Captain Beefheart & His Magic Band – Bluejeans & Moonbeams (Album Review)

Released in 1974, Bluejeans & Moonbeams stands as one of Captain Beefheart's most controversial and divisive works, as it presented a departure from the avant-garde experimentalism he was known for. Yes, Bluejeans & Moonbeams was an attempt to embrace a more accessible, mainstream sound, and despite failing to set the charts on fire, this classic album achieved that goal, from a sonic perspective, at least. That said, the record maintains elements of Beefheart’s unique style, albeit while leaning toward a more melodic and softer approach; a shift that alienated some long-time fans. However, to dismiss it based on difference is to miss out on the wonder of this classic release. Hence, I implore you to give it another shot for Bluejeans & Moonbeams grows on you the more you listen to it.

Apart from the music, the album’s cover art is an ideal accompaniment and indicative of the era’s cover art designs that would stand out on the shelf of your local record store whilst simultaneously being a piece of visual art worthy of an art gallery. Of course, as captivating as the artwork is, can you really tell an album by its cover? Well, considering that The Magic Band had quit on mass, following the recording and release of Beefheart’s other 1974 release, Unconditionally Guaranteed, billing the album as Captain Beefheart & His Magic Band seems somewhat disingenuous, especially to longtime fans. However, if you consider The Magic Band as a container for the musicians that would accompany Beefheart, and those musicians were subject to change, then it isn’t necessarily misleading. That aspect alone would likely irritate some as the individual musicians are often as iconic as the lead vocalist, but it isn’t as if the replacement musicians were second-rate; anything but.

As it pertains to the sonic prowess of the CD-quality lossless Apple Music stream, it’s stunningly beautiful. Every musical element is given room to breathe and the soundstage is well-developed and all-encompassing. You’ll find yourself being carried away on a musical journey as this album has been recorded, mixed, and mastered exceptionally well. So well, in fact, that I hope Virgin Records never remasters the album, beyond this most recent edition, for it’s sonically one of the most pleasing albums you’re ever likely to hear.

Party Of Special Things To Do sets the tone for the album, featuring a bluesy groove with a funky undercurrent. Beefheart’s trademark growl is present, but the easy-going rhythm and more structured approach will likely deter those who prefer his earlier works. Nevertheless, it isn’t so far removed from his experimental core that it would deter listeners; although I’m certain some would challenge that statement.

Same Old Blues is a cover of J.J. Cale's I Got The Same Old Blues and this interpretation is nothing short of a masterpiece. The melancholic, slower, and almost lethargic tempo works incredibly well with Beefheart’s vocal styling and his emotive delivery not only adds depth to the song but it’s amongst Beefheart’s finest recordings.

Observatory Crest is beautifully serene. Beefheart’s vocals are subdued and tender, but the musical bed and psychedelic ambience make this a standout and in many respects a hidden gem.

Pompadour Swamp blends blues-based rhythms with a quirky vocal presentation. The gritty earthy quality of Beefheart’s vocals perfectly complements the music and while it may represent his traditional style, Pompadour Swamp has just enough spit and polish to ensure that it remains accessible whilst appealing to those looking for Beefheart’s more experimental output.

Captain’s Holiday is an incredible, and ideally titled, instrumental track that showcases the skill of Beefheart's Magic Band. It’s a relaxed jazzy piece that offers a reprieve from Beefheart’s vocal intensity but is ideally situated in the album’s sequencing. While this track doesn’t aim to be notable, it provides a lovely interlude to the album’s middle section that should be celebrated for it’s one of the most exceptional instrumental tunes you’re ever likely to hear.

Rock ’N’ Roll’s Evil Doll has a fun, upbeat vibe, with a touch of rockabilly that will get you toe-tapping and head-bopping. Though much more straightforward than much of Beefheart’s earlier works, it’s another song from the album that could be best associated with his experimental era.

Further Than We’ve Gone slows things down considerably with this soulful number that has a melancholic beauty to it, with tender instrumentation, and a compelling melody that captures a softer side of Beefheart. Further Than We’ve Gone also has one of the very best piano and guitar performances that I’ve ever had the good fortune of hearing, for the musical bed heard on this tune is some of the very best in all of recorded music history, thereby making this not only a highlight from the album but a hidden masterpiece from the 70s.

Twist Ah Luck features a killer rhythmic groove with a touch of funk that is extremely engaging. It’s songs such as this that make one question why this is one of Beefheart’s most disliked releases and all I can suggest is that one should not contrast it with his other works for isolating this release on its own will likely yield greater acceptance and appreciation.

Bluejeans And Moonbeams is a surreal ballad-styled piece that features one of Beefheart’s most gentle, yet exceptional, vocal performances. If nothing else, Bluejeans And Moonbeams is an ideal title track and a perfect closer that will not only leave you in a reflective mood but will encourage you to spin the record again for once Bluejeans & Moonbeams captures your soul, you can seldom listen to it only once.

