AC/DC – High Voltage (Album Review)

Released in 1976, High Voltage would become AC/DC’s pseudo debut as the song selection was taken from their 1975 Australian-only releases of T.N.T. and High Voltage. While the Australian-only releases are highly sought-after by collectors, the songs that were omitted have since been released on the incredible ’74 Jailbreak and the rather extensive Backtracks compilation and are worthwhile checking out. That said, I consider the international 1976 version of High Voltage to be the true debut of the band as this edition is non-relenting in its rhythmic drive, ensuring there isn’t a dull moment from start to finish.  

The excitement is naturally driven by the album artwork. While it may not be the greatest in AC/DC’s illustrious career, it suits the band and the album perfectly ensuring that the visual element is a perfect counterpart to the music contained within. One can only imagine being a record buyer in 1976 and seeing the cover art for the first time; I know it would have compelled me to pick up the album based on the artwork alone. 

Moving forward into the modern era, music lovers can increasingly get access to the record via streaming services and while I’m still a proponent of physical media, the Apple Digital Master, available via Apple Music, sounds exquisite and I believe is derived from the core 2003 remastering sessions of AC/DC’s entire back catalogue that were the basis for the well-regarded vinyl and CD reissues. While some may lament the remastering of albums, it’s comforting to know that regardless of which delivery method you choose to listen to this classic album via, they’re all based on the same master. Plus, and some may disagree, but I feel the 2003 AC/DC remasters are fantastic.

It’s A Long Way To The Top (If You Wanna Rock ’n’ Roll) is one of the greatest songs ever written and recorded. The inclusion of the bagpipes was a masterful move and showed Bon Scott as more than just a vocalist. The version heard here is, however, shorter than the original Australian-only release, so if you’re a purist you would be well-advised to check it out on Backtracks. It’s A Long Way To The Top (If You Wanna Rock ’n’ Roll) has also been covered extensively with two of the best renditions being recorded by John Farnham and Lemmy Kilmister & Jake E. Lee.

Rock ’N’ Roll Singer isn’t a bad song, but it isn’t one of AC/DC’s strongest. However, via the charismatic nature of Bon Scott, Rock ’N’ Roll Singer takes on a life of its own and we’d be worse off as fans if this tune had been omitted from the album. 

The Jack is brilliant. The blues-based rhythm is compelling and it’s yet another example of AC/DC at their cheeky best.  

Live Wire is a killer rock and roll tune and that intro is one of the best in AC/DC’s entire catalogue; perhaps only rivalled by the build-up of Thunderstruck. Regardless, Live Wire is an all-time favourite of mine and is a highlight from High Voltage.

T.N.T. is one of AC/DC’s best and is one of the greatest rock and roll anthems that has ever been written and recorded.

Can I Sit Next To You Girl is a great song, but it is Mark Evans’ bass tracking that takes this song from a run-of-the-mill bluesy rock and roll tune to a killer rock song worthy of the AC/DC name. Interestingly, Can I Sit Next To You Girl was AC/DC’s first single, released in 1974 and at the time titled Can I Sit Next to You, Girl with Dave Evans on vocals, Colin Burgess on drums and George Young on bass guitar. While the earlier version is out of print, and is different, it hasn’t been officially reissued since its initial release, but if you look on YouTube, you’ll come across uploads of the original. 

Little Lover is pure sonic bliss. It may be a slow track, but there is nothing pedestrian about Little Lover. It is a shame, however, that it hasn’t been more prominent throughout the years, but perhaps that is a good thing considering I generally prefer Brian Johnson’s vocal delivery, but I couldn’t imagine anyone else singing Little Lover better than Bon Scott; he mastered it!  

She’s Got Balls has a great rhythm and is a solid tune but it isn’t a standout. That said, the album wouldn’t be the same without it.

High Voltage is a fantastic song, a perfect title track, and an ideal closer. However, perhaps it’s just me, but having heard it so many times over the years, I can’t help but feel it’s a little overrated.

High Voltage is a classic album that captures the essence of AC/DC’s early years. It serves as a testament to their ability to create timeless, no-nonsense rock and roll; a constant element throughout their career. A core strength of High Voltage lies in the simplicity and authenticity of AC/DC's sound as the album doesn't rely on complex arrangements or intricate production; instead, it thrives on the sheer power of its raw, stripped-down rock and roll. The result is that High Voltage is amongst the greatest hard rock albums ever released and is a must-listen for anyone seeking a genuine hard rock experience. 

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Aerosmith – Rocks (Album Review)

Aerosmith’s Rocks, rocks! 

