Meat Loaf – Bat Out Of Hell (Album Review)

Bat Out Of Hell is an absolute classic and while few would dismiss its importance to the history of recorded music, most of us would agree that it’s a landmark album. It's a shame, however, that the sonic quality has never really lived up to the hype, but more on that later.

Released in 1977, Bat Out Of Hell, produced by Todd Rundgren and penned by Jim Steinman, has left an indelible mark on music history with its bombastic melodies, theatrical storytelling, and Meat Loaf's unmatched powerhouse vocals. It really is the complete package and there isn’t a bad track to be heard on the album. Certainly, some songs may appeal more to you than others, I know that is the case for me, but when you combine them in the chosen sequencing, Bat Out Of Hell becomes more than just a collection of songs for it is an album experience first and foremost. 

Aside from the music, the album artwork is also legendary and yearns to be seen on the larger vinyl canvas. Unfortunately, despite trying various editions, I’ve yet to find a vinyl copy that is mastered exceedingly well. Truth be told, there probably isn’t one definitive edition as Bat Out Of Hell has never been an album that will please audiophiles. Its recording is somewhat raw, thereby limiting the quality of the output, but in a strange dichotomy, that aspect adds to the appeal of the album. 

The problem that exists when recordings lack a little spit and polish from the production stage is that by the time it has been mastered, or additionally remastered, and then delivered to the music-loving consumer, the magic of the album tends to be severely reduced. In other words, you’ll hear the songs but there are moments whereby Bat Out Of Hell is sonically closer to muzak than music. Yes, dear reader, it can be that bad and while highly touted editions exist, it’s a case of once bitten twice shy. Plus, and this will drive vinyl purists insane, I thoroughly enjoy the Hi-Res Lossless stream, an Apple Digital Master, from Apple Music. 

Don’t get me wrong, I’m not suggesting that the Apple Music stream offers the definitive edition of this classic release, but I find that it is the least offensive with a smoother top end and a little fuller sound in the mids. The low end of the audio spectrum is still lacking on the Apple Music stream, unfortunately, but if we consider that to be part of the album’s style, I can live with that.

Of course, the stereo mix isn’t the only option available on Apple Music for the album is also presented in Dolby Audio. You’ll notice that I didn’t say Dolby Atmos and that is because Apple Music also delivers the legacy SACD and DVD-Audio surround sound mixes; if the record label delivers it to them. In this case, I believe it is taken from the 2001 surround mix counterpart, sans the two bonus tracks, but the lack of complete liner notes means that this is pure conjecture on my part. Despite that, the sonic presentation of the surround mix is fuller and more spacious than the stereo counterpart. I almost want to say that I prefer it, but some elements leave me a little unsure and displeased. The low end is a little muddier, by comparison, and after listening to the stereo mix for decades, the shift to a multi-channel mix can take a little getting used to. As always, our musical perspectives are subjective and there are numerous mixed opinions relating to the 5.1 surround mix on QuadraphonicQuad. My advice would be to find the version you’re happy with and stick with it. For me, it is the Hi-Res Lossless stereo mix from Apple Music.

Bat Out Of Hell is a sprawling rock opera that sets the tone for the entire album. Meat Loaf's passionate vocals combined with Steinman's poetic lyrics make this an unforgettable anthem.

You Took The Words Right Out Of My Mouth (Hot Summer Night) has the classic Steinman spoken intro that works well with the song, but I find the musicality of this track to be a little campy and rather dated. That doesn’t mean I don’t like it, anything but, it’s just an aspect such as this that would likely deter modern listeners who have yet to fully grasp the musical impact Meat Loaf had throughout his career. Regardless, this nostalgic ballad is infused with both rock and pop sensibilities and before it’s over, you’ll likely find yourself singing along to a song that very easily could have come out of the ABBA camp.

Heaven Can Wait is a beautiful heartfelt ballad that will leave a lasting impression for it’s, arguably, Meat Loaf’s greatest recording. 

All Revved Up With No Place To Go kicks the album back into high gear with this high-octane track. My only frustration is I feel it’s a little too jazzy. That, however, doesn’t prevent me from belting out every chorus and verse. 

Two Out Of Three Ain't Bad is one of Meat Loaf’s most iconic songs. While Meat Loaf is often remembered for his rock and roll numbers, ballads like this, and Heaven Can Wait, are the trademark tunes that showcased just how extraordinary his skill was as a vocalist.

