreams is a great little rocker.

Hey Love (It’s A Feelin’) was the fourth single released from Natural Force but as with If I Sing You A Love Song, it failed to garner the attention it deserved. We music-loving fans have a truly limited attention span, don’t we? Of course, if the record label doesn’t push a release, it quickly disappears from the social consciousness. Nevertheless, Hey Love (It’s A Feelin’) is an incredible vocal-ballad-styled tune and is a core reason why Natural Force is such an incredible release. 

(You Make Me Feel Like) A Natural Woman will forever be Aretha Franklin’s tune, but the covers that have been done over the years, including this one, are exceptional. Tyler performs it masterfully and there’s little doubt that her raspy vocal adds emphasis to the song, thereby making it bolder than it otherwise would have been. If you’re interested, may I suggest you also check out the renditions by Carole King, Mary J. Blige, and Celine Dion for they too are worthy of appreciation.

Here I Am as the third single was a solid choice, particularly for the era, but was it single-worthy? There are better songs that could have been issued as a single, for Here I Am hardly has Top 10 written on it. Don’t get me wrong, it’s a great tune that enhances Natural Force, for the album wouldn’t be the same without it, but if I had been alive when this single was released, I doubt I would have picked it up.  

Baby Goodnight slows the tempo, thereby highlighting Tyler’s magnificent vocal as she traverses this delicate ballad. It’s such a good song and, in my opinion, should have been released as a single. 

Don’t Stop The Music has a 70s rock/disco vibe that may slightly age the song but there is no doubt just how exceptional Don’t Stop The Music is. It’s another song from Natural Force that I would have flagged for a single release for I truly believe it would have followed It’s A Heartache to the top of the charts. 

It’s About Time is a raw rocking tune; it works so incredibly well and while it was never meant to be included on the album, before the release of the CD and Expanded Editions, it flows seamlessly ensuring that it is a value-added addition for fans. 

Don’t Stop The Music (German 7” Version) isn’t presented in the German language, as one may assume from the titling of the song, but it is merely the edit that was released in Germany. How different is it from the original? Not different enough to make it worthy of inclusion. Don’t get me wrong, it’s a great edit/mix, with a slightly different vibe, but for all intents and purposes, it’s the same song. That said, sometimes I catch myself wondering if I prefer this version to the original and to be completely honest, there are times when I do prefer the German 7” Version as it’s a little less bombastic than the original. Regardless, it’s a great closer to the Expanded Edition of Natural Force and it encourages me to play the album again.

Natural Force is one of the best albums released in the 70s and is a landmark release from 1978 that showcases Tyler in her prime; captivating audiences with her powerful vocal and rock-infused musical styling. Full of energetic rock anthems, and emotion-filled ballads, Natural Force will appeal to just about any classic rock fan and music lover alike.

ABBA – Arrival (Album Review)

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ABBA – Arrival (Album Review)

Arrival, ABBA’s fourth studio album from 1976, is a seminal recording and in many ways can be considered a pinnacle moment of ABBA’s career as it signified a change in style from the more whimsical to a more thoughtful and highly polished musical style. 

More than anything, however, Arrival is an entertaining listen. Yes, many of the songs have been played to the point of exhaustion yet, and perhaps this is ABBA’s gift to music lovers the world over, we seemingly never tire of listening to these outstanding tunes. With timeless classics such as Dancing Queen, Money, Money, Money, and Knowing Me, Knowing You, Arrival is difficult to ignore for it’s akin to a greatest hits release. 

As with the best recordings from any era, as ABBA’s music continues to age gracefully, a new batch of fans come along to enjoy it and while I wasn’t born until 1979, my childhood musical memories are so intertwined with Arrival that I, with a healthy dose of bias and nostalgia, consider it to be their greatest musical achievement. 

Turning to music, throughout a somewhat troubled childhood, was a great escape that I’m sure many of us have experienced. Subsequently, I found myself playing the cassette so much that even today, when listening to a crystal clear stream of the album, I still hear the blemishes that were present on the tape from being overplayed and subsequently beginning to wear out. It’s incredible how music triggers certain memories, isn’t it?