Yes, dear reader, I’m aware of the cringeworthy pun but the truth is that Rocks is one of the greatest rock and roll albums of all time. Released in 1976, Rocks was Aerosmith’s fourth studio album and it shows as the album is tight, highly refined, and certainly not lackadaisical. While raw in classic Aerosmith style, Rocks has left an indelible mark on not only the history of rock music but Aerosmith’s extensive discography.

There is part of me that would appreciate a slightly higher production value than Rocks presents, but Aerosmith was able to capture their live, rough-around-the-edges energy that not only adds to the authenticity of the album but is, arguably, an Aerosmith trademark. Hence, a more polished production would have diminished the exceptional skill of Joe Perry and Brad Whitford on guitars while the rhythm section of Tom Hamilton and Joey Kramer lays down a solid bluesy, hard rock, musical foundation for Steven Tyler’s unique vocals to lay upon.

Speaking of Tyler’s vocals, they’re nothing short of stellar on this release. The distinctive nature of his vocals, characterised by their raspy quality, adds a layer of grit to the songs that add memorably to the album’s overall style and impact. A shift in any of these aspects would mean that Rocks wouldn’t be the same album so the rawness must remain but different editions can offer a shift in the tonality of the album that you may prefer; based on your subjective tastes, of course.

The Hi-Res Lossless Apple Digital Master, as heard on Apple Music, is rich and well-defined and while I can’t confirm the exact mastering used, it’s sonically pleasing. Rocks is an album that can be a little grating on the senses, mainly due to Steven Tyler’s vocal style throughout and, again, the rawer production, but the treble is rolled off a little on the stream, thereby allowing for a much less fatiguing listen than I’ve heard via other formats. It could, however, be a little too muffled for some so it would be best to listen and decide for yourself as you may prefer another release.

In the past I have been fortunate to have owned the 90s CD remaster along with the Record Store Day (RSD) 2014 reissue and both versions were considerably different to each other and the associated stream. The 1993 Vic Anesini remastered CD reissue was always a little shrill while the vinyl reissue offered a sonically gorgeous reproduction and wasn’t that dissimilar to the Apple Music stream. Nevertheless, had I not run into a minor financial challenge that required me to move a few records on, I’d still be incredibly happy with the vinyl release for this album really benefits from the vinyl format’s more restrictive mastering standards. 

The disappointment, however, was that the album cover on the vinyl release was terrible. It was as if it were poorly scanned from a CD booklet; a common occurrence with vinyl reissues. Despite that aspect, the artwork for Rocks never really captivated my attention. It isn’t so bad as to be included in The Worst And Most Disturbing Album Covers Of All Time but it’s lacklustre, to say the least. I don’t know about you, dear reader, but it simply doesn’t compel me, as other albums do, to hold the record sleeve, or put it on display, as the music plays. Thankfully, the music is worthy of discussing further, so join me as I take a look at the songs that make up this landmark release. 

Back In The Saddle is a thunderous anthemic opener. It is, however, a song that can be distracting, depending on the specific mastering you're listening to, as I alluded to earlier. Nevertheless, the thunderous riffs and energetic style of this opening tune sets the tone for the entire album. 

Last Child has a funky and infectious blues-based rhythm and Whitford’s guitar solo is glorious. Tyler’s vocal performance here is off-the-charts good resulting in Last Child being one of my all-time favourite Aerosmith songs. 

Rats In The Cellar is a high-energy rock number that could very well have been influential to the Thrash Metal sub-genre with its relentless guitar riffs and rhythm section driving the song forward.

Combination flows beautifully from Rats In The Cellar and while it’s a great song, at times I feel Tyler’s vocals come across a little whiny and Perry’s harmony vocal does little to help. Subsequently, as much as I adore Combination’s musical composition, the lyrical aspect is simply too distracting to listen to the song outside of the album’s linear structure. 

Sick As A Dog is another bluesy number that is so rhythmically charged that it will get you moving and grooving. Despite never being released as a single, Sick As A Dog is a hidden gem and one of the best songs Aerosmith ever recorded. 

Nobody’s Fault has a magnificent slow introduction before the band crashes through your speakers. Tyler is perhaps a little distant in the mix, as is Witford’s lead guitar towards the end, and the vocal processing on the chorus may not appeal to all, but Nobody’s Fault remains a killer tune and one that flows well within the album’s linear structure.

Get The Lead Out gets better the louder you play it and is one of the best songs on Rocks. I’d also argue it's one of Aerosmith’s greatest and most overlooked rock and roll anthems with an infectious energy and catchy chorus that is a cornerstone of the entire album. 

Lick And A Promise with its upbeat tempo and lively instrumentation is another memorable tune that further confirms just how powerful Rocks is as an album experience.

Home Tonight may slow things down a little but the mellower tone of Home Tonight makes for not only a perfect way to close out the album, but it’s also another of Aerosmith’s fantastic power ballads; an aspect that is, at times, more notable than their straightforward rock numbers. Nevertheless, Home Tonight will compel you to listen to the album again or encourage you to  reflect on the music you’ve just heard.

