AC/DC – Back In Black (Album Review)

Following Bon Scott’s unfortunate passing, it wouldn’t have been far-fetched to have seen AC/DC disband. After all, how could anyone match, surpass, or even complement Scott’s vocal prowess? I think by now we can all attest that Brian Johnson achieved those feats and was the ideal replacement. That said, it’s imperative that we remember Scott as a master vocalist, with a larger-than-life personality, that was pivotal in setting the stage for what AC/DC would ultimately become; an unbridled hard rock powerhouse that appealed to everyone.

As one of the best-selling albums in history, with sales exceeding 50 million units, Back In Black needs no fanfare, or even this review, for the album is a timeless classic. Some will declare it AC/DC’s greatest release, and I’d certainly put it towards the top of the list, but the strength of Back In Black is that it is a cohesive album experience. In fact, part of the appeal is that AC/DC was never drawn to the double-album hype, instead choosing sub 50-minute runtimes. Okay, so Black Ice is a 55-minute monster, but you get the idea. Back In Black comes in at 42 minutes and is the perfect length with never a dull moment or a B-side to be heard. 

Naturally, the band and Johnson need to be celebrated for such a masterpiece, but the production team with Robert John "Mutt" Lange, once again, in the producer’s chair ensured that Back In Black was a further evolution and the perfect followup to Highway To Hell. Lange was also pivotal in suggesting Johnson to the band; a suggestion that is arguably one of the most influential in all of music history. While it may be blasphemous to suggest such a thing, as I listen to Back In Black, I can’t for the life of me consider how Scott would have recorded these songs. Yes, we’ve heard Johnson sing Scott’s tunes live over the years, but my mind doesn’t work in the opposite direction. Well, except for You Shook Me All Night Long, but that’s likely a controversy that we’ll never truly have a conclusive answer to as it has been suggested that it, or certain parts of it, was penned by Scott. Nevertheless, had Scott not died, I dare say Back In Black would have sounded considerably different. Not bad, by any means, just different! 

While the music is iconic, so is the album artwork. You can’t help but think of Scott when you look at the cover art. It’s perfect!

What is also the definition of perfection is the (Hi-Res) Lossless Apple Digital Master. I’ve been fortunate to have owned the 2003 remastered CD and vinyl releases and both didn’t come close to the sonic reproduction I’m getting from Apple Music. The CD was a victim of the loudness wars but still sounded rather nice. The vinyl counterpart, however, suffered from inner groove distortion on the closing track for each side. It was the type of distortion that would irritate the senses every time I’d play the album. A shame, yes, but that is the nature of the format as it’s never quite perfect. While no format is without fault, the Apple Music stream is stunning with crystal clear sound, and an immersive and spacious soundstage, while also having the desired level of distortion that we all expect from AC/DC. 

Hells Bells has the greatest opening of any song or album ever recorded. Seriously, the haunting bell toll is next-level and the entire mix is utterly brilliant (thank you, Tony Platt). Add the exceptional guitar work from both Angus and Malcolm Young, and the contributions from the rest of the band, and you’ve got an exceptional tune by any standards. 

Shoot To Thrill is a monster tune. It’s the quintessential arena-filling song and remains as fresh in the modern era as it was when first released in 1980. There’s little doubt that Shoot To Thrill will exist in the social consciousness well after we’ve all taken our leave.  

What Do You Do For Money Honey offers listeners a seamless transition and therefore leaves little doubt as to why so many declare that AC/DC simply record the same song over and over again with minute changes. While I don’t disagree with that position, a large part of their appeal is that we know exactly what we’re going to get.

Givin The Dog A Bone continues the rhythmic driving sound that we all love. While Back In Black isn’t necessarily my favourite AC/DC album, the blues-driven Stiff Upper Lip fills that position, there isn’t a bad song to be heard on the album and Givin The Dog A Bone is one of their best. 

Let Me Put My Love Into You shifts the tempo slightly and there’s a real focus on a blues-based rhythm. No, AC/DC never recorded a ballad, but if you’re after a slower song that could, with a stretch of the imagination, make its way to a ballad playlist, then Let Me Put My Love Into You is the song for you. 

Back In Black needs no introduction or fanfare. Just turn the volume up and enjoy!