Speaking of the cassette format, considering its recent resurgence in nostalgic popularity, I remember reading, or hearing, that a pre-recorded cassette has approximately 250 solid plays in it before audible degradation started to naturally occur. That is, of course, provided your tape deck didn’t chew the tape. Naturally, I’ve no evidence to back up this proposed number, and we could most likely suggest the number was arbitrarily selected to push the sales of the Compact Disc, but my copy was played often enough, well exceeding that number, that I’m still surprised the tape remained listenable. It is only now, with hindsight in mind, that I recall being fascinated by the possibility that each play was damaging the tape. It was as if it were a live performance, slightly different each time the music was played, but never twice the same. Perhaps this organic uniqueness is what has driven the vinyl, and now the cassette, resurgence for no two copies are identical, meaning that each and every album, and each subsequent listen, is unique to you, the individual. 

Keeping our attention on the formats with a finite lifespan, the vinyl reissue of Arrival which was included in the 2020 reissue of the ABBA vinyl box set, The Studio Albums, is simply exquisite. While I was also fortunate to have owned the 2011 vinyl reissue, it was an ear-piercing mess. Yes, the majority of vinyl records are pressed from a digital source, in the modern era, but that alone doesn’t dictate sonic quality for a well-mastered original source, regardless of the technological medium used, will always offer a superior sound quality. Subsequently, if you care about how your music sounds, stay clear of the 2011 reissues. 

The truth is that ABBA’s catalogue, as exceptional as it is, isn’t the last word in sonic perfection and, in most cases, is let down by questionable mastering decisions. Hence, when a version is worthy of note, it is worth celebrating and that is certainly the case for the 2020 reissue, from the aforementioned boxset, as it sounds as good as you’re ever likely to hear.

While a half-speed master, pressed at 45rpm, was made available in 2016 I’m glad I didn’t pick it up as I’m tiring of single albums being pressed across three or more sides of a record. Seriously, Arrival in its original tracking has a runtime of 33 minutes, yet the half-speed master was delivered across four sides. It’s utterly ridiculous and while the discussion regarding the sonic benefits of 45rpm vinyl releases goes beyond the scope of this review, a well-mastered 33rpm record will, and does, sound incredible. 

While picking apart the mastering styles and various editions that change the overall presentation of ABBA’s music, it is important to remember that ABBA has a unique sound that is based primarily on applying techniques for radio-play and the chosen musical style of the era. Assuming that their music should be audiophile-grade will lead to disappointment, but a little further refinement will always be appreciated and that comes across in spades with the 2020 The Studio Albums vinyl box set.  

The visual reproduction of the albums, while consistent over the years, has also been stepped up via The Studio Albums box set, resulting in artwork that is pleasing, collectable, and reminiscent of the original releases. It truly is a pleasure to own.

The cover artwork, for Arrival, is iconic and while the photograph of the band was taken while they were situated within the Bell 47 helicopter, it conjures up the imagination, doesn’t it? I remember as a young boy pondering if ABBA was otherworldly, for their music was uniquely exciting and the artwork that adorned this early cassette ensured my imagination ran wild. 

Interestingly, and I never realised this until much later in life, Arrival would be the first time the mirrored AB logo would be utilised as all previous releases used a different typeface with their first two albums highlighting the band members’ names. Yes, their earlier albums have all received updated artwork, when they were reissued, in order to bring the logo design in line with the rest of ABBA’s catalogue, but Arrival was the first to showcase this now iconic logo.

Of course, as much as I adore the vinyl reissue, you can’t necessarily take it everywhere with you. That’s where streaming services come in to fill the void. Apple Music and the lossless stream, an Apple Digital Master, is a little more dynamically compressed, than the 2020 vinyl reissue, resulting in slight mid-range muddiness and a little excess harshness in the treble range. As a result, I don’t experience as much enjoyment from the stream as I do from the record but the trick to appreciating the stream is not to compare the two. Easier said than done, I know, but by compartmentalising the vinyl edition as being an experience that requires a specific time and place, I find that the Apple Music stream becomes far more palatable. 

As it pertains to the stream, the Bonus Track version, containing Fernando and Happy Hawaii, of Arrival is the only available release. Fernando I can tolerate, it’s a great song even if not applicable to the original album structure, but Happy Hawaii is an atrocity that should have never been tacked onto the back end of such an incredible album. Thankfully, streaming offers something a physical medium can’t; the ability to exclude particular songs from one’s virtual library thereby meaning that the tracking of Arrival can replicate the vinyl counterpart. Yes, I acknowledge that many CD players have a programme function that allows music lovers to do essentially the same thing, but you have to do it every time you want to play the CD whereas with Apple Music you set it and forget it.