Rocks has left an enduring legacy in the rock genre. Its impact can be heard in the work of countless bands that followed, with its raw energy and unapologetic attitude serving as a blueprint for numerous hard rock and heavy metal acts. Its blues meets hard rock at its very best and is one of the most noteworthy albums Aerosmith ever released. 

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Wings – Wings At The Speed Of Sound (Album Review)

Released in 1976, Wings At The Speed Of Sound is one of Wings’ most essential releases and is, arguably, only challenged by Band On The Run for supremacy. As the fifth studio album in Wings’ discography, Wings At The Speed Of Sound sees the band in full swing during their most successful years and is their most diverse as vocal duties were given to each of the core members. The result is that Wings At The Speed Of Sound remains fresh and while McCartney could have taken the lead on all the songs from the album, it is refreshing to hear vocals performed by other members of the band.

While few artists are as successful as Paul McCartney has been, Wings At The Speed Of Sound is yet another example of his musical vision. Yes, as alluded to earlier, Wings was a collaborative effort but there are still moments when you’ll find yourself considering these classics as McCartney tunes. Granted, he co-writes (and produced) all songs, except for Wino Junko, and passed vocal duties to Denny Laine, Jimmy McCulloch, Linda McCartney, and Joe English, but it can still be difficult to separate the legend from the rest of the Wings’ lineup as they are synonymous with each other. 

While the music is the most important element of Wings At The Speed Of Sound, the album artwork is nothing if not compelling. Yes, it’s boring to an extent, yet it’s one of my all-time favourite album covers. While I’ve yet to pick up a physical release of this classic album, when playing it via Apple Music, on an Apple TV, the artwork is presented via a larger canvas that is close to that of the physical vinyl release. It subsequently permits appreciation while sitting back and enjoying the music and the only thing missing is the tactile element. 

What isn’t omitted, on the lossless Apple Music stream, is the lovely sonic presentation of the record. Derived from the 2014 remastering of the album there isn’t much to complain about but there are times when I wonder if the Apple Digital Master is a little concealed. It’s as if there was too much noise reduction applied in the remastering process and sounds as if a sheet has been laid over the speakers. Yet, this isn’t present across the entire album. It could be that the original master tapes weren’t in great shape, or that the songs were simply recorded that way. Of course, it could just be me looking for a problem for when I turn the volume up and allow myself to be drawn to the music alone, I no longer notice it. 

With that in mind, join me, dear reader, as we take a look at the music that makes up this classic release. 

Let 'Em In is a masterpiece as it pertains to opening tracks. The bell-ringing aspect sets the scene perfectly and the song essentially aims to let the music lover in, via its whimsically infectious melody and lyrical presentation.

The Note You Never Wrote is a little melancholic with a subdued and reflective feel. Nevertheless, this is one of the very best songs Wings ever recorded as it’s layered exceptionally well ensuring that the vocals and emotion remain paramount throughout. It may be an album-only tune, but songs such as this are masterpieces in their own right and only make an album stronger. 

She’s My Baby is lively and energetic with an upbeat tempo. While it was never destined to be a standout, it’s a fun little addition to the album.

Beware My Love starts slowly but this mid-tempo rock number builds into one of the greatest songs in all of recorded music history. McCartney’s vocals are raw, simply beautiful, and the musicality, with incredible guitar licks and rhythmic drive, is so captivating that I could listen to Beware My Love on repeat, indefinitely. It is, for lack of a better term, a perfect song. 

Wino Junko is ideally positioned in the tracking of the album. It was always going to be challenging for any song to follow Beware My Love, yet Wino Junko does so without intimidation, thereby ensuring that the linear flow of the album is maintained. Jimmy McCulloch takes the vocal lead on this tune and while his performance is to be commended, it is the bluesy musical backing that is most impressive for the collaboration between musicians, melded with an exceptional mix, has resulted in a musical experience that knows few peers. 

Silly Love Songs is one of the most well-known tracks from this 1976 release and leans into the disco style of the time. There is little doubt, subsequently, that Silly Love Songs would be a hit when released within that era. As corny and cliché as the song is, the catchy and upbeat nature of the song remains thoroughly pleasing and addictive, thereby ensuring that, even if you don’t want it to, Silly Love Songs will remain within you, as an earworm, long after you’ve finished listening to the album.

Cook Of The House is quirky and whimsical, yet it’s a low point of an otherwise perfect album. I think many would agree that if there was one song that should have been omitted from this release it would have to be this one. 

Time To Hide brings the album back on course with a bluesy rock-oriented tune with Denny Laine delivering an incredible vocal performance. 