Bluejeans & Moonbeams, while often regarded as one of Captain Beefheart's most controversial albums, also appeals to his traditionally unpredictable nature for it, in itself, is a musical experiment that stands out in Beefheart’s eclectic catalogue. Fans of Beefheart’s chaotic genius may find the simplicity and accessibility of this release to be too far removed from his broader catalogue, but Bluejeans & Moonbeams reveals a different side of Beefheart—a more melodic, introspective artist capable of crafting gentle and emotionally resonant songs. For listeners willing to embrace this softer approach, this album offers a rewarding experience; one that is amongst the greatest released in 1974.

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Blue Magic – Blue Magic (Self-Titled) [Album Review]

Released in 1974, Blue Magic’s self-titled debut album, Blue Magic, is an essential release in the continued development of 70s soul, showcasing the smooth vocal harmonies, lush orchestration, and romantic themes that would define their style. Blending elements of Philly Soul and classic R&B with tender ballads and infectious grooves, Blue Magic, the album and the band, became adored within the genre. While the album may not have had mainstream success, aside from the chart-topping results of its second single Sideshow, it’s a masterpiece that should be in every music lover’s collection.

The question about which version one should have in their collection therefore naturally arises and while opinions will differ, and I prefer not to seek out pre-owned releases, it has been well over a decade since the album was reissued (on CD) and that Japanese release is difficult to get a hold of, as is the 2009 vinyl reissue. Granted, Blue Magic isn’t the household name that would continuously drive sales, so I can understand the hesitation when considering a reissue. However, it would be lovely to see this classic album re-released, in the near future, thereby allowing new music lovers to discover this timeless classic.

In the absence of readily available physical releases, it is fortunate that we have digital delivery options. As it pertains to the Apple Music stream, the standard lossless edition is sonically lovely. The Remastered Bonus Track Version is also available and has a bolder sonic presentation, thereby bringing it more in line with modern standards, but I find it loses a little of the smoothness from the original recording. Subsequently, as I’m not drawn to bonus tracks, my preferred version of this classic album is the original mastering heard via the standard release that I’ll share with you below.

Sideshow is arguably the crown jewel of Blue Magic and an ideal album opener. The over-the-top ballad styling will appeal to those of us who appreciate such tunes, but as the song’s orchestration builds, so does the wonder of the song and its signature falsetto for its addictively good and it’s no wonder that it ended up being a chart-topping hit when released as a single.

Look Me Up is more upbeat with a funky groove, showing Blue Magic’s versatility that combines their silky harmonies with funk-influenced rhythms. While not a dance song, per se, the beat and catchy chorus will see you toe-tapping and head-bopping along. For those who don’t have two left feet, like yours truly, I’ve no doubt that the dance floor is waiting as Look Me Up is a sensational mid-70s tune.

What's Come Over Me is another standout track, especially with its lush, orchestral arrangement. The adage that they don’t make music like this anymore certainly applies to What’s Come Over Me as the falsetto vocal, backed by elegant harmonies, is hard to resist.

Just Don't Want To Be Lonely is soul meets pop with an incredibly catchy chorus and upbeat tempo. What’s not to like? Just Don't Want To Be Lonely is not only one of the most radio-friendly tracks from the album, but it's a hidden gem from the era and one of the best songs Blue Magic ever recorded.

Stop To Start features smooth, velvety vocals against a backdrop of lush strings and a gentle arrangement. As a ballad, it’s stunning, but it’s also one of the album’s most soulful offerings with a Motown influence that is undeniable.

Welcome To The Club has a playful and energetic vibe, with an infectious groove, that not only contrasts nicely with the ballads on the album but leans into funk and early disco styles. While it’s most certainly an album-only tune, it’s a toe-tapper that adds further variety and showcases Blue Magic’s musical diversity.

Spell is another ethereal ballad full of dreamy orchestrations and the group’s signature harmonies. That said, the chosen mix isn’t the greatest as the vocals are on par with the musical bed and while harmonically beautiful, the lyrics sound somewhat concealed as they’re overshadowed by the instrumentation. The result is that the vocal tracking sounds a little muffled, in comparison, to the rest of the songs on the album. Granted, that could be attributed to a recording style, as it isn’t the first time music has been mixed in this manner, but the problem that exists is that the mind struggles to separate both instrumental and vocal elements, particularly as it sounds as though the vocals are being played via terrestrial radio.

Answer To My Prayer brings fresh energy to the album, following Spell, with its compelling rhythm and impassioned vocals. It’s a lovely song and despite not being a standout is one reason why this debut album is one of the greatest released in 1974, for an exceptional album experience is more than just the hits; it’s the sum of its songs.