Of course, Arrival has had so many different track listings, depending on region and format, that it can be incredibly frustrating to choose a preferred version. Considering I’m a fan of the vinyl reissue from The Studio Albums, which mimics the original vinyl release out of Sweden, I’ve decided to compile a Playlist within Apple Music that specifically looks at the core Arrival tracks. Subsequently, if you’re after Fernando, may I suggest you check out ABBA Gold, or take a listen to it via its original Swedish language version on Frida ensam, thereby leaving Arrival unaltered.

When I Kissed The Teacher is one of those classic, near cringeworthy tunes, that is remarkably good. In fact, it’s a little surprising that the censorship mob haven’t tried to have it cancelled for the risqué lyrics, telling the story of a student’s crush, and subsequent kiss with a teacher, would be right up their alley. That aside, it’s a fantastic song and Agnetha’s vocals are particularly appealing, thereby resulting in a perfect opening tune. The only negative aspect I can point to is that depending on the edition you are listening to, When I Kissed The Teacher can be incredibly shrill. Thankfully, my preferred vinyl edition and the Apple Music stream roll the treble off slightly, thereby making it a pleasurable listen. 

Dancing Queen is likely ABBA’s most well-known and successful tune. Its unmistakable entrance ensures that this disco-pop tune has become a landmark release from the Swedes. While the musical aspects are paramount to the success of Dancing Queen, Agnetha and Frida’s intertwining vocals are most certainly the highlight; absolutely stunning!

My Love, My Life slows the tempo down to a ballad’s pace and Agnetha once again stuns. While some may disagree, Arrival represents some of the very best vocal recordings and mixes in ABBA’s illustrious career. My Love, My Life is, subsequently, one of the most beautiful songs ABBA ever recorded and it’s severely underrated.

Dum Dum Diddle is catchy with a chorus structure that will have you singing along; even if you don’t know what a Dum Dum Diddle is. Don’t worry, fellow ABBA fan, I have no idea either but I’ll play my make-believe fiddle as I Dum Dum Diddle my way through this incredible song. While it has been said that it tells of a story of a woman scorned by her lover’s admiration of his violin, I’d prefer not knowing the context and instead prefer the nonsensical lyrics to become another musical layer in the mix that need not be unpacked. Basically, I just want to enjoy this folk-pop tune and not thinking about the lyrics too much allows me to do just that. 

Knowing Me, Knowing You is a beautifully lush tune. Frida’s performance here, much like Agnetha’s, on the songs where she’s lead vocalist, is exceptional. Knowing Me, Knowing You is a perfect song; absolutely flawless!

Money, Money, Money is another highlight and the musical style is unique, to say the least. It doesn’t often happen, but Money, Money, Money leaves me somewhat speechless as I simply can’t find the words to review this song. Perhaps it’s simply a case of needing to listen to it for yourself as it’s an experience. 

That’s Me continues the piano tuning from Money, Money, Money thereby making the album even more fluid than it already is. While That’s Me was never going to set the charts on fire, and was only ever released as a single in Japan, it’s a masterful song and is one of my all-time favourite ABBA tunes. 

Why Did It Have To Be Me? shifts the style of the album while encompassing a mix of musical styles and influences that ensure Why Did It Have To Be Me? quickly becomes a hidden gem in ABBA’s back catalogue.

Tiger is a sensational tune. The heavier sound signature works well and it’s another severely underrated masterpiece from ABBA. Of course, when you’re a band that has so many incredible songs, even those that are exceptional are bound to get buried and it’s therefore imperative that we all venture beyond ABBA Gold. 

Arrival is a beautiful, primarily, instrumental closer. The harmonious vocals are similarly stunning but overall there really isn’t much to be said about it. Yes, it closes the album out nicely, permitting contemplation, but I’d argue that it subsequently doesn’t encourage me to play the album again as it’s too relaxed. It’s a double-edged sword, of course, for Arrival wouldn’t be the same album without its namesake.

As a body of work, Arrival is a landmark release, featuring some of the group's most iconic hits. The blending of styles, with a touch of flamboyance and maturity, makes Arrival one of ABBA's greatest studio albums and is amongst the very best records released in 1976. 

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

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.

Chic – C'est Chic (Album Review)

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. 

Alice Cooper – From The Inside (Album Review)

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.

AC/DC – Powerage (Album Review)

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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. 

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)

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.