Paradise By The Dashboard Light needs no introduction for it’s one of the greatest songs ever written and recorded for few rock operas are as addictively good as Paradise By The Dashboard Light. With a narrative featuring young love and lust, weaving in humour, drama, and intense musical interludes, the multi-faceted structure of the song keeps you engaged from the very first note to the last. Incredible!

For Crying Out Loud is the perfect bookend to an incredible album, for this sweeping power ballad encapsulates the grandeur that only Meat Loaf was capable of delivering. The result is yet another reason to put the album on repeat for it is a rare occasion when I listen to this masterpiece only once.

Bat Out Of Hell is one of the greatest albums ever recorded; even if not from a sonic standpoint. While Meat Loaf gets most of the credit, Jim Steinman needs to be remembered as the silent but extremely talented writer that was as important to Meat Loaf’s success as Bernie Taupin was to Elton John. Yes, both Meat Loaf and Elton John have worked with other songwriters, but their greatest and most creative achievements can about when they worked together. The result is a well-crafted timeless masterpiece.  

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Elton John – Don't Shoot Me I’m Only The Piano Player (Album Review)

Elton John's sixth studio album, Don't Shoot Me I'm Only The Piano Player, released in 1973, is another creative peak in John’s illustrious career. Combining his piano and vocal skills, with Bernie Taupin's vivid lyrics, results in a captivating musical journey full of eclectic rock, pop, and glam influences that longtime fans and newcomers alike will thoroughly enjoy.

Despite Don't Shoot Me I'm Only The Piano Player being one of John’s greatest musically driven releases, the album artwork is simply exquisite and is a perfect example of evocative storytelling and how the artist need not be on the cover for it to be impactful. It’s also a perfect piece of cover art for the larger canvas of the vinyl record; a format that was at peak popularity when this album was released. 

One unfortunate aspect, as I’ve yet to pick up a copy on vinyl, is that the sonic quality of the digital stream on Apple Music is adequate but substandard for the hits and album-only tunes on this record. Presented as a non-Apple Digital Master, and replicating the 1995 remastered edition, the lossless Apple Music stream simply sounds a little too flat for my liking with restricted dynamics and a shallow soundstage. Purists would argue, and I’d likely agree with them, that a vinyl option would be preferable for this particular release, but I can’t help but feel that what is ultimately needed is a respectful remaster. For instance, if I were to listen to Elton John’s self-titled second album and then follow it up with Don't Shoot Me I'm Only The Piano Player, the sonic difference, from Apple Music alone, is so stark that this 1973 release simply can’t compete as it pertains to sonic pleasure. That said, an adjustment to your EQ settings may be all that is needed to reign in the sonic presentation; one closer to your liking. 

Daniel is a lovely introspective and melodic opener. Add in John's piano and vocal melodies with Taupin's evocative lyrics and you’ve got a memorable tune that has remained a highlight within John’s back catalogue for decades.

Teacher I Need You offers a somewhat familiar nostalgic reflection of a schoolboy’s crush on his teacher; we’ve all been there, haven’t we? Nevertheless, from the very first note, we’re met with energetic piano riffs and catchy melodies that result in it being a fun little tune. It’s that simplicity and merriment that is sometimes all that is required to thoroughly enjoy music.

Elderberry Wine offers a blend of pop and rock influences, with a compelling piano arrangement and vocal delivery that ensures Elderberry Wine is exceptional and will likely result in an earworm; a thoroughly enjoyable one that will compel you to spin the album, and this song, again and again.

Blues For My Baby And Me is a beautiful ballad. 

Midnight Creeper shifts the tone somewhat and while it’s initially a jolt to the senses, the groovy upbeat tune, driven by funky piano chords and a lively rhythm, is so appealing that you’ll slip right into the song and rock out. 

Have Mercy On The Criminal is a masterpiece and is without a doubt one of John’s greatest recordings.

I'm Gonna Be A Teenage Idol has a spirited energetic rhythm and catchy chorus. It may be an album-only tune, but it’s one of John’s many hidden gems.

Texan Love Song is a considerable shift in the sequencing of the album and feels as if it would have been more suited to being included on Tumbleweed Connection. Nevertheless, while Texan Love Song is unlikely to be anyone’s favourite tune, it grows on you the more you listen to the record and becomes a natural progression in the linear structure of the album.

Crocodile Rock, with its 50s feel, is one of the most memorable tunes John has ever recorded. If nothing else, the inclusion of John playing a Farfisa organ gives Crocodile Rock its unique sonic quality; one that is quite whimsical. 