Tear It Down closes the album with a lush ballad that is not only the ideal closer but will stay with you long after the album has concluded. Yes, Tear It Down causes the infamous earworm, but it not only permits reflection but also compels the playing of the album again due to its emotional depth and musical sophistication.

Overall, Blue Magic is a quintessential soul album that showcases the smooth harmonies and romantic themes that made the group a force in the 70s soul scene. With the mega-hit Sideshow leading the way, the album offers a beautiful mix of soulful ballads and up-tempo numbers that keep the listener engaged from start to finish. Blue Magic’s ability to blend vulnerability with lush orchestration, all while maintaining tight, polished harmonies, makes this album a timeless classic. Whether you’re a fan of Philly Soul or simply appreciate well-crafted R&B, Blue Magic is an essential listen, particularly for those who love songs delivered with sincerity and class.

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Bee Gees – Mr. Natural (Album Review)

When you think of the Bee Gees, Mr. Natural is likely not an album that instantly comes to mind. Still, the more you listen to this classic release, the more you realise that it’s one of the greatest hidden gems in not only the Bee Gees’ illustrious career but in all of recorded music history.

Released in 1974, Mr. Natural marks a transitional period in the group’s evolution, as they began exploring a more contemporary soulful sound that incorporated elements of rhythm and blues, funk, and rock. Interestingly, it’s not entirely representative of their earlier works nor the disco-driven vibe that would catapult them to superstardom and define an era. Mr. Natural sits precariously in between their old and new styles, yet there is connective tissue to be heard throughout and it’s thoroughly enjoyable and perfectly suited to the trio.

While Mr Natural didn’t achieve commercial success, it remains a pivotal album in the Bee Gees’ discography and demonstrates their willingness to experiment with new directions; an essential aspect should the world of music long to hear sensational disco-driven releases such as Main Course and Spirits Having Flown.   

As we’ll come to see, as we peruse the songs that make up this hidden gem, the music is but one part of the album experience for the album artwork, much like the music, grows on you the more you look at it. Initially, it appears a little drab and uninspiring, but it melds perfectly with the chosen selection of songs and adds to the overall album experience.

Of course, the greatest album artwork would be for nil if the music contained within was lacklustre and while it is anything but, the lossless CD-quality Apple Music stream also sounds exquisite. There are no glaring omissions to concern ourselves with and you’ll find a soundstage that is wide and enveloping, with enough space between each musical element, allowing every aspect of the recording to shine. While mastering is essential, and in this case, it is ideal, when music is recorded and mixed this well, then the only thing left to do is to grab a coffee, sit back, and enjoy.

Charade isn’t an ideal opener, despite being a lovely ballad. The problem is it lacks a hook, one that will draw you into the music and the album itself. It isn’t, however, until you play the album multiple times that you start to appreciate Charade for its gentle yet melancholic melody that evokes some of the Bee Gees’ earlier 60s-styled recordings.

Throw A Penny introduces a more contemporary, soft rock-influenced sound, building momentum with its smooth groove and layered production. I can’t help but wonder if Throw A Penny would not have been a better opening. Nevertheless, it’s an exceptional song and the shift between the slower delicate verses, and the slightly more upbeat chorus that blends elements of R&B and Soul, is simply exquisite.

Down The Road flows seamlessly from Throw A Penny yet smoothly transitions the mood to that consisting of a bluesy, rock-and-roll vibe. Add to that the carefree swaggering groove, with a lively beat, and you’ve got yet another exceptional hidden gem from the Bee Gees.

Voices shifts the tone with its eerie slow-burning arrangement that makes me immediately think of songs such as Massachussetts and New York Mining Disaster 1941. To say that Voices is a masterpiece would be a just statement for it’s a magical song.

Give A Hand Take A Hand is an uplifting soulful ballad and while the Bee Gees’ vocal prowess is not a point of contention, the vocal skill heard here is second-to-none as Barry Gibb has rarely sounded better. Subsequently, this vocal-driven number is a standout from Mr. Natural and another of those hidden gems that really need to be appreciated for the hits are one thing, but Give A Hand Take A Hand is musical gold.

Dogs will captivate you with its fluid melody, particularly throughout the verses and chorus. Additionally, that mid-tempo shift in the bridge is pure genius. Not to sound like a broken record, but given Mr. Natural was all but ignored when released, it’s songs such as Dogs that need to be shared with fellow music lovers for casual fans of the Bee Gees have no idea of the exceptional music they’re missing out on.

Mr. Natural was an interesting choice as the title track as it’s a solid song with an infectious groove and funky bassline, but it’s most certainly an album-only tune, despite being released as the album’s first single. It just doesn’t hold one’s attention as much as many of the other songs on the album do.

Lost In Your Love slows the tempo down again with this delicate ballad, offering a tender moment. The arrangement is sparse, allowing Barry’s magnificent vocals to take the spotlight, thereby ensuring that Lost In Your Love is another memorable experience.