You Shook Me All Night Long is a killer tune and if you’re listening on speakers, in the stereo sweet spot, there’s nothing quite like it. Yes, headphones give you a sense of the immersive soundstage, but via speakers that are correctly set up, you’ll feel as if you’re in the studio with the band. It’s an ethereal experience! That said, was it lead single material? I’m not sure it was the right decision but it’s hard to argue with a song that is so revered and is one of the best tunes to incorporate a double entendre.

Have A Drink On Me as a song on its own is perfect, but the transition from You Shook Me All Night Long presents a jolt to the senses that takes time to adjust to. It’s a minor frustration, as it’s got a killer blues-based rock and roll rhythm that I adore, but I sincerely hope you don’t suffer the same experience when listening to Back In Black linearly.

Shake A Leg has, as much of AC/DC’s music does, an incredible guitar tuning with the notes being held the perfect length of time while also maintaining just the right amount of distortion. Yes, Shake A Leg is a carbon copy of numerous other AC/DC songs, but I don’t care. I love it!

Rock And Roll Ain’t Noise Pollution is the perfect closer and is literally accurate. Although, don’t tell my neighbours for I detest their music choices and I don’t want them to think that their music is anything but noise pollution. That drawl slow-build opening is what rock and roll dreams are made of. Absolutely incredible! The result is that Rock And Roll Ain’t Noise Pollution encourages me to listen to Back In Black again; for you can never listen to this album only once. Additionally, as I listen to this final track, I can’t help but remain wowed and appreciative of the music that AC/DC has given us. No matter what life dishes out, we are incredibly blessed to have AC/DC's music to keep us company along the way. 

Back In Black may have catapulted AC/DC to a level of success that dwarfed everything they had previously achieved, but it simultaneously became one of the greatest hard rock albums ever released while memorialising their former frontman. Back In Black truly knows no equal, it's a masterpiece! 

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Cold Chisel – East (Album Review)

East may not be as polished as Circus Animals, but this 1980 release, the band’s third studio album, throws hit after hit at fans and music lovers. While more commercial than Breakfast At Sweethearts, and their self-titled debut, East is a further testament to the importance of extensive touring as it created a cohesive synergy within the band that translated to their work in the studio. Sadly, this element is missing from the contemporary Australian music scene.

Yes, you read that correctly, the modern live scene for musicians in Australia is at an all-time low, yet that wasn’t the case in the late 70s and 80s as countless bands sharpened their skills on the local pub and club scene. These days, bands go to practice; it simply isn’t the same. What better platform is there to test out new ideas and refine one’s sound than in front of a live audience? While we can, and will, lament the changing tide, there will likely never be an era in Australian Music as productive as that which drove Cold Chisel from obscurity to the top of the charts. 

East has become a timeless classic and in pondering the aspects that make this release so special, it must be noted that it’s the first Chisel album to include songs written by all band members, rather than Don Walker alone. Walker is a magnificent composer, but when you’ve got a band of very talented individuals, it pays to consider their contributions and it paid off in a big way. Not only were the songs exceptional but they all represent Cold Chisel perfectly. It would have been amazing to be a fly on the wall for you have to believe that the band knew they were writing a hit album. 

Of course, as musically talented as Cold Chisel are, Jimmy Barnes on lead vocal is the highlighting factor. His unique vocal style is sensational and despite his drug and alcohol abuse during the time, his vocal isn’t unnaturally slurred and is simply amazing. Ian Moss, similarly, deserves recognition and respect as he’s very much Barnes’ counterpart in that he provides listeners with a less chiselled (yes, pun intended!) vocal that works exceedingly well as a backing vocal. Moss is also incredibly talented on lead vocals and that is no more apparent than on My Baby. 

There is, however, a problem. The mastering isn’t great. Disappointingly, the same problems I have with Circus Animals are repeated here and despite being a (Hi-Res) Lossless Apple Digital Master, it doesn’t help. Yes, some songs sound far better than others but the mastering is hot and subsequently sounds a little wimpish in the mid to low end as there’s most certainly a focus on clarity and the treble range. Some of you may prefer that sound signature, but I feel it weakens the oomph of the band. Subsequently, I find that I need to apply EQ to get the most out of the album as it simply doesn’t hit the emotive chords as much as I’d like or as much as other albums from the era do.