High Flying Bird is a lovely closer that will compel you to play the album again. It may not be John’s most recognisable tune, but there’s just something about it, perhaps the harmonious vocals, that makes it thoroughly enjoyable. 

In Don't Shoot Me I'm Only The Piano Player, John's musical brilliance shines through with each carefully crafted note. This album stands as a further testament to his ability to captivate listeners with his virtuosic piano skills and emotive vocal storytelling. Ultimately, it is not only one of his greatest releases, but it is amongst the very best records released in the 70s.

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Elton John – Madman Across The Water (Album Review)

Released in 1971, Madman Across The Water is not only part of Elton John’s classic era, but it’s arguably his, and long-time collaborator Bernie Taupin’s, creative peak. With a compelling blend of rock and pop and an orchestral musical style, Madman Across The Water is an iconic and distinctive release that would present Elton John as a consummate musician. 

Some may logically point to other releases from John’s classic era as being the defining moment of his career. The self-titled Elton John, Don't Shoot Me I’m Only The Piano Player, and Goodbye Yellow Brick Road would be valid examples, but the cohesive album experience felt throughout Madman Across The Water, knows no peer.

Where things get a little rocky, however, is regarding the various masterings and sonic presentation of Madman Across The Water. Most fans are unlikely to concern themselves with such aspects, but for the rest of us who appreciate this release in a far deeper context, it’s important that we seek out the very best version of the album we can find. 

While everyone’s preference will differ, my subjective opinion is that the 2016 remaster offers listeners the very best, modern, sonic representation of this classic album. It’s important to note that the 2016 remastering was also the source used for the 50th Anniversary releases in 2022. As I was already fortunate to own this particular mastering on the 2018 vinyl edition (an exceptional reissue in its own right), I decided to abstain from purchasing the album again when the anniversary editions were released. Truthfully, I’m not one for bonus content and given it’s streamable if I wish to hear it, that was adequate enough for me. 

While I consider the 2018 re-released record to be the very best version of this album that I’ve had the pleasure of hearing, I can’t take it everywhere with me. Yes, my edition came with a digital download code, but there’s no meta-data to indicate which master was used to encode the lossless WAV files. I could create a needle drop as I have in the past with out-of-print releases, but that time-consuming process has become less appealing since Apple Music turned on Hi-Res and Lossless options at no additional cost. That said, there is a problem with the editions of Madman Across The Water on Apple Music et al that further complicates the attainment of what I consider to be the definitive release. 

Long-time readers will note my penchant for Apple Digital Masters, but this is one example where I suggest you avoid it like the plague as it’s the most compromised and least pleasing version of the two available on Apple Music. It simply doesn’t have the depth or presence in the soundstage to leave you in awe. Whereas the 2016 remastering is immersive, engaging, and offers a much smoother reproduction. Regarding the Apple Digital Master edition, the publication date is from 2011 thereby indicating a different mastering to the 2016 remastering sessions. Unfortunately, there’s no additional information relating to a 2011 remaster. It would be a logical assumption to, therefore, propose that this Apple Digital Master was derived from the 1995 remastering, yet without any further validation, this is mere conjecture. As I delved deeper to try and ascertain what was going on, the various streaming services all seem to have different versions of this classic release and while I’d love to give you a comprehensive breakdown of every streaming service and digital download store version available, it would be a tedious read. 

When so many variances exist, it creates an unhealthy paradox of choice that becomes overwhelming and leads to decision fatigue. The good news, however, is that all services have the Deluxe Edition and within that version is what I consider to be the superior mastering from 2016. As such, in order to share this review, of the core album, I’ve created a playlist from the Deluxe Edition for you to enjoy.

Tiny Dancer serves as a magnificent opening track. Its soothing and tender melody immediately captures the listener's attention, and John's emotive vocals convey a sense of intimacy that has made it an enduring favourite among fans; even amongst those who associate the song via the well-known mondegreen. 

Levon boasts a captivating storytelling narrative, driven by a powerful piano arrangement. John's evocative vocals bring the character of Levon to life, painting a vivid picture of his life and struggles, but perhaps more importantly, it is an incredible performance that is so sonically beautiful that it automatically becomes one of John’s greatest recordings. 

Razor Face is a hidden gem with a compelling blend of bluesy undertones and John’s expressive vocal delivery. The song’s raw emotions and subtle instrumentation make it a memorable addition to the album. 