Must Do Something About It is a beautiful song that seamlessly flows from Time To Hide. As with the previous song, Must Do Something About It is sung by Joe English and is another perfect example of Wings’ creative genius beyond that of McCartney alone. Listening to the song, you’d be forgiven if you thought that English, in some respects, sounds a lot like Billy Joel. Intended, or not, that’s a compliment for I’d love to hear Joel cover this magnificent tune. 

San Ferry Anne is a pleasant enough tune. It’s succinct, and musical, but isn’t a song that you’ll likely seek out, outside of the album’s structure. 

Warm And Beautiful is a stunning ballad and is a perfect closing tune. It will either compel you to listen to the album again or contemplate the serene nature of the tune and McCartney’s delicate vocals. Whichever way you choose to enjoy this closing track, there is little doubt that Warm And Beautiful is simply splendid.

Wings At The Speed Of Sound is nothing if not an exceptional record. While it may not be as well-regarded as some of McCartney’s other works, it’s one of the best albums Wings ever recorded and is a landmark release of the 70s. From catchy pop tunes to blues-based rock and heartfelt ballads, Wings At The Speed Of Sound offers music lovers a diverse range of musical experiences that only get better the more frequently you listen to the album. 

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Montrose – Jump On It (Album Review)

Released in 1976, Jump On It, the fourth studio album from Montrose, would go somewhat unnoticed amongst music lovers. Yet, over the years, the album has attained a cult-like status that has ensured it lives on in the consciousness of hard rock enthusiasts everywhere.

Fans of Sammy Hagar may still have been perturbed to find Bob James once again on lead vocals, following Hagar’s departure from the band in 1975, but to class this appointment as a downgrade would be foolish as this second outing with James, following the 1975 release Warner Bros. Presents Montrose!, is extraordinary. A similar issue is often seen with some arguing about Van Halen and who was the better frontman; David Lee Roth or Sammy Hagar. Yes, we all have our preferred lineups and musicians, but unless a replacement is truly bad, I see no reason to disregard a lineup change and their subsequent albums for you may miss out on some of the greatest music ever recorded. Jump On It is one such example, as there are countless classic songs to be heard, as it’s not only one of the best albums Montrose ever released, but it’s also one of the most exceptional records from 1976.

Further to that, despite how incredible Montrose’s earlier albums were, producer extraordinaire, Jack Douglas, pushed the band to new polished heights that further showcased not only his production style but the inherent capabilities of a band that were somewhat musically concealed on their prior releases. That isn’t to suggest that their self-titled debut or Paper Money were lacklustre, for they aren’t, it’s just Jump On It, in particular, is more polished and less raw than its earlier counterparts. That aspect alone may be a deterrent for some but, again, to ignore this release would be to your detriment for the varied production styles truly showcase an evolution of the band. 

Despite the shifting style, what didn't change was the rhythmic progression of their music and Ronnie Montrose’s mastery of the guitar. The man was a legend and the licks he delivered throughout the album, and his career, are nothing short of exceptional. It’s fair to say he was one of the greatest guitarists of all time while also being one of the most underrated. 

From a sonic perspective, the lossless Apple Music stream is lovely and while there are no details relating to the album’s mastering, there really isn’t any aspect of the recording that is out-of-place. There is plenty of clarity to be heard, enough bass to please most, and no musical element is concealed in the mix. That said, the only thing that could be slightly improved is the soundstage as the existing release is a little shallow. Perhaps that was the way the album was recorded, but nothing is quite as pleasurable as when the speakers disappear and the music envelops you, as becoming one with the music is the ultimate aim as it enhances the experience. 

Before we take a look at the songs that make up this exceptional release, it’s important to suggest that you should listen to the album from a fresh perspective, with as little bias as possible, for the infusion of rock, funk, and a touch of rhythm and blues makes for a most compelling listen.

Let's Go is one of the greatest opening songs of all time. The tribal beats combined with some killer guitar licks and commanding vocals ensure the lively and energetic style Montrose is known for is maintained. Amazing! 

What Are You Waitin' For? blends rock elements with a funk-driven rhythm. The upbeat vibe is perfect for the album’s linear structure, but the transitions feel forced. However, that mid-song solo is incredible. 

Tuft-Sedge is one of the strangest song titles I’ve ever come across. Thankfully, however, the song is enthralling. The rock elements, while present, take a back seat to a musical presentation that has to be heard firsthand to be fully appreciated. As an instrumental interlude, of sorts, you’ll be captivated, amazed, and wish that Montrose had recorded an entire album’s worth of instrumental music. 

Music Man slows the pace slightly as it introduces a bluesy undertone. It’s a beautiful song with a gorgeous instrumental backing. While James’ vocals are to be commended, this is another song that very well could have been an instrumental-only tune and would likely have been exceptional within that context. Nevertheless, Music Man remains one of the greatest rock songs of the era. 