I Can't Let You Go has a killer riff, as the song brings an upbeat rock-oriented style to the record; one that melds perfectly with the Bee Gees’ overall style and harkens back to their origins.

Heavy Breathing continues the upbeat nature with this jazzy groove-focused tune that is perfectly suited to the era. If you’re not toe-tapping and head-bopping to this number, you’re listening wrong for its rhythmic gold with some exceptional musicality, particularly from the brass section to the ripper guitar licks. The bottom line is that Heavy Breathing is one Bee Gees song that should not be overlooked.

Had A Lot Of Love Last Night is, arguably, the greatest closer, from any album, in the history of recorded music. Not only is it uplifting, but it’s reflective, as well as encouraging the listener to play the album again. It also happens to be the most beautiful song that the Bee Gees has ever recorded that almost no one has ever heard. Had A Lot Of Love Last Night is so beautiful that I’d even argue that it’s the best song the band ever recorded; it’s that impressive!

In conclusion, Mr. Natural was a crucial, though often overlooked, album in the Bee Gees’ discography. It marked a period of experimentation and transition, as the group adapted their sound in preparation for their later success in the disco era. The album’s blend of soulful ballads, rock, and subtle R&B influences helped set the stage for what was to come, and it remains a thoroughly pleasing listen for those curious about the Bee Gees’ musical journey, beyond their chart-topping hits.

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ABBA – Waterloo (Album Review)

Released in 1974, Waterloo, ABBA’s second studio album, catapulted the Swedish quartet to international stardom. While the album owes its iconic status largely to its Eurovision-winning title track, Waterloo, the record as a whole offers a diverse mix of catchy melodies, heartfelt ballads, and playful storytelling that showcases ABBA's early range and charisma.

A somewhat confusing aspect, however, is the different linear structure of the album with few international releases retaining the original tracking of the Swedish release, where the Swedish version of Waterloo opens the album and the English rendition is the closer. While it could be argued as to which version is preferred, not to mention the further shifts with bonus material on the Deluxe Edition and Bonus Track Edition, I’ve chosen to share the album via the original tracking of the vinyl release as this has always been my preferred structure and is true to the original intent. It also replicates the 2020 vinyl reissue from The Studio Albums that I’m fortunate to own.

Speaking of the vinyl reissue, it is amongst the best-sounding reproductions that I’ve heard, thus far, of this classic album. Granted, I haven’t heard every release but the reproduction is subjectively perfect with a bold, yet enveloping, soundstage that will capture your attention from the very first note to the last. Of course, the question that must be asked is what my thoughts are regarding the Apple Music stream, a lossless Apple Digital Master. Let’s just say that it is the digital counterpart to the vinyl reissue and that unless you’re dedicated to the needle drop process, for digitising your records, you’ll be utterly thrilled with this digital edition for it offers everything the vinyl reissue does, minus the tactile aspect and the slightly more rounded (think warmer) tonality that is commonly associated with vinyl releases. The result is that no matter which of these two versions you choose to listen to, you’ll find yourself thoroughly captivated. I would, however, keep my distance from the Deluxe Edition; unless you wish to attain the additional songs and updated album artwork it offers, that is. My reasoning for this suggestion is that I find it too shrill and fatiguing to listen to. The chosen mastering doesn’t encourage the music lover to turn the volume up and each time I listen to it I find myself wanting to turn the volume down. Naturally, your experience may differ, but let’s turn our attention to the songs that make up this historic release.

Waterloo (Swedish Version) is an upbeat and infectious pop anthem that blends rock and glam elements with ABBA’s signature harmonies. While presented here in ABBA’s native Swedish language, it’s so compelling that it really doesn’t matter which version you appreciate more for the Swedish Version is the ideal opener to this classic album.

Sitting In The Palmtree has a tropical flair and carefree vibe. Its quirky charm makes it a hidden gem, but it’s also quintessentially ABBA as their lighthearted musical style shines throughout.

King Kong Song continues the playfulness with this irresistible rock number. Blending a mix of hard rock guitar riffs, eccentric vocals, and an overall upbeat styling, King Kong Song isn’t merely a novelty track but one that is ideally positioned in the era while keeping the core of ABBA’s pop sensibilities intact.

Hasta Mañana offers a more mellow moment with Agnetha on lead vocals, delivering a tender ballad that is one of ABBA’s greatest tunes and one that many casual fans have likely never heard.

My Mama Said is another exceptional tune that hasn’t received the recognition it deserves for the funk-driven number, shifting vocal style, and the overall mix gives the song a sense of maturity and introspection showcasing ABBA in a different light to their more lighthearted tunes.