Standing On The Outside is a great tune but has one of the all-time worst openers as it doesn’t glide the listener into the music. Its tempo is the real issue here and I find myself preferring to put East on shuffle to avoid this abruptness. A subjective viewpoint, certainly, as I’m sure many would consider it the greatest opening track of any Chisel album.

Never Before transitions from Standing On The Outside beautifully and would have been my preferred choice as the opening track as it’s one of my favourite Cold Chisel songs. Musically it’s a masterpiece with an instrumental element, mid-song, that is simply stunning.

Choirgirl is an absolute classic. I dare say there isn’t an Australian that hasn’t heard this blues-focused ballad. While the context of the song may be seen as somewhat controversial, the song itself is compelling in that Jimmy Barnes and Ian Moss have recorded masterful lyrics. That said, I’d ideally like to hear Moss’ vocal being more forward in the mix, but the culmination of Barnes and Moss is what musical dreams are made of. 

Rising Sun is a fun little tune mixing rock and roll with old-school country music techniques. There’s more of an American feel to the song than an Australian influence, but that isn’t necessarily a distraction for Rising Sun is most certainly suited to Cold Chisel and in some ways can be seen as a precursor to Barnes’ later solo explorations on albums such as Soul Deep.

My Baby is a killer pop-rock tune with Ian Moss on lead vocals and Joe Camilleri performing a masterful saxophone solo. My Baby was composed by bassist Phil Small; one of his few contributions as a writer in Cold Chisel. There’s little doubt, in my mind, that My Baby is not only one of Chisel’s greatest recordings, but it’s one of the very best songs ever recorded. Moss, as lead vocalist for My Baby, was undoubtedly the best choice as his vocal smoothness works incredibly well with the song.

Tomorrow is a solid album tune. Sometimes that’s all that’s required. 

Cheap Wine is another Chisel staple and when I suggest that East plays akin to a greatest hits release, rather than a standalone studio album, it’s songs such as Cheap Wine that uphold this opinion.

Best Kept Lies shifts the tempo a little with a fun bebop influence mixed in for good measure. Best Kept Lies is unlikely anyone’s favourite Cold Chisel tune, but there’s something compelling about it that can’t be denied. If nothing else, it should be at the top of any Deep Cuts playlist. 

Ita is a great tune and while I could question the lyrics, this is one of those songs where I turn the analytical side of my brain off and enjoy the vocals as an instrument within the mix.

Star Hotel is a musical masterstroke. As with Ita, I prefer to hear the vocal as an instrument, rather than a storytelling device, and in this way, I can thoroughly enjoy Star Hotel without acknowledgement of the 1979 riot that is at the core of the song.

Four Walls is one of Chisel’s greatest tunes.

My Turn To Cry is a solid closer to East and encourages the playing of the album again. No, it isn’t the strongest song on the album, or even worthy of Cold Chisel’s legacy, but it works. 

Overall, East is an exceptional release that has only ever been overshadowed by Circus Animals; a truly incredible album that builds on what East was able to achieve. While Cold Chisel has an incredible legacy far exceeding these records, it’s these early 80s albums that, for me at least, represent the very best of this iconic Australian rock and roll band.    

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Alice Cooper – Flush The Fashion (Album Review)

Released in 1980, Flush The Fashion is Alice Cooper’s fifth album post the Alice Cooper Band era and sees a slight shift in style compared to Cooper’s prior releases. With a new wave feel, one that was particularly relevant to the era, Cooper recorded an album that is nothing short of an underrated masterpiece. 

Flush The Fashion is perhaps most notable, however, for being the first of four albums that Cooper has a minimal recollection of writing and recording due to substance abuse. A shame, considering that this album plus Special Forces, Zipper Catches Skin, and Dada are amongst his finest releases.

While the music, as we’ll see shortly, is exceptional, so is the 2018 vinyl reissue. There’s a fullness present that is simply missing on the lossless Apple Music stream. It isn’t a night or day difference, for it rarely is, but if you’re after gaining every emotive element out of a recording, then I can say with certainty that picking up the vinyl reissue is worthwhile as it is my preferred way to appreciate Flush The Fashion. 