Jump On It picks up the pace and while it’s a solid title track, it’s nothing to write home about. It does, however, have Jack Douglas written all over it as you’ll hear a little too much of Aerosmith’s style on this title track. 

Rich Man is a fantastic rock number. Yes, it starts a little slowly but as the song builds, so does my appreciation for it. 

Crazy For You is the quintessential album-only tune that ensures the fluidity of the album is maintained.

Merry-Go-Round is a beautiful closing track. However, I’d argue that it could have been cut down and kept to its rhythmic rock roots. Unfortunately, the decision to include the fun park elements breaks the flow of the song and makes me ponder what anyone was thinking when putting this song together. Seriously, did anyone think it was a good idea? It’s a shame because sans that distractive aspect, Merry-Go-Round is an exceptional tune. 

While the final song is somewhat tarnished by being overproduced, Jump On It, as an album experience, presents us with a diverse musical journey, incorporating hard rock with elements of funk and rhythm and blues. Yes, the varied styles may deter some but the differing nature of the music showcases Montrose’s musical reach while simultaneously adding a unique chapter to their discography. It is, with that in mind, that Jump On It can be celebrated as not only one of Montrose’s greatest musical achievements but a stellar release of the 70s.  

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T. Rex – Futuristic Dragon (Album Review)

Released in 1976, Futuristic Dragon, T. Rex’s eleventh studio album is both unique and experimental as it showcases the continued evolving music style of the English rock band. With this change in direction, you may find that it requires repeat listens to fully grasp, and appreciate, the record’s overall intent. Longtime fans will likely feel right at home, despite the differences from T. Rex’s earlier works, but newcomers should look beyond the renowned catchy tunes and appreciate Futuristic Dragon as it was originally intended; as an album experience first and foremost. 

While Futuristic Dragon doesn’t deviate too far from T. Rex’s classic output, the incorporation of elements of soul, funk, and reggae ensure, when mixed with their glam rock original sound, that the album not only remains fresh but becomes a timeless musical experience. 

While there’s little doubt that T. Rex was a band effort, Marc Bolan has again written thirteen memorable tunes that all have the renowned T. Rex quality, but  with the aforementioned shifts. The result is an album that features catchy melodies and an overall groove that not only highlights Bolan’s lyrics, but one that will captivate your soul. Speaking of Bolan’s lyrics and vocal delivery, you’ll likely hear a little John Lennon influence on songs such as My Little Baby, Calling All Destroyers, and Dreamy Lady. Intended, or not, the correlation is fantastic and you’d be forgiven for mistaking these two musical legends, as you listen to the album, for I have even got the two mixed up on various occasions. 

As it pertains to the sonic qualities of the lossless Apple Music stream, I can say with complete honesty that it could be better. Yes, the stream is a direct counterpart to the CD release of the album and while there aren’t any glaring issues and is subsequently adequate, the stream gives off a sense that there is more to be heard, yet elements are concealed in the mix and subsequent master. It’s also a little boxed in as the soundstage is concerned and a remaster, by a skilled mastering engineer, would ensure the stereo soundstage would be wide and enveloping. The recording could also do with a slight bump in the mid to low-end range of the audio spectrum and while I acknowledge that this can be done in the digital domain, modern EQ settings often lack fine manual controls meaning that the preset options can boost audible elements too far. The result of such extreme measures is that it can be detrimental to other aspects of the recording that are otherwise perfect; hence, my recommendation for a remaster by a well-respected mastering engineer who can ensure the intent of the original recording is maintained.

Forgoing a remaster, for the moment, it is plausible that Futuristic Dragon would be best delivered on vinyl for the format’s inherent limitations would naturally help to produce a smoother, more fuller, and fluid presentation than the streaming counterpart is capable of. Of course, there’s no guarantee that this would yield greater results, but I have observed such occurrences in the past. That all said, the stream remains thoroughly enjoyable, I simply feel that the reproduction could be better than it already is for the music contained within is exceptional and is deserving of the very best production possible. As it is all about the music, however, join me as I take a look at the songs that make up this incredible release. 

Futuristic Dragon (Introduction) is far from the greatest opening track of all time, but if you listen to the album, with a little Alice Cooper in the back of your mind, it becomes more than palatable. If nothing else, the segue to Jupiter Liar is well presented and much appreciated. 

Jupiter Liar is a groove-based masterpiece. With a mix of funk and rock elements, you’ll quickly find yourself tow-tapping and head-bopping along. As to why Jupiter Liar was never released as a single, I’ve no idea, but it is beyond comprehension for I feel this song would have rocketed to the top of the charts. 