Dance (While The Music Still Goes On) is a strong contender for ABBA’s first true foray into a dancefloor-focused song. Featuring a captivating melody and lush harmonies, Dance (While The Music Still Goes On) is thoroughly enjoyable; even if it isn’t a standout from the album. Of course, for an album to be exceptional, all songs need not be a hit, for it is the combination of all elements that ensures an album is a worthwhile experience.

Honey, Honey is a sweet and flirtatious pop song that blends ABBA’s knack for catchy hooks with lighthearted lyrics. With its infectious rhythm, sparkling melodies, and sing-along chorus, there’s little doubt as to why this track became a fan favourite as it captures the essence of ABBA’s early style.

Watch Out sees ABBA venture into rock territory once again, this time with a hard-edged song featuring Björn on lead vocals. While not known for their rock songs, ABBA has always impressed when edging towards this styling for the aggressive guitar riffs and energetic pace contrasts nicely against the pop sheen of other songs from the album.

What About Livingstone? returns the album to a whimsical style with this upbeat number. Featuring a light, bouncy rhythm, What About Livingstone? gives music lovers more of the styling that would ultimately make ABBA a household name. No matter how many of us appreciated their more polished numbers, there’s something extremely compelling about these playful kinds of tunes as they make you smile each time they’re played.

Gonna Sing You My Love Song is one of the more tender and soulful tracks on Waterloo. While it may be lacking the immediate hook of some of the album’s other songs, it stands apart for its emotional resonance and is another of ABBA’s hidden gems. Of course, when an artist such as ABBA has such an incredible back catalogue of music, some tunes are destined to be overlooked, but Gonna Sing You My Love Song shouldn’t be one of them for it is one of ABBA’s greatest recordings.

Suzy-Hang-Around is another of ABBA’s lighthearted numbers to feature a gentle melody and subtle arrangement. It’s most certainly an album-only tune, but as mentioned earlier, an album experience is the sum of all its parts, not just a couple of hit songs.

Waterloo (English Version) is the ideal bookend closer to the album as it encourages me to play the record again as Waterloo is one album that can be seldom listened to once.

ABBA’s Waterloo was a pivotal album in their career, showcasing the band’s diverse musical abilities and their growing confidence as performers and songwriters. With a mix of jubilant anthems, tender ballads, and experimental rock numbers, the album laid the foundation for ABBA’s future success. Yes, Waterloo will forever be linked to their Eurovision triumph, but the album contains hidden gems that highlight ABBA’s evolution from a regional pop act to international superstars. The bottom line is that Waterloo is a fun, vibrant, and eclectic record that has stood the test of time.

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Queen – A Night At The Opera (Album Review)

Queen's fourth studio album, A Night At The Opera, is a masterpiece that solidified the band's place in rock history. Released in 1975, it's a tour de force of genre-blending innovation and extravagant theatricality. With an eclectic style, ranging from hard rock anthems to operatic ballads, with Freddie Mercury's flamboyant vocals soaring above intricate instrumental arrangements, you’d be hard-pressed to find a more coherent album from these British rockers.

While there’s no shortage of amazing artwork designs for Queen’s illustrious back catalogue, A Night At The Opera is stunning and if you have a chance to pick it up on vinyl, you’ll be in awe holding the cover as the record spins for its captivating nature will draw you in immediately. However, fans of this album are spoilt for choice as there is no shortage of reissues (almost 600 different editions); each of which proclaims to offer fans a far more complete musical experience than the reissue before it. I, myself, have been fortunate to have owned several different versions and what I can say is that while the core of the album is maintained throughout, each version offers a unique perspective; but I’ve yet to come across an edition that I didn’t thoroughly enjoy.

The consistent quality is a testament to not only the songwriting and performances, but the mix, mastering, and overall production of the album; all of which are second to none. While I adored the 2015 vinyl reissue from the Studio Collection, the 2013 High Fidelity Pure Audio (HFPA) Blu-ray release also included the magnificent surround sound mix that immerses you in what is best described as an experience. The 2011 CD remaster was similarly spectacular, even if it was the runt of the litter in comparison to the aforementioned releases.

As for streaming, Apple Music delivers the album as a lossless Apple Digital Master and I find it positions itself as a worthy counterpart to the physical releases. It’s sonically smooth, with adequate definition and separation between all elements, but it lacks weight and subsequently reminds me a little of the 2011 CD reissue. That isn’t bad, not by any stretch of the imagination, but if you are looking for recommendations as to which version will give you the best bang for your buck, some of the physical reissues are hard to beat, even if the streaming version is an ideal counterpart.

Death On Two Legs (Dedicated To…) is a song of hatred, for Queen’s original manager Norman Sheffield. While I don’t generally appreciate music for its literal intent, one thing is for certain, lyricism is a perfect creative outlet for one’s pent-up frustrations. Aside from that, however, the song is an explosive opener that’s perfectly suited to the album’s overall style with its piano introduction, biting lyrics, and intense guitar riffs. While it may be controversial, Mercury's venomous delivery and the band's dynamic arrangement make Death On Two Legs (Dedicated To…) a standout track.