While the sonic reproduction of the digital counterpart isn’t bad, you’ll find yourself reaching for the EQ settings to reduce the album’s harshness. It’s not a dealbreaker, but it would be nice to see Warner Records head back to the archives and re-release a (Hi-Res) Lossless, Apple Digital Master, edition of this classic album. Sure, it may not be considered a landmark release within Cooper’s back catalogue, but for those of us who adore it, it would be welcomed with open arms. 

Talk Talk is a cover of The Music Machine’s debut single from 1966, but Cooper’s recording is uncompromising thereby making it a perfect opening tune and one of my favourite songs from Flush The Fashion. This is one of those rare, but not unheard of, examples whereby the cover surpasses the original.

Clones (We’re All) flows masterfully from Talk Talk and where the opening tune was new wave in style, Clones (We’re All) somewhat follows that styling but kicks up the rock elements while adding disco influences. If you’re like me, you would have already turned the volume up for this is one rhythmically addictive tune and a great asset to Cooper’s extensive back catalogue. 

While I consider Cooper’s recording to be the only one worth listening to, The Smashing Pumpkins recorded a killer version that you need to check out if you haven’t already heard it. 

Pain sounds as if it was taken directly from the Welcome To My Nightmare recording sessions. If for no other reason, that should be enough to get your attention; a brilliant song!

Leather Boots presents us with quite the sonic shift. While it’s grown on me, over the years, it takes a little getting used to. Truth be told, it isn’t the strongest song on the album but I’d miss it if it wasn’t there. 

Aspirin Damage, however, offers a much better transition and is a fun little tune. Perhaps fun isn’t the correct term to use, given the context of the song, but I can’t help but find it lighthearted in tone; most likely due to the musical style of the song. 

Nuclear Infected is a standard run-of-the-mill rock tune. It isn’t anything to write home about, but it’s solid nonetheless. Similarly, to Aspirin Damage, it’s quirky enough that it becomes rather enjoyable the more you listen to it.

Grim Facts has some great guitar work courtesy of Davey Johnstone, but it isn’t only his tracking that’s impressive here for the band is on fire and Cooper delivered his vocal perfectly. A hidden gem? Absolutely!

Model Citizen continues with the grinding rock and roll styling and it’s songs such as this that make me wonder how Flush The Fashion flew below the radar for so many years as it’s right up Cooper’s alley. Regardless, thanks to streaming, we can now all enjoy the lesser-known tunes that, at times, have the potential to be a hit, even if it wasn’t during the era in which it was released. 

Dance Yourself To Death is a solid album tune. While it neither stands out nor should be skipped, sometimes a standard song is all that’s needed to hold an album together. Not every song has to be a hit for an album to be enjoyable. 

Headlines is the perfect closer and Davey Johnstone’s work here is once again appreciated. While some may question the new wave feel to the entire album, especially with Headlines being focused in that sonic direction, it works incredibly well in bookending Flush The Fashion.

With an approximate runtime of 28 minutes, Flush The Fashion is certainly succinct but this is one of the album’s most endearing aspects for it’s repeatable and if you’re like me, you’ll find great pleasure in listening to Flush The Fashion again and again.  

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Air Supply – Lost In Love (Album Review)

Released in 1980, Lost In Love is Air Supply’s fifth studio album. While not an instant chart-topper, and it could be said that Air Supply was more successful as a singles band, Lost In Love is a cohesive piece of musical art that plays as if it were a greatest hits album with a couple of B-sides included for good measure. 

Streaming music fans will note the absence of All Out Of Love on the Apple Music stream. It’s a disappointing omission due to licensing agreements but as Lost In Love is one of my favourite albums of all time, I had no hesitation in purchasing it via Apple’s iTunes Store as All Out Of Love becomes available when the purchase of the album is made. It’s a workaround, for sure, and one that music lovers shouldn’t have to endure, but it isn’t as if Apple Music is alone with regard to this issue as all streaming services suffer the same music industry anomalies. It’s important to note, however, that All Out Of Love can be streamed on Spotify but this is only due to Spotify’s insistence on substituting music from one album to another to solve the issue. In this case, Spotify has taken All Out Of Love from Air Supply’s Ultimate Collection. So, yes, in one way it can be streamed but the variances in mastering still create a sonic shift that can be distracting and I am, therefore, grateful that Apple Music doesn’t apply the same approach for you can very well end up with a version of the song that is quite different to the original album release. Some of you may not be flustered by this process, but for those of us who are, at least due to the iTunes legacy, Apple Music users have options. 