Madman Across The Water is a true showcase of John’s musical prowess. Featuring intricate piano work, a sweeping orchestration, and a simply incredible vocal presentation, Madman Across The Water leaves a lasting impression. Additionally, you may also wish to check out the original recording of this tune as it’s got a greater rock edge thanks to the guitar work of Mick Ronson. 

Indian Sunset is simply magnificent! John’s vocal throughout, but particularly during the introduction, is the epitome of perfection. 

The most powerful aspect, however, is the gradual layering of musical elements with the shift back to the vocal. It’s nothing short of a masterstroke and I remain amazed as to why Indian Sunset remains somewhat hidden, never appearing on any of John’s compilation releases. It’s a shame for it’s one of his greatest songs that few people have heard outside of this album. 

Newer audiences were, however, exposed to it in 2004 as it was sampled on the chart-topping posthumous single Ghetto Gospel by Tupac Shakur. If nothing else, Indian Sunset proves that John and Taupin are musical geniuses and a collaborative team like no other.

Holiday Inn shifts the mood of the album but sounds as if it should have been included on Tumbleweed Connection. While it is a little disjointed, in relation to the rest of the songs from Madman Across The Water, it has some exceptional musical shifts with infectious piano riffs and a catchy chorus that make it an enjoyable addition to the album. 

Rotten Peaches won’t necessarily be anyone’s first pick when it comes to the best songs from Madman Across The Water, but it grows on you the more you listen to it and is the quintessential album-only tune.

All The Nasties is another of John’s hidden gems. With that in mind, it’s tragic that this masterpiece has been overlooked for so long.

Goodbye is the perfect closer. Short, but beautiful! Goodbye will, undoubtedly, compel you to listen to the album again for Madman Across The Water can rarely be appreciated via a single play-through. 

Madman Across The Water is an extraordinary album that epitomises Elton John's artistic brilliance. The album's diverse musical arrangements, poetic lyrics, and powerful vocals further showcase the depth and range of John's talents. Madman Across The Water, subsequently, remains a timeless classic that has continued to captivate audiences across generations, solidifying its place as one of the finest works in Elton John's illustrious career.

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Elton John – Self-Titled (Album Review)

Elton John has no shortage of classic albums that can be seen as both revolutionary and standing the test of time, but this self-titled second album sees John return to the studio with an even more polished production than was heard on his debut Empty Sky. 

Released in 1970, Elton John marked the beginning of a legendary career that would not only change John’s life but would have a profound influence on the popular music landscape for decades to come. With his masterful piano playing, gorgeous lyrics, and melodic style, Elton John remains an album experience through and through. While popular songs such as Your Song and Border Song are worthy singles in their own right, the sequencing of Elton John is utterly perfect.

Interestingly, Elton John was never intended to be a career-launching album for it was merely supposed to present a polished overview of the music from John and (Bernie) Taupin for other musicians to select from and record for themselves. I think I can speak for all of us when I say that I’m glad that intent failed for it is unimaginable to consider the musical landscape sans Elton John’s contributions.

While John and Taupin, along with the band are to be revered for the music that comprises the Elton John album, Gus Dudgeon, the album’s producer, was arguably a visionary creative and was so influential in that role that he would go on to produce many of John’s most respected classic era albums including Goodbye Yellow Brick Road.

Visually striking, this self-titled debut is a perfect accompaniment for the larger vinyl canvas. What has always confused me, however, is the fact that the rear album artwork presents the names and standing photographs of the contributing musicians to this master recording. Yet, there isn’t a single song from the album listed on the rear sleeve. Instead, you’ve got to venture into the gatefold for such information, along with lyrics and additional liner notes. It’s a bit of an oddity as one naturally turns the album cover over when perusing them to see if a song stands out from the list thereby compelling the purchasing or playing of the album. The CD counterparts don’t replicate this aspect, thankfully, but the 2017 vinyl reissue that I’m fortunate to own, replicates the original artwork. Regardless of that aspect, it’s a beautiful reproduction with a slightly textured cover that ensures damage will be minimal for Elton John is one of those albums that you can’t help but to continually play. 

While some vinyl collectors don't play their records, or will place the album artwork on a Now Playing stand, I prefer to hold the artwork and when I drop the needle on the record, I’m blown away. The musical reproduction of this release is said to have been remastered from the original analogue tapes and based merely on the sonic presentation that emanates from my speakers, I don’t doubt it. The only problem is the inconvenience of the format, for when the digital counterparts sound as good as they do. In the modern convenience era, it certainly takes a determined mind to commit to a vinyl playback ritual. 