Lazing On A Sunday Afternoon is a whimsical tune, that despite being brief, is charming. It showcases Queen's playful side, drawing on vaudeville influences with a jaunty piano and a distinctive "megaphone" vocal effect that gives it a nostalgic, old-time feel.

I'm In Love With My Car is a quirky Roger Taylor composition that adds a playful touch to the album's overall grandiose style and flows seamlessly from Lazing On A Sunday Afternoon. The song's heavy guitar riffs and powerful drumming underscore Taylor's gritty vocals and will appeal to those infatuated with their automobiles. More importantly, however, it’s just a solid rock tune and one that any rocker will thoroughly enjoy.

You're My Best Friend is a catchy pop-rock anthem penned by bassist John Deacon. It also happens to be one of the album's most accessible and radio-friendly tracks and Mercury's warm vocal delivery, along with the song's lush harmonies, highlight Queen's ability to craft timeless, feel-good hits.

’39 is a folk-inspired song written and sung by Brian May and is one of the greatest songs released by Queen throughout their illustrious career. It won’t be to everyone’s liking, but the musical bed, overall rhythm, and May’s unique vocal style make it a standout.

Sweet Lady with its heavy guitar riffs and driving rhythm showcases Queen’s heavier side; an aspect of their musicality that was much more prominent early in their career. Still, the raw sound of Sweet Lady takes a little getting used to and as often as I have listened to this masterpiece of an album, over the years, Sweet Lady would still be the one track, other than God Save The Queen, that I don’t often connect with. It isn’t fundamentally bad, it just isn’t as spectacular as the other songs from A Night At The Opera.

Seaside Rendezvous is another playful, vaudeville-inspired number that is nothing short of a pleasure to listen to. Its lighthearted lyrics and theatrical presentation make it a delightfully entertaining piece that will bring a smile to even the most anhedonic amongst us.

The Prophet's Song, composed by Brian May is a progressive rock masterpiece with intricate vocal harmonies and soaring guitar solos. While everyone points to Bohemian Rhapsody as being Queen’s greatest song from the album, those of us who listen to albums, rather than songs and playlists, will likely point to The Prophet's Song as Queen’s most underrated masterpiece for it is, creatively, every bit Bohemian Rhapsody’s counterpart.

Love Of My Life is a heartfelt ballad that, if you had any doubts, further showcases Freddie Mercury’s exceptional vocal prowess. Flowing seamlessly from The Prophet's Song, this tender ballad, with the emotive piano playing and Brian May’s delicate guitar arrangement, is another of Queen’s most beautiful tunes that will leave you speechless for the composition is simply stunning.

Good Company is a jaunty, Dixieland jazz-inspired number. It’s a great song but is often overshadowed by Bohemian Rhapsody as when Good Company comes on, you’re reminded that Bohemian Rhapsody is the very next song. It is, perhaps, wrong to suggest that Good Company is a pallet cleanser, but that is how I experience the song when playing the album in its intended linear structure.

Bohemian Rhapsody defies categorisation for it is more than a mini-opera, with operatic and hard rock sections, along with a tender balladry that has made it not only a groundbreaking and iconic tune but one of Queen’s most popular songs. While one could harp on about this tune, it is best recommended to simply play the song, turn the volume up, and personally experience one of the most celebrated songs in all of rock music history.

God Save The Queen is an instrumental rendition of the British national anthem, serving as a fitting finale to this opulent musical journey. While it works well within the album’s context, and it would be sorely missed if it were to be removed, I dare say that I’m not alone in my love/hate relationship for this tune as it’s corny and cliché.

A Night At The Opera, ultimately, is more than just an album; it's a testament to Queen's artistic vision and musical prowess. Its blend of rock, opera, pop, and vaudeville influences showcases the band's willingness to push boundaries and defy conventions. From its elaborate arrangements to its thought-provoking lyrics, every aspect of the album exudes creativity and passion. The result is an album that is a timeless classic and one that continues to captivate listeners decades after its release.

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Neil Young & Crazy Horse – Zuma (Album Review)

Released in 1975, Zuma stands as a monumental achievement in Neil Young's prolific career, showcasing his raw musical prowess alongside his legendary backing band Crazy Horse. Emerging as a sonic journey that encapsulates the essence of Young's distinctive songwriting and the electrifying energy of Crazy Horse's musical synergy, this album is amongst the greatest releases in the mid-70s for Young & Crazy Horse’s ability to blend elements of folk, rock, and grunge into a cohesive and captivating sonic tapestry is unparalleled.