You may, of course, be wondering how the album sounds. Well, it’s quite lovely. It isn’t an Apple Digital Master but it’s an enjoyable digital facsimile with no glaring aspects to be heard. Yes, a (Hi-Res) Lossless Apple Digital Master would be appreciated, but so would a vinyl reissue. Time will tell if either will become a reality, but until then I can assure you that despite being lossy, the iTunes Store edition happily fills the void.

Lost In Love has a gorgeous opening that sets the tone for the entire album. It’s classic Air Supply and while there are stronger songs on this release, Lost In Love is most certainly worthy of the title track position. The vocal harmonies are particularly notable as they have an air of delicacy about them and this is likely a core reason why Lost In Love has been, and will continue to be, appreciated by so many people around the world.

Fans of Air Supply will note that despite this being the title track, this wasn’t the first time we heard Lost In Love for it was initially released on their 1979 release, Life Support. This original recording differs in that the song's focus is more acoustic with a less symphonic style that would have limited radio interest. It’s also a little longer than the newer mix; a further limitation of radio requirements at the time. Regardless, it's still lovely, but once you’ve heard the polish of the 1980 edition, it’s difficult to go back. 

All Out Of Love is one of my all-time favourite Air Supply songs as the entire composition is exceptional. Of particular note is the blending of vocal styles as the song shifts from verse to chorus and back again. It’s simply magical and is one of those songs where I’ll pump the volume and sing along; an addictive tune if there ever was one. 

Every Woman In The World is a lovely ballad and while some may suggest that Air Supply’s songs blend with little separation, to think that is short-sighted as each song is an experience and a story in and of itself. Plus, when music is this good, there’s no need to change a successful formula, is there?

Just Another Woman shifts the tempo of the album a little with disco-inspired styling. It’s solid, and it works, but I’d suggest it isn’t exceptional. Nevertheless, Lost In Love wouldn’t be the same album if it were not for Just Another Woman and when looking at the album from a contemporary perspective, Air Supply most certainly played into the style that was popular at the time. 

Similarly to Lost In Love, Just Another Woman was also originally released on Life Support. It’s considerably different in that this early release is focused on delivering a rock and roll tune with a slight disco vibe. No doubt, some may enjoy it, but I still prefer the latter release from Lost In Love.

Having You Near Me is simply magnificent. 

American Hearts as an album-filling track is solid, but it’s also the low point of Lost In Love. 

Chances is beautiful as it highlights the vocal and musical prowess of Air Supply. They’re simply amazing!

Old Habits Die Hard is a bit of a mixed bag. It isn’t bad but it isn’t great either. Yet, I couldn’t imagine the album sans this tune as it somehow manages to fit the overall style of the band.

I Can’t Get Excited is an energetic tune that gets me going every time I listen to it. While Air Supply is unlikely to make it to your exercise playlist, I Can’t Get Excited is one song that could buck that trend. It reaches into your soul and has an upbeat tempo that will keep you moving. While I don’t take music with me when hiking, this is one song that has played on repeat, in my mind, as I’m hiking up a mountain and it subsequently gives me encouragement and energy to keep going. A great tune!

My Best Friend returns the music to a slower tempo, to close out Lost In Love, and it’s one of the best tunes Air Supply has ever recorded. It’s also the quintessential closer as it allows for contemplation of the music that you’ve just heard while simultaneously encouraging you to play the album again. 

Ultimately, Lost In Love is a timeless classic and while some will dismiss it as merely a soft rock ballad-focused album of love songs, that determination is too limiting. As someone who appreciates music, sans lyrical interpretation, I find that there’s something here for every music lover to enjoy; if you give it a chance, that is! If you do, you’ll no doubt agree that Lost In Love is not only Air Supply’s greatest album but that it's one of the best albums released in 1980.

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Iron Maiden – Iron Maiden (Self-Titled Album Review)

Released in 1980, Iron Maiden, the self-titled debut from the English Heavy Metal masters launched onto the music scene with a take-no-prisoners style that was complemented by pure talent. If nothing else, Iron Maiden offers fans a collection of songs that have become classics of the Metal genre. 