Recorded, mixed, and mastered with kid gloves best describes the sonic wonder that you’ll experience when listening to this album, regardless of format or delivery method. While the vinyl reissue is thoroughly engaging, so too are the Apple Digital Master stereo and Dolby Atmos streams from Apple Music. While I prefer the stereo mix, that is likely due to hearing this album in that way for decades. Nevertheless, the Atmos mix is additive in that it has been delicately crafted and offers a fuller, and more immersive, presentation than the stereo mix permits. Some instrumental elements are more noticeable, having been freed from the refines of two-channel audio, but the only downside I’ve noticed is that the width of the soundstage is a little shallower than the stereo mix. That may sound strange given the surrounding nature of the Dolby Atmos format, but the stereo panning in the two-channel original mix seems to have a greater distance to the left and right than the Atmos stream does. Regardless, both are thoroughly enjoyable I will say that the Atmos stream is one of the best implementations of this technology that I’ve had the pleasure of hearing.

While most of the digital reissues for Elton John, post-1995, have included three bonus tracks, they’re superfluous to the flow of the album. I have subsequently chosen to omit them from this review and as such you’ll find a shared Apple Music playlist below that presents the album with its original 10-song structure. Of course, while I may be less than enamoured with the bonus material, you may appreciate it. Hence, you can check out the 13-track edition by clicking here. If you’re interested in delving even further into this release and the Elton John era, the 2008 Deluxe Edition features additional demos as well as BBC session recordings.  

Your Song is one of John’s most enduring tunes. The love song theme will pull at the heartstrings while the musical aspects of the song continue to progressively build, eventually culminating in one of the most beautiful songs ever written and recorded. 

I Need You To Turn To is an incredible pop ballad. When I hear music this pure, I can’t help but wonder if John, Taupin, the musicians, and the production team were aware of just how incredible the music was at the time when they were creating it. 

Take Me To The Pilot is an upbeat, piano-driven tune that complements John’s vocal styling. With its infectious hooks and melodies, Take Me To The Pilot is a standout even if its only claim to fame is as a solid album tune for this is one song that is not easily forgotten. 

No Strings On Louise takes a bluesy Rolling Stones’ meets country music twist. One could be forgiven for thinking that The Rolling Stones made an impromptu appearance on this song but as a fan of The Stones, I think it’s wonderful and it’s one of my favourite songs from Elton John; despite its stylistic shift.

First Episode At Hienton is a sonically beautiful tune. Its haunting composition will envelop you in the immersive soundstage throughout, thereby making it one of the most captivating songs from the album.

Sixty Years On has a unique and somewhat pointless introduction. I class it as the sonic equivalent of 2001: A Space Odyssey in that it gets your attention due to the progression of sonic elements rather than the song itself. Nevertheless, once the song starts and the senses start to settle, Sixty Years On becomes a masterstroke in its own right.

Border Song is a gospel-inspired gem. John’s piano, lyrical delivery, and the symphonic backing elements all build to the moment when the choir comes into the mix. It’s a sonic experience that has to be heard firsthand for Border Song will touch your soul in a way that simply cannot be adequately described.  

The Greatest Discovery is one of John’s greatest recordings and as with many of his tunes, it should be heard firsthand for any commentary is going to do nothing more than butcher what can only be considered a musical masterpiece. 

The Cage is New Orleans Jazz meets Rock and Roll with a killer rhythm and groove. 

The King Must Die is grandiose and aligns with John’s persona. As the song builds in intensity, featuring dynamic shifts in tempo, the orchestral arrangements add further majesty, thereby resulting in it being a quintessential closer; one that permits reflection, as well as compelling the listener to play the album again. 

Elton John is a remarkable release that is up there as one of the greatest albums in music history. It laid the foundation for John’s illustrious career and remains a testament to his enduring musical legacy. Most importantly, however, it deserves greater recognition than it often receives. We frequently point to Goodbye Yellow Brick Road as John’s magnum opus, but this self-titled release is equally its peer. If you’ve never heard it, nor given it a chance, you’ll be shocked with regards to just how impressive this release is for it is Elton John to the core and is thoroughly captivating from the very first note to the last. 

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Leo Sayer – Leo Sayer (Self-Titled Album Review)

Released in 1978, Leo Sayer’s self-titled album, his sixth studio recording, is a timeless classic that showcases the singer’s vocal prowess and musical talents. With its blend of pop, rock, and disco, this album offers a diverse range of musical styles that are guaranteed to captivate listeners from start to finish.

