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Skyhooks – Living In The 70’s (Album Review)

Skyhooks – Living In The 70’s (Album Review)

A debut like no other; an Australian masterpiece!

That is, perhaps, the best way to describe Skyhooks’ Living In The 70’s, for they may not have known it at the time, but Living In The 70’s would go on to become one of the greatest albums ever recorded.

Beloved in Australia, Skyhooks never really made inroads into the international music scene. Subsequently, many international readers may be unaware of their music and the influence they’d have over generations of Australian rock bands to come. Thankfully, streaming allows you, dear reader, to listen to Living In The 70’s, wherever you are and there is no time like the present to check out one of the most controversial, yet praised, debut releases ever by an Australian band.

Living In The 70’s was controversial in that the Federation of Australian Commercial Broadcasters decided to ban six of the songs from the album, from national airplay, citing sex and drug references. Of course, the counter-culture teenage population, at the time, wasn’t going to be told what they could and couldn’t listen to and Living In The 70’s quickly rose to #1 on the charts, selling 226,000 copies in its first year; a feat never before seen within the Australian music industry.

Not only was their sardonic view of the zeitgeist in Australia in the 70s a pivotal element for Skyhooks, but they had a hook and they caught us hook, line and sinker, with their catchy blues-based groove rock and combined glam rock style. To say Skyhooks was multifaceted would be a borderline understatement, for their musical style defies adequate explanation. Living In The 70’s is, subsequently, an album that needs to be heard in order to be fully understood and appreciated. Exceptionally written, recorded, mixed, and mastered, you’ll be in pure musical bliss for the entire duration.

The edition of Living In The 70’s that I’m fortunate to own is the remastered CD from 2004 with the additional B-side, Broken Gin Bottle; a perfect addition to an already flawless album. The CD, however, isn’t quite as perfect as I’d like it to be as the booklet has a printing error whereby several pages of the liner notes are missing, replaced by liner notes from a Linda Ronstadt compilation. Now, I have nothing against Ronstadt; a phenomenal musician in her own right, but this is a Skyhooks album and I’m missing all the lyrics except for the title track and Broken Gin Bottle. It’s a frustration, to say the least, but the sound quality is so good that I haven’t bothered with a replacement.

Yes, Living In The 70’s is a remaster and while I’ve been critical of remasters over the years, this one is done nicely, with respect for the source material. It sounds right, unlike the remaster of Cold Chisel’s Circus Animals. The soundstage is wide and enveloping and every instrument can be heard with incredible clarity. The Lossless Apple Music stream, by comparison, is a solid CD facsimile but isn’t quite as live-sounding as the remastered CD. As usual, if you don’t compare the editions, you’re unlikely to notice anything is lacking, but the CD offers a more enjoyable listening experience as the music has a fluidity that is missing from the streaming counterpart despite being derived from the same mastering sessions.

Additionally, a vinyl reissue is on its way, scheduled for an early 2025 release, along with a CD edition that celebrates the 50th Anniversary of the album. One problematic aspect, however, is that it’s said to be a new 2024 remaster. Let’s just hope that it has been handled with respect for the source material for I still declare the 2009 remaster to be perfectly fine. Nevertheless, it seems somewhat fitting that one of the greatest Australian albums of the 70s finds its way back to the format that it was originally presented on; if for no other reason than to display that incredible album artwork.

Living In The 70’s is a killer, rhythmically charged, opener that will have you singing along as you grooving to the music. It has some exceptional guitar and percussion work that showcases the polish and musical skill Skyhooks had right out of the gate, but it’s the song’s references, and sharp critique, to counterculture and societal expectations, that strike a perfect balance between humour and reflection. The result is that Living In The 70’s is one of the greatest debut album openers of all time.

Whatever Happened To The Revolution continues with the upbeat tempo and in many respects, Skyhooks has a similar style to The B-52’s, in that it becomes a fun listen that’s unique when compared to much of the music of the era. Even by modern standards, Whatever Happened To The Revolution sounds fresh with its crunchy guitar riffs and high-energy rhythm.

Balwyn Calling is packed with vivid imagery, a funky bassline, and melodic guitar hooks that give this song its playful edge and ensure that it’s one of the most memorable tunes from the album.

Horror Movie is, without a doubt, my all-time favourite song from Skyhooks. It’s also, arguably, Skyhook’s most iconic tune for its an unforgettable anthem and Graham “Shirley” Strachan’s powerful vocals bring Greg Macainsh’s satirical lyrics to life. However, it’s the overall vibe that takes this song to another level for it is most certainly positioned in the 70s style but has remained timeless and still resonates with rockers the world over.

You Just Like Me ‘Cos I’m Good In Bed says it all, doesn’t it? It’s a fun tune that will bring a smile to anyone's face. While I can understand why the Federation of Australian Commercial Broadcasters banned this tune and five others, I’d call it overkill as we really can take ourselves a little too seriously at times. Nevertheless, it’s a great song; one that flows beautifully within the album’s linear structure and, again, showcases just how proficient Skyhooks were from the get-go.

Carlton (Lygon Street Limbo) incorporates the energy and musicality of Australian music in the 70s, despite the mid-tempo styling. While it isn’t a standout, it’s a quintessential album-only tune that ensures the album