Voicing classic Maiden was Paul Di’Anno, an incredible vocalist who would also go on to record their second album Killers before being exiled for extensive substance abuse. Despite that, Di’Anno set the stage for Iron Maiden as he approached these studio recordings with a sense of energy and flow that Bruce Dickinson, and later Blaze Bayley, were able to build upon; that unique Iron Maiden sound! Yes, Maiden’s unique qualities should also be attributed to the musicality of the band and Steve Harris’ ultimate vision, but metal bands are often successful as a result of their lead vocalists.

Speaking of Maiden's sound, there’s been so many variants, with regards to the mastering of their albums, that it often comes down to personal preference as to which subjectively sounds better. I’ve heard the 1998 remaster and while I didn’t think it was bad at the time, once I heard the Apple Digital Master, from the 2015 reissue program, I was blown away as it sounds how I imagine Iron Maiden should sound. You know, the sound you hear in your head when the music isn’t playing. It is subjective, but at that moment I knew that that was the way I wanted to appreciate all of Iron Maiden’s music going forward. Yes, I’ve heard grumbles about this particular mastering. The usual stuff, such as it being dynamically compressed further than it needs to be. While I may not disagree with that sentiment, I prefer to listen with my ears and they tell me that it simply sounds right. 

The (Hi-Res) Lossless edition, on Apple Music, is the perfect representation of this self-titled debut and has the added bonus of being able to be heard whenever and wherever I may be. Therefore, even if the vinyl counterpart is comparable, or superior, it need not apply for it limits where and when Maiden can be appreciated. 

Perhaps most notable, however, is that despite the rawer production of the debut, the mastering has been undertaken so well that it puts a little spit and polish on the album, resulting in a pleasurable listen that is largely void of the shrillness that is found on prior releases. Don’t get me wrong, the rough around the edges feel to the album is most certainly retained, it’s just a little more presentable and permits listening at ear-bleeding levels; just the way Iron Maiden should always be heard. 

The only disappointment with this latest reissue is that it, again, omits Sanctuary; a simply epic Iron Maiden tune. Yes, the track listing now resembles the original release, but it also means that the studio recording of Sanctuary is unavailable to stream with the only recordings being those that were performed live. This omission is a +1 for physical media collectors. However, the most recent Studio Collection CD and Vinyl reissues also omit Sanctuary, so you’ll need to seek out a previous release to attain this tune if you don’t already own a copy.

Prowler launches the record with an iconic riff and sees Di’Anno in fine form while all other musical aspects set the tone for the entire album. The mid-song solo, and Harris’ bass lines, really take Prowler to the next level, resulting in one of their greatest recordings. 

Remember Tomorrow slows the tempo a little, until the song builds that is. Nevertheless, one of the greatest aspects of Remember Tomorrow is the exquisite introduction that reappears throughout the verses. Yes, it may not be a stadium-filling tune, but Remember Tomorrow is one of my all-time favourite Maiden songs. 

Running Free was Maiden’s debut single and there’s a bit of a punk vibe to it. Truth be told, I’m not sure it was lead single material. It’s a solid tune, and perhaps I’ve simply heard it too many times over the years, but despite some thoroughly enjoyable killer grooves, it doesn’t set the world on fire from my perspective. 

Phantom Of The Opera has a moodiness that is incredibly addictive. Seriously, every note of this 7-minute-plus epic is a master stroke. Di’Anno‘s vocals could have been stronger, but all musical aspects are perfect as they transition throughout the various stages of the song. What an EPIC piece of music!

Transylvania has a spy-flick vibe to it with some killer rhythms and licks thrown in for good measure. A great instrumental-only tune!

Strange World flows seamlessly from Transylvania and maintains the melody-driven sonic themes of the prior track. While there’s no doubt that many Maiden fans love their heavier tunes, I, for one, adore these slower tempos as I feel they perform them with nothing less than pure perfection. Di’Anno‘s vocal on Strange World, in particular, showcases his vocal chops like no other song on the album does. He’s an absolute pleasure to listen to. 

Charlotte The Harlot is one of Maiden’s most underrated tunes and has an interesting interplay between the musicians. Depending on the instrument you prefer, you’ll find a unique rhythm to attach yourself to.  

Iron Maiden closes out this self-titled debut masterfully, while also encouraging repeat playing of the album, and is most certainly worthy of the title track moniker. 