As with several of Young’s albums, one could point to the rawer sonic qualities as a critical element, but it’s this true-to-life approach that sets Young, and Crazy Horse, apart from their peers. It adds a live and intimate feel to their compositions, thereby garnering a greater connection with the fans. What isn’t raw, however, is the sonic prowess of the Hi-Res Lossless stream on Apple Music, an Apple Digital Master. As you listen, you’ll find yourself immersed in the soundstage and while it could be said that it isn’t the greatest-sounding Neil Young record, it is flawless in that there isn’t any aspect missing from the stream, nor are there any glaring issues from a sound quality perspective. Is it the final word in sonic quality, however? Well, that is naturally subjective but I do find myself longing to hear the album on vinyl as the limitations of the format add a patina, of sorts, to the sonic presentation of music and such an addition seems as if it would be well suited to the style of music heard on Zuma.

What isn’t quite as well suited to the music is the album’s artwork. I don’t dislike it, I just feel indifferent towards it. It neither enhances the album nor compels me to play it. Undoubtedly, there will be some of you who adamantly disagree, and that’s okay, as we all appreciate and interpret art differently. Before we take a look at the songs that make up this incredible album, it’s interesting to note that many of the songs that would end up on the sensational Rust Never Sleeps album were also recorded during the Zuma sessions. Imagine, for a moment, if some of those songs had landed on this album. Not only would it have changed both records, but I wonder if Rust Never Sleeps would still be my all-time favourite Neil Young & Crazy Horse album if it didn’t include the classics, such as Ride My Llama, Pocahontas, and Sedan Delivery as they could have easily made it to Zuma. Yes, the songs themselves are magnificent and would have resonated with me regardless, but Rust Never Sleeps is such a phenomenal record largely because of the album’s linear structure. That alternative reality aside, join me as I explore the songs that make up Zuma for there’s some incredible music to be heard.

Don't Cry No Tears opens with a hypnotic riff that sets the tone for the gritty, guitar-driven soundscapes that define much of the record. While it isn’t necessarily a standout, it’s a perfect album opener that grabs your attention from the very first note.

Danger Bird furthers the hypnotic aspect as the song takes you on a sonic journey, with its brooding atmosphere, and exceptional instrumental bed. Young’s vocal prowess, combined with the backing overlay, produces a somewhat haunting perspective that works perfectly with the song, particularly in relation to the tuning of the lead guitar.

Pardon My Heart is a lovely ballad that showcases Young's emotive vocal delivery and poetic lyricism.

Lookin' For A Love has an infectious groove and catchy chorus in this mid-tempo number. While it’s most certainly an album-only tune, Young’s vocal presentation and gritty guitar work add a layer of raw, and authentic, intensity that is extremely compelling.

Barstool Blues delivers a punchy blend of rock and blues, driven by its infectious rhythm and searing guitar riffs, yet Young's impassioned vocals, on this song, have never appealed to me. It’s as if he is reaching too far and it simply doesn’t work.

Stupid Girl, a rollicking rock anthem, channels the spirit of garage rock with its gritty guitar riffs and driving rhythm. The dual vocal mix is also intriguing and works extremely well as it provides an alternate perspective to the core lyrical presentation.

Drive Back is a high-energy rocker fuelled by its propulsive rhythm, blistering guitar solos, and a killer lyrical delivery from Young. It’s also amongst Young & Crazy Horse’s greatest recordings and is a hidden gem for those not familiar with Zuma.

Cortez The Killer is a masterpiece with an anthemic fervour that unfolds during its seven-minute runtime. With a mesmerising guitar-driven odyssey, Cortez The Killer stands as a testament to Young's unparalleled skill as a songwriter and guitarist, cementing its status as one of his, and Crazy Horse’s, most enduring compositions.

Through My Sails is a magnificent closing tune that features David Crosby and Graham Nash on backing vocals with Stephen Stills on bass (as well as backing vocals). Russ Kunkel rounds out the special appearances on the conga and while it may be somewhat controversial, I’d declare that Through My Sails is one of the greatest songs recorded, but not released by, Crosby, Stills, Nash & Young (CSNY) as the song's gentle melody and ethereal atmosphere evoke a sense of reflection that is ideal for an album’s closer.

Overall, Zuma stands as a towering achievement in Neil Young's illustrious career, showcasing his unparalleled songwriting talent and the dynamic chemistry of his collaboration with Crazy Horse. The raw emotional power and musical innovation, featured on this record, is so compelling that it positions Zuma as a timeless masterpiece that continues to captivate listeners and will for as long as music lovers roam the earth.

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Nazareth – Hair Of The Dog (Album Review)

Released in 1975, Nazareth’s Hair Of The Dog encapsulates the essence of the era’s hard rock genre with its gritty vocals, powerful guitar riffs, and infectious melodies. Not only is this album exceptional but it has stood the test of time with notable tunes such as Hair Of The Dog and Love Hurts, both of which continue to be relevant in the modern zeitgeist.