Chrome Sitar takes us on a psychedelic dreamlike journey with an incredible rhythm and sensational hooks. The mix and overall composition of Chrome Sitar is impressive; so much so that I consider Chrome Sitar to be one of the greatest songs T. Rex ever recorded.  

All Alone presents us with a song that’s a little more upbeat. Think the Motown vibe mixed with a little soul and a touch of T. Rex. On paper, it shouldn’t work, yet it does. While All Alone may not be the strongest song from the album, it is nothing if not addictively good. That said, if you struggle to get into this tune, may I suggest you listen to it independently a few times as it grows on you the more you listen to the song. 

New York City is utterly brilliant! Yes, you’ll hear elements of Get It On, from Electric Warrior, but the repurposing of musical techniques, particularly in this instance, isn’t a bad thing. New York City is, subsequently, not only a standout but its energy and catchiness ensure it’s one of the best songs on Futuristic Dragon.   

My Little Baby possesses a romantic styling that doesn’t really suit T. Rex, but I’d be lying if I said that it doesn’t grow on you. If nothing else, it shows us a different perspective to what T. Rex could have been, had they chosen a different direction; one more aligned with pop than rock. 

Calling All Destroyers has a driving rhythm with some killer guitar licks and a vocal style that reminds me fondly of John Lennon. It’s a classic rock tune that is not only one of the best songs from the album but one of T. Rex’s greatest recordings. 

Theme for a Dragon is a lush instrumental piece that suits the album perfectly. Further embracing the album’s boldness, Theme For A Dragon is perfect for its intended purpose but I will say that the faux audience element can be a little grating on the senses and I, for one, would have preferred that aspect to be removed from the mix. 

Sensation Boulevard is another funky tune that adds to the overall style of the album. While it was never going to be a standout recording, it’s groovy and utterly compelling. 

Ride My Wheels is a little more eclectic than the other songs featured on Futuristic Dragon, but don’t let that deter you as it is the album’s diversity that makes it such a fascinating release. 

Dreamy Lady is T. Rex meets disco with a touch of Lennon. It’s brilliant and is without a doubt one of Bolan’s greatest vocal recordings. 

Dawn Storm shifts the musicality again, but the soul-inspired approach, particularly in the vocal department, is nothing short of musical genius. Dawn Storm is, subsequently, one of the most beautiful songs you’re ever likely to hear. 

Casual Agent closes the album on a high note with a dynamically engaging approach that will compel you to play the album again. Yes, the repeated chorus becomes an earworm; but it’s a thoroughly enjoyable one. 

No matter which way you look at it, Futuristic Dragon remains a fascinating release in T. Rex’s celebrated discography. Featuring sonic transitions and musical explorations like that never heard by T. Rex before, this timeless classic remains compelling for fans and newcomers alike. While not as successful as their earlier releases, the artistic boldness and genre-bending approach make for an enthralling musical experience that showcases the evolution of T. Rex and Marc Bolan’s musical journey, thereby ensuring that Futuristic Dragon is not only one of the greatest albums released in 1976 but one of the best releases of all time. 

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Billy Joel – The Stranger (Album Review)

Billy Joel's 1977 studio album, The Stranger, is a true masterpiece of the singer-songwriter genre, showcasing Joel’s exceptional talent as both a lyricist and a musician. This iconic album is not only a significant milestone in Joel's career but is a timeless classic in the history of popular music and one of the best albums released in the 70s.

The Stranger is so impressive that it could be seen as Joel’s magnum opus; although, there are so many of his albums that could fall into that category that to categorically make that statement, without further reflection, would be obtuse. Nevertheless, as you listen to The Stranger, Joel’s fifth studio album with nine distinctive tracks, you’ll experience a multifaceted journey through a wide range of emotions and storytelling. It’s, subsequently, a difficult album to fault for every track is worthy of inclusion and the combination contributes to the album's overall brilliance. 

Also impressive is the sonic reproduction of the Hi-Res Lossless Apple Music stream; an Apple Digital Master. While there are countless releases of The Stranger, the Apple Music stream does offer a reproduction that I consider to be perfect. Having listened to these songs for decades, I can attest that while there may be a better mastering to be heard, the Apple Music stream is so good that I see no reason to explore over 200 editions to find the one that best suits my subjective tastes. It is one of those moments when I’m reminded that the greatest enjoyment in the appreciation of listening to music is the music itself. Hence, if this version excites you as much as it does me, then that is all we will ever really need. 

Movin' Out (Anthony's Song) launches the album with a bang, but it’s also a jolt if you’re not expecting the sudden introduction. Nevertheless, Movin' Out (Anthony's Song) is a catchy tune that is perfectly suited to Joel’s overall style and is a fantastic way to open The Stranger. 