Overall, Iron Maiden is a musical masterstroke and is a debut that has not only stood the test of time but is as relevant to the Iron Maiden story as any other album in their extensive back catalogue. It is, without a doubt, one of the best albums released in 1980 and is amongst the greatest Metal albums of all time; a timeless classic!

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George Winston – Autumn (Album Review)

There are select albums that you’ll look past only to realise that they’re magnificent and amongst the greatest albums you’ve ever had the pleasure of hearing. George Winston’s Autumn is one such record.

Released in 1980, Autumn is Winston’s second studio album of piano solos inspired, naturally, by the season that adorns the album title. There’s a new age meets ambient feel to the album with a touch of folk mixed in for good measure. The result is an addictively good album that you’ll find yourself playing on repeat for hours on end. 

Despite being reissued in 2001 with a bonus track, the lossless Apple Music stream maintains the core seven-track album sans the song Too Much Between Us. I’m incredibly grateful for this decision as I strongly prefer the original tracking. Don’t get me wrong, some additional tunes are most certainly worthy of listening to, but in most cases, they should be compiled separately. Too Much Between Us, however, is not available to stream at all on Apple Music. Having checked it out on YouTube I can say with certainty that its inclusion would significantly change the flow of Autumn; a shift that very well could limit the album’s appeal. Look, it’s a beautiful tune in its own right, I just don’t feel that it fits with this album or its fluid nature.

Some may lament the basic album artwork but I feel it works well with the music. Seriously, as you listen, consider the artwork in relation to the performance. I’ve no doubt you’ll see the correlation as the beautifully spacious outdoor scene is clearly represented in the soundstage as all notes are crystal clear ensuring this is one of the most beautiful instrumental albums you’re ever likely to hear. While the lossless edition heard on Apple Music is the CD equivalent, from a mastering perspective, it offers a solid reproduction that is thoroughly enjoyable. However, I would love to see a (Hi-Res) Lossless Apple Digital Master of the album become available for I feel there is a little more emotion to be extracted from the original recording as this reproduction can sound a little sterile. Given the album was released in the analog era, I can only imagine how magnificent it would sound on vinyl. While it hasn’t been reissued in decades, if I come across a good quality second-hand version, at an appropriate price, I may just have to pick it up. Until then, however, the Apple Music stream is more than adequate, with a tad of equalisation applied for subjective taste.

Colors / Dance is beautifully subtle, setting the tone for the entire album. While the album’s title foretells the imagery one can expect on this release, Winston’s playing and spacing between notes reflect a slower, yet still playful, pace that could be associated with the transition of the season. It’s simply magnificent!

Woods is one of those compositions that make you sit up and take notice. With two distinct styles contained within a single piece, Woods becomes the sum of its parts. I mention that as it isn’t often that an artist can combine and cross-pollinate a concept with such smoothness. Subsequently, this is one of my favourite songs from Autumn.

Longing / Love is a bit of a slow burn, but as the introduction fades to memory, Longing / Love quickly becomes the greatest song on the album. It is the fluidity that grips me every time I hear it for I am in no way a Pianist, but like the air guitar influences in rock and roll tunes, Winston’s playing allows me to pretend I too could play this piece. It is this connection to the music that is where the composer, performer, and listener intertwine in what can only be classed as an experience.

Road has a lovely slow waltz about it. For me, it resembles the long road of seasonal change; if we’re sticking to the theme of the album that is! Whichever way you choose to interpret Road, you’ll find it to be a lovely piano solo. 

Moon is simply stunning. It’s compositions such as this that make me wonder why I don’t appreciate more piano-based works and I can only suggest that it is the player, not the instrument, that is the differentiator. Subsequently, it takes a master musician to meet that expectation and Winston certainly falls into that category.

Sea is perilous, yet uplifting and again is subjectively interpretable. I can only imagine that everyone will listen to Sea, and the entire album, with a different perspective and while in some ways I wish to know what those interpretations are, I also don’t wish for it to cloud my own. A double-edged sword, certainly, but one that we have to deal with when we choose to share our musical experiences.

Stars is a gorgeous contemplative closer. You’ll be able to picture the night sky of autumn within the music but most importantly you’ll feel compelled to play the album again for regardless of season, Autumn is an experience in and of itself.