Captivation naturally begins with the album artwork and while it isn’t the most noteworthy, or inspirational, of Sayer’s career, it stands out from the crowd as the minimal design draws your eye directly to the typeface and Sayer’s portrait. In the modern era, it’s easy to overlook album artwork but in 1978, when the predominant music format was the vinyl record, it was often as essential as the music was for sometimes the first encounter of an artist would be the cover design that you’d see each time you visited your local record store. 

Of course, for a record to be considered a classic album, as I consider this, the music and sonic reproduction have to be compelling. In this case, Sayer’s self-titled release is stunning. Presented as a lossless CD counterpart, via Apple Music, some may argue that there is room for improvement given that it isn’t presented as a Hi-Res Lossless Apple Digital Master. I, however, wouldn’t agree with that perspective for whoever undertook the mastering of this release got it right. There are no glaring omissions or elements that I feel need addressing. Subsequently, a remaster simply isn’t required and has the potential to further degrade the quality of the recording by succumbing to loudness demands. Sometimes it is best to leave well enough alone and simply enjoy the music. 

Stormy Weather opens the album with a catchy pop-rock tune that sets the tone for what’s to come. Sayer's soulful vocal shines as he extends every note right to the edge of his range as he sings about life’s ups and downs, accompanied by incredible instrumentation and infectious melodies. 

Dancing The Night Away, an Amazing Rhythm Aces cover, is a fantastic tune and is far superior to the original with its groovy basslines and funky guitar riffs. That’s perhaps one of the greatest aspects of Sayer in that while he’s recorded many covers, he always manages to extract the soul of the song, put his own spin on it, and match, or in this case surpass, the original.

I Can’t Stop Loving You (Though I Try) is a beautiful heartfelt ballad that showcases Sayer’s evocative vocals and is one of the highlights of this self-titled release. 

Phil Collins recorded the song for his 2002 album, Testify, but unless you’re a fan, it isn’t worth your time as it’s a second-rate interpretation at best. While I appreciate artists covering music they enjoy, if they can’t match or beat the original, I’d prefer they refrain from recording it in the first place. 

La Booga Rooga is a cover of Andy Fairweather Low’s 1975 original, an exceptional recording in its own right, but Sayer removes some of the blues elements and replaces them with an addictive up-tempo pop-rock technique that is perfectly suited to his style and the era. As to which is better, well it all comes down to personal taste and while I thoroughly enjoy both renditions, my preferred is Sayers; likely as it was his version I’ve always been more familiar with and the fact that his energetic vocal performance adds to the song’s overall charm, making it a joy to listen to. 

Raining In My Heart is a Buddy Holly cover and just like La Booga Rooga, I appreciate both interpretations, for different reasons. If I’m in the mood for the sound of the 50s, or Buddy Holly in general, then his version is superior. As part of Sayer’s self-titled album, however, Raining In My Heart is a masterful recording that complements Holly’s original while simultaneously ensuring this classic tune has a modernised feel; one with a combination of country-folk and pop-rock styles. Regardless of your preferred version, you simply can’t go wrong with a song as incredible as Raining In My Heart. 

Further to that, may I suggest you also check out the versions by Anne Murray and The Dave Clarke Five for they too are exceptional interpretations.

Something Fine, a Jackson Browne cover, is a beautiful interpretation that is very close to the style of Browne’s original recording. Both are so good that I can’t pick a preferred version. That’s actually a good thing as Sayer’s interpretation takes nothing away from the original. 

Running To My Freedom sounds a little dated, compared to the other songs on this self-titled release, but it’s a lovely classic rock tune with a catchy melody that will appeal to many.

Frankie Lee is a great upbeat song. There’s just enough of a rock edge to be considered a rocking good tune and the instrumentation throughout is the perfect accompaniment to Sayer’s vocal.

Don’t Look Away is another upbeat tune with Sayer’s signature pop-rock-infused styling. The instrumentation on this track is of particular note, with a driving rhythm section, pulsing keyboards, and fiery guitar riffs all coming together to create a rich and dynamic sonic landscape. Without a doubt, Don’t Look Away is a hidden gem and is one of the best songs Sayer ever recorded. 

No Looking Back is a beautifully crafted song that showcases Sayer's considerable talents as both a songwriter and performer. It is somewhat reminiscent, in style, of Elton John’s classic era with its piano and symphonic backing, but more importantly, it closes out the album just as closing tunes should whereby they allow for contemplation as well as compelling the listener to play the album again. 