The Stranger has an opening that would suggest it's a softer tune, but as enchanting as that introduction is, The Stranger melds into an incredible pop-rock number that is not only a standout but is also the perfect title track. Additionally, while some may dislike the shifting styles, I adore the reprise towards the end of the song for it is the perfect bookmark to an incredible tune. 

Just The Way You Are is a smooth ballad that has become a timeless classic. Yes, it is a little dated but the patina of another time is part of its appeal for as it continues to age, it becomes even more impressive.

Scenes From An Italian Restaurant is an epic tune and is one of Joel’s greatest hits. It really is a masterpiece and while I acknowledge that term is overused, I can’t think of a better way to describe this wondrous piece of music.

Vienna is a beautiful song that highlights Joel’s vocal and piano performance. If only all B-sides could be this impressive as it's one of Joel’s many hidden gems.

Only The Good Die Young picks up the tempo with an energetic rock ’n’ roll vibe. While one of the more popular tunes from The Stranger, it is far from Joel’s strongest song. Yes, I do enjoy it when playing this album, but I also don’t seek it out on its own. It isn’t the controversial aspect concerning the lyrical interpretation, for I rarely pay attention to lyrical meaning and depth, instead choosing to enjoy the human vocal as another instrument in the mix. It’s just that I consider it to be an album-only tune; a thoroughly enjoyable one, but not one worthy of its reputation. 

She's Always A Woman is the greatest song Joel has ever written and recorded. I could listen to this tune on repeat indefinitely for it is, arguably, the most tender and delicate love song in all of recorded music history. Music, truly, doesn’t get any better than this. 

Get It Right The First Time was always going to be overshadowed by She's Always A Woman and while I would have preferred a different sequencing, whereby this tune appeared before She’s Always A Woman, Get It Right The First Time is a solid album-only song that further enhances The Stranger and ensures that it’s my favourite album from 1977. 

Everybody Has A Dream is a beautiful gospel-inspired closer that leaves a lasting impression and further showcases Joel’s songwriting and musical abilities. While Everybody Has A Dream is largely lost to those who haven’t listened to the album in its entirety, it’s their loss because it not only encourages me to spin the album again but it allows me to sit and contemplate the music I’ve just heard; an aspect that all music lovers should be able to experience every time they play music. It’s even more paramount as Joel’s masterful whistling, from The Stranger, is once again reprised and closes the album out perfectly. 

The Stranger is an album that presents a wide range of musical styles and lyrical themes, showcasing Joel's versatility. Its diversity is a probable factor in The Stranger being an enduring classic that has not only stood the test of time but will remain relevant to music lovers for as long as humanity continues to exist. The Stranger is, subsequently, a must-listen for anyone interested in the singer-songwriter genre or the history of rock and pop music, for they really don’t make music like this anymore.

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Fleetwood Mac – Rumours (Album Review)

Some albums stand as towering achievements, timeless in their appeal and enduring in their impact. Fleetwood Mac's 1977 release, Rumours, is undoubtedly one of those albums. It's an iconic record that transcends the boundaries of time, genre, and taste, weaving a tale of love, heartbreak, and resilience that resonates with listeners across generations. This incredible release showcases the collective genius of Fleetwood Mac, a band that has left an indelible mark on the music industry while continuing to captivate audiences with their irresistible blend of rock, pop, and folk influences.

Of course, Fleetwood Mac has undergone several facets throughout their illustrious career. Some may be surprised to know that Rumours is, in fact, their twelfth studio release. Yet, talk to anyone about Fleetwood Mac and all you’ll likely hear is a discussion relating to how incredible Rumours is. While it is, and I acknowledge that it’s my favourite Fleetwood Mac album, I also appreciate that it wasn’t Peter Green’s Fleetwood Mac by this stage. Fleetwood Mac’s lineup would also change, throughout the following decades, so as much as the band is synonymous with Rumours, it is but one studio album from a diverse selection of 18 album releases. None of this should be seen as casting judgement on any of Fleetwood Mac's lineups, but you may find something subjectively wondrous should you take the time to listen to their entire discography. 

As has already been established, Rumours is one of the greatest albums ever recorded, but it has been remastered too many times. When albums achieve the level of success that Rumours has, it’s not uncommon for the music industry to reissue and remaster the release ad nauseam, for it isn’t good enough to let the original masterpiece sit untouched. It can be a blessing or a curse, depending on your perspective, but one thing is certain, there are too many editions of Rumours. Seriously, Discogs, at the time of this publication, has some 694 different versions. Which one does one get? It’s a simple question, with a complicated answer that is so highly subjective that you’ll come across varying perspectives should you delve into further research online. 