While some people adore the piano, my enjoyment as the listener is attained via the pianist. Some are precise, beyond a fault, but are unlistenable for the instrument can often come across as being too shrill. Thankfully, Winston makes the piano sing as only he can, ensuring his delicate and precise playing reaches into my soul and doesn’t let go for the entire runtime of Autumn.

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Herbie Hancock – Monster (Album Review)

Released in 1980, Monster would be the 29th studio album from one of Jazz’s greatest pianists. Although, it is somewhat void of the jazz styling that many Hancock fans would have been looking for. Instead, what we have is an album with jazz elements scattered throughout and a little jazz fusion, pop rock, and what was an included aspect to stay relevant in the era, a rhythmically charged disco undercurrent. Purists will no doubt dislike the album because of this genre-crossing aspect. I’d argue that it perfectly suits Hancocks’ style and is worthy of sitting alongside Head Hunters; a bold claim, certainly, but part of Hancocks’ charm was in his ability to innovate, thereby ensuring his music never became stale or limited to a particular era. That said, Feets Don’t Fail Me Now, Hancocks’ 1979 release, which was in a similar sonic vein, failed to impress and subsequently remains absent from The Best Albums Of 1979. 

Perhaps the greatest compliment I can give to Monster is that it is compelling. From the insane cover art to the sweeping music, I find it difficult to play this album only once for it’s simply magnificent. 

Part of its appeal, no doubt, is due to its high-quality recording and impeccable mix. Add to that the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, and you’ve got an album that is sonically perfect and arguably as good as you’re ever going to find. While I’d love to own a copy on vinyl for the cover art alone, when a digital counterpart sounds this good, there’s no need to go to the additional expense, and hassle, of tracking down a physical version that may or may not offer a superior, or even comparable, sound. 

Saturday Night has a funk-driven sound that will get you on the dance floor. The highlight here, however, is Carlos Santana’s trademark guitar licks. His inclusion is complementary but is used to great effect throughout the solo. It’s a great start to the album and certainly sets the tone of expectation regarding the type of music you’re about to hear.  

Stars In Your Eyes is a true sonic wonderland. The rhythm, the spacing between musical elements, and the immersive soundstage ensure Stars In Your Eyes is not only the highlight tune on Monster, but it’s one of the greatest songs Hancock has ever released. Seriously, try to listen to this song by sitting still. I bet you can’t do it. My body moves involuntarily to every beat and rhythm and I never want it to end. A masterpiece in every sense of the word. 

Go For It really increases the tempo. A great song, but there’s a small shift in the senses when going from the smoother Stars In Your Eyes to the upbeat Go For It. Nevertheless, the difference lasts for mere seconds as your mind adjusts to the speed shift. Once you’ve settled into the groove, Go For It is a great little tune that doesn’t forge new ground, but it doesn’t need to as it fulfils its role as an album tune perfectly. 

Don’t Hold It In has a killer distorted grind that launches the tune and reoccurs throughout the song even after the funk-disco style has taken hold. Hancock and co certainly didn’t hold back with this tune. It, and many other songs from Monster, are right up there with the very best of Stevie Wonder; that is a true testament to how good this album is.

Making Love slows the tempo and is a well-positioned intermission-styled tune that has smooth soulful influences throughout, particularly with regard to the rhythm and harmonious backing vocal. 

It All Comes Round has some serious rock-inspired moments. Yes, it is as far removed from traditional jazz as you can get, but that doesn’t matter as it’s a great tune. I only wish Santana had been included on this track as his performance would have taken it to the next level. Although I have to admit, Hancock utilising his Clavitar to create the synthesised distorted guitar is not only experimental, especially for the time, but works remarkably well upon reflection. My only criticism, however, is that the chorus is fatiguing as the vocal component repeats ad nauseam. An interesting dichotomy as Go For It has a similar style yet it remains fresh throughout. 

Overall, Monster is, pun intended, a monster of an album. It’s the perfect length, at approximately 42 minutes and its six songs are amongst the very best Hancock has ever recorded. Yes, Monster isn’t his most successful, nor is it extremely well-known, but if you give it a chance, I’ve no doubt you’ll find the same musical bliss I have for when I listen to Monster, it reminds me of why I love music. 

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