In conclusion, 1978 was a year that yielded an incredible range of music, from all genres and artists, and Leo Sayer’s self-titled release is no exception for it’s a masterpiece that has stood the test of time and remains to this day a landmark release of the 70s. 

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Gerry Rafferty – City to City (Album Review)

Released in 1978, Gerry Rafferty’s second solo studio album, City To City, is a classic release that showcases the singer-songwriter's distinctive vocal and skillful songwriting. With a perfect blend of pop, rock, and folk, City To City is not only a timeless record but is amongst the best of Rafferty’s career. 

Sonically, the lossless Apple Music stream is thoroughly enjoyable but does it require a remaster? I don’t feel it does as every musical element is beautifully represented and heard within the soundstage. The simple fact is that there aren’t any glaring issues. Yes, a little more focus on the mid to low end of the spectrum would be nice, but adding a little bass to your EQ settings fixes that dilemma. 

That all said, a vinyl reissue, released in February 2023, is getting rave reviews. Given the mastering quality that is normally forthcoming from Miles Showell and Abbey Road Studios, I feel compelled to order a copy, particularly considering the exceptional artwork demands the larger canvas that only vinyl can accommodate. My only hesitation is that it is pressed across three sides with the fourth being an etched design. This isn’t uncommon for Showell's half-speed master releases, as he aims for the highest sonic quality, but given the original edition was pressed to a single LP, it would have been nice had this been replicated as flipping record sides does get a little tiresome, regardless of the sonic benefits. 

Additionally, given I thoroughly enjoy the lossless Apple Music Stream, sometimes it’s important to be satisfied with the version we currently have access to, particularly if we find it pleasurable, rather than constantly looking for a better version that may or may not appeal to us.  

The Ark opens the album with a beautiful mellow folk tune that builds into a slow soft rock number before returning to its roots. It’s magnificent, with a dreamy chorus, and sets the tone for the entire album.

Baker Street is the most well-known song from City To City and Rafferty’s career. That distinctive saxophone solo, courtesy of Raphael Ravenscroft, is where the magic truly happens for as exceptional as the song is, it wouldn’t be a landmark release if it had not been for that introductory solo that reappears throughout. Of course, that shouldn’t detract from the other aspects of the song, particularly the guitar solo, that are just as noteworthy. Ultimately, Baker Street is so perfect that it very well could be a textbook example of how to write and record music. Incredible!

Right Down The Line has a Clapton feel to it but besides that correlation, Right Down The Line is a great tune and one that, similarly to Barker Street, was well received upon release. The only disappointing element is that the fade-out comes in a little too early and is too brief. Some may not mind that, but I find that it detracts from an otherwise perfect tune. 

While I’d love to hear Eric Clapton cover Right Down The Line, Bonnie Raitt’s version, from Slipstream, is a lovely modern interpretation; although the original is hard to beat.

City To City has corny components, particularly thanks to the use of the harmonica and other atmospheric elements such as the train-inspired sounds, but its arrangement is so thoroughly enjoyable that I can’t help but appreciate this title track. 

Stealin’ Time slows down the album with a bluesy guitar riff accompanying Rafferty’s soulful vocals. It’s such an incredible tune and is a core reason why City To City, as an album, is essential for all music lovers. 

Mattie's Rag has a Beatles’ influence and while some may lament that aspect, the Fab Four did forever change music and the subsequent complementary tip of the hat should be taken as a gesture of respect. That aside, Mattie's Rag is a fun little tune that works well with not only Rafferty’s style but within the context of the album itself. 

Whatever’s Written In Your Heart is pure musical bliss. Rafferty’s vocal is magnificently performed and the harmonious backing vocal is the perfect addition to the mix; an otherwise simple composition that ensures the focus is on the song’s lyrical context. Whatever’s Written In Your Heart is another of those hidden gems that we love here at Subjective Sounds for it is music such as this that reminds us why we love the music we do. 

Home And Dry is the perfect album track. It isn’t a standout and you’re unlikely to be drawn to it outside of the album structure, but it’s so good. It’s songs such as Home And Dry that require no fanfare but take an album from a collection of haphazardly collected songs to the coveted album experience. 

Island is another solid album tune that’s simply lovely. As you may have already ascertained, sometimes that is all that’s needed for every song doesn’t need to be a hit. 

Waiting For The Day is a high-energy bookend to City To City and I couldn’t imagine a better song from Rafferty’s catalogue to close the album with as it encourages repeat plays. While the uptempo styling is fantastic, it’s the slower elements throughout that ensure Waiting For The Day is memorable as it gives the senses a chance to breathe and appreciate the music. 