The truth is, I’ve heard multiple versions of this landmark release, over the years, that range from terrible to mind-blowing. Due to a series of circumstances, that I won’t bore you with, I’m currently without a physical release of this masterpiece and it pains me to say that the lossless Apple Music streamed edition just isn’t up to the highest standards. Frustratingly, Rumours was available as an Apple Digital Master, derived from the 2001 remastering, and while memory is fallible, as it pertains to sonic recollection, I do seem to recall it sounded fantastic. Perhaps not as good as other audiophile-based releases, but lovely nonetheless. 

Disappointingly, it has been removed from Apple Music and while the version that remains is adequate, it isn’t quite as spectacular as one would hope. There is, of course, no point in complaining about this, but it is a real-world example of the risks associated with relying on a streaming service for one’s music collection. That said, if you’re still interested, as I am, in the Apple Digital Master, you can still purchase the 2001 remaster on iTunes. If you still prefer streaming and no longer wish to own the music you love, the 2001 remaster is still streaming on Qobuz; but for how much longer, nobody knows. Although, it appears that the removal of the 2001 remaster, from Apple Music, was more about adding the Dolby Atmos mix, which is based on the 2004 remaster (a non-Apple Digital Master). 

At this stage, I’d just love for a singular version to exist that is the definitive release; one that matches the original artistic intent. We won’t get it, of course, as that is not how the music industry is run, but fans shouldn’t have to tolerate average-quality releases, nor should they have to spend their time, energy, and money, trying to figure out which of the over 600 editions would yield the greatest level of enjoyment. 

Second Hand News isn’t the greatest song on the album, nor is it amongst Fleetwood Mac’s greatest recordings, yet something is compelling about Second Hand News, that I can’t quite put my finger on. Despite that, Rumours wouldn’t be the same album without it.

Dreams has an incredible introduction and likely would have been a stronger opener for the album. That aside, Stevie Nick’s haunting vocal is beyond reproach and perfectly suited to the style of the song, thereby ensuring her harmonious vocal intertwines well with the backing vocals. Dreams, also, is amongst my favourite songs from a drum perspective. Mick Fleetwood is a master musician and while his precision timing here may be akin to a click track for many, his delivery is the definition of perfection from my perspective. John McVie’s bass tracking is similarly masterful and, in many ways, Dreams is the enduring classic we all know and love because of the collaborative efforts of all band members. 

Never Going Back Again is an acoustic gem with Lindsey Buckingham not only providing an incredible vocal performance, but his fingerpicking is taut and amongst some of the greatest guitar work I’ve ever had the pleasure of hearing.

Don’t Stop is a piece of sensational writing from Christine McVie. I’ve never been convinced, however, with Buckingham’s vocal on this tune. It’s not that it’s bad, and his guitar work is sensational, it’s just that the mix isn’t particularly solid. Buckingham’s vocal, subsequently, sounds as if he’s recording his vocals from another building, aside from the studio the song was recorded in. That said, Don’t Stop is a solid pop-rock tune.

Go Your Own Way needs no introduction, for you’ve been living under a rock if you’ve never heard this song. It’s sensational, one of Lindsay Buckingham’s best, and is a perfect tune to accompany life’s ups and downs. 

Songbird is a tender ballad that showcases Christine McVie's extraordinary vocal talents. It's a moment of vulnerability on an otherwise emotionally charged album; a true masterpiece in every sense of the word.

The Chain is a killer tune that mixes rock and pop elements with a touch of country and is somewhat reminiscent of the sound the Eagles’ achieved on Desperado. However, The Chain is more than that correlation for its unmistakable bassline, harmonies, and anthemic chorus have made it a rock staple; one of the greatest ever recorded. 

You Make Loving Fun is a great toe-tapping head-bopper and one that you should most certainly play as loud as you can. Rhythmically magical with a gorgeous vocal, and a killer guitar solo, You Make Loving Fun is one of the best songs off Rumours and another by McVie; arguably Fleetwood Mac’s greatest songwriter and songstress.

I Don’t Want To Know is a short but sweet burst of energy. Its brisk tempo and catchy hooks ensure it’s perfectly suited to Rumours despite being an album-only tune.  

Oh Daddy is Fleetwood Mac 101. There is no other song that I identify more with the band than this one. It's career-defining and as much as I praise Christine McVie’s vocal contributions, Stevie Nicks’ vocal style was the correct choice for this classic track.

Gold Dust Woman is a haunting closing tune with Nicks’ ethereal vocal that leaves a lasting impression while simultaneously encouraging you to spin the album again.

Even Fleetwood Mac, themselves, could never replicate the success of Rumours and it’s highly unlikely that humanity, certainly in our lifetimes, will ever see such an era-defining album again. That isn’t to suggest it can’t be done, but Rumours was akin to lightning in a bottle and is not only one of the greatest albums ever recorded, but one that is a highlight of the 70s and will continue to stand the test of time as it is more than just an album; it’s a cultural remnant.  

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