While Hair Of The Dog is Nazareth’s sixth studio release, the album's raw production gives it an authentic feel that, in many respects, captures the core energy of the band. That, however, isn’t to suggest that Hair Of The Dog suffers from a lack of production, anything but, but the rawness enhances their music far greater on this release than any others. Also enhancing the album is the 2010 remaster as delivered via Apple Music. This CD-quality counterpart is superb with a well-defined soundstage that allows for ample separation between all musical elements. It also has plenty of headroom, thereby allowing you to crank the volume and rock out; just like it should be! That all said, perhaps the greatest compliment I can give the stream is that it sounds so good that I don’t feel compelled to seek out a physical release; even if I do long for one of the various vinyl reissues as the cover art is magnificent.

Of course, Hair Of The Dog is all about the music-listening experience. The album’s linear structure is flawless and if you have the time to, take a listen to the album and join me as I look at the eight songs that make up this landmark release. Yes, the Apple Music stream offers a series of bonus material, just as the CD releases did, but for this review, I’ll be focusing on the album’s linear structure that concludes with Love Hurts for I feel it is the strongest tracking available. It is important to note, however, that if you are seeking a physical reissue, on vinyl, not all re-releases contain this classic tune. It may be frustrating but it’s a by-product from an era when different linear structures were released in different regions.

Hair Of The Dog will immediately grab your attention with its memorable riff and swaggering attitude. Dan McCafferty's raspy vocal perfectly complements the heavy, bluesy instrumentation, that sets the tone for the rest of the album. Plus, who doesn’t love their famous refrain "Now you're messin' with a son of a bitch,” for it’s a masterstroke of lyricism and ensures Hair Of The Dog is a quintessential hard rock anthem.

Guns N’ Roses would cover Hair Of The Dog on their 1993 covers album, The Spaghetti Incident? and as much as I love the original, I’ve got to say that I prefer the slightly more rhythmic presentation that Guns N’ Roses were able to bring to the tune as it further emphasises the undertone of aggression that is present within the song.

Miss Misery launches with a killer riff before McCafferty’s soaring vocal enters the mix with the rest of the band launching into an incredibly rhythmic thunderous performance. Filled with passion and intensity, that is highly addictive, Miss Misery is a monster of a song that will have you coming back for more as it’s a flawless hard rock tune.

Guilty slows down the pace with its bluesy groove and soulful vocals. Featuring a memorable guitar riff and a laid-back vibe, Guilty will appeal to those of us who appreciate a diverse styling throughout our hard rock albums. Some may dislike it because it is considerably different to the songs that have come before it, but McCafferty's raw and emotive vocal delivery is simply magnificent and the sign of an exceptional hard rock vocalist is often found in slower-styled ballad recordings such as Guilty.

Changin' Times sets the pace back to that of a driving rhythm featuring a catchy melody and infectious rhythm. As solid as Changin' Times is, the most notable aspect is McCafferty’s vocal prowess as the man could certainly belt out a tune, with clarity and finesse, like few others within the hard rock and metal genres can.

Beggars Day/Rose In The Heather is a hard-hitting rocker with a driving rhythm and infectious energy. McCafferty's vocals are, as is the case throughout the entire album, full of attitude and swagger, while the band's tight musicianship keeps the song charging forward with unstoppable momentum.

Whiskey Drinkin' Woman is a blues-infused track featuring a gritty vibe. The song's laid-back groove and soulful instrumentation make it a standout on the album, but as you listen to the song you’ll soon come to realise that it would be perfectly played in any drinking establishment, anywhere in the world.

Please Don't Judas Me features a stripped-down haunting atmospheric presentation that blends some incredible musicality with McCafferty's emotive vocal presentation. As McCafferty pleads, "Please Don't Judas Me," the song builds to a powerful climax, leaving a lasting impression long after the music fades away. Masterpiece, while often overused, is the only way to describe this sensational song.

Love Hurts (Single Edit) is one of my all-time favourite Nazareth tunes and while there will be some that dislike ballads, I love them. This one, in particular, showcases McCafferty's vocal prowess with its poignant lyrics and haunting melody that will strike a chord with music lovers and is a core reason why this version has become a timeless classic.

It is, however, a cover that first appeared on the Everly Brothers’ 1960 release, A Date With The Everly Brothers. Their original is lovely but as with other renditions, I feel that Nazareth took the song, added their unique styling to it, and made it their own. Granted, there isn’t a bad interpretation to be heard, but Love Hurts is an ideal closing tune for the album; even if it wasn’t the closer for the record in all regions.

Hair Of The Dog, subsequently, is a must-have for any hard rock music fan. Its combination of hard-hitting rockers and heartfelt ballads makes it a timeless classic that continues to resonate with audiences decades after its release and Nazareth's signature sound and powerful performances ensure that this album remains a standout in their discography and a cornerstone of 1970s rock music.

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