From start to finish, City To City is flawless. While it’s Rafferty’s greatest musical achievement, it is also amongst the greatest albums released in the 70s and is, without doubt, one of the very best releases from 1978; an incredible year for music. 

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England Dan & John Ford Coley – Some Things Don't Come Easy (Album Review)

When you think of classic albums, England Dan & John Ford Coley’s Some Things Don't Come Easy probably doesn’t spring to mind, but this 1978 release, their sixth studio album, is a musical masterpiece that showcases the duo's extraordinary musical skills. With a mix of soft rock, pop, and country, the 11 tunes featured present a delightful listening experience that captures the essence of the music scene in the 70s.

Speaking of capturing the soul of a recording, Some Things Don't Come Easy was recorded, mixed, and mastered with kid gloves. While the album has never been remastered, to my knowledge, the lossless Apple Music stream is simply magnificent. It’s flawless and thoroughly enjoyable and I wouldn’t want a single aspect to be changed; well perhaps a slight recess in the brass elements on songs such as Calling For You Again. Nevertheless, your thoughts may differ, but the stream is one of those examples whereby there is plenty of latitude that allows for the tweaking to one’s tastes via EQ settings.  

Some Things Don’t Come Easy is an exceptional opening ballad that showcases the duo's vocal range and emotional depth. It sets the tone for the entire album and is worthy of the title track. The song's lyrics express the difficulty and pain of love, one we can all relate to, thereby, creating a poignant and touching listening experience.

If The World Ran Out Of Love is a sensational followup to Some Things Don’t Come Easy as the slow ballad, easy listening, style is acoustically marvellous. It’s one of those songs that you’ll likely find yourself pausing, in awe, for the soundstage that emanates is intoxicating. There is little doubt in my mind that If The World Ran Out Of Love is one of the greatest hidden gems of the 70s. 

You Can’t Dance is an upbeat number that shifts the tempo of the album. With its catchy pop-rock melody that is accentuated by the duo's trademark harmonies, and backing vocals, there’ll be fans of You Can’t Dance. I’m not one of them as I feel it is too far removed from the other songs on the album, but Some Things Don't Come Easy wouldn’t be the same without this tune. 

Who’s Lonely Now features a beautiful and melancholic melody, perfectly complemented by the duo's soulful harmonies. It’s a standout track that reminds me somewhat of the overarching style on Crosby, Stills & Nash’s CSN, but that is a compliment as I adore that album. If nothing else, Who’s Lonely Now will resonate with anyone who has experienced the pain of a broken heart; that’s all of us, right?

Hold Me features a beautiful and soulful melody that makes it one of the best songs on the album and one of the greatest that England Dan & John Ford Coley ever recorded; magnificent!

We’ll Never Have To Say Goodbye Again is a trademark tune and for good reason, as it appeals to those of us who appreciate touching and sentimental ballads. The ability for one to connect with the music they love is incredibly powerful and while some will lament the cliché aspect of love songs, there is no denying that they’re timeless.

Lovin’ Somebody On A Rainy Night has an Eagles’ feel to it that perfectly suits Dan and Coley’s style. I wouldn’t, however, consider it the strongest song on the album as it’s more filler than standout and you’re subsequently unlikely to seek it out, outside of the album format. 

Beyond The Tears returns us to a gentle and melancholic melody that I feel is better suited to the duo as it permits them to do what they do best; convey deep emotions and vulnerability through their music. 

Calling For You Again is a shock to the senses following the laidback style of Beyond The Tears. Nevertheless, once the addition of the brass component has settled down in my mind, Calling For You Again is a solid energetic tune. The only quibble I have is that I feel the saxophone element could have been dialled back a little as I find it to be too forward in the mix.

Wanting You Desperately is a heartfelt and emotional tune with soulful harmonies and lush instrumentation that creates a powerful and emotional atmosphere.  

Just The Two Of Us is one of the most beautiful and romantic ballads you’re ever likely to come across. It’s also the perfect closer as it encourages contemplation and the thought of playing the album again. Its simple yet effective arrangement, along with the duo's tender harmonies, creates a warm and intimate atmosphere that further showcases the duo’s ability to convey heartfelt sentiment and genuine emotion through their music.

Overall, Some Things Don't Come Easy is one of those albums that is tragically overlooked for its beautiful melodies, insightful lyrics, and impeccable vocal harmonies ensure this album remains a timeless classic that continues to resonate with listeners to this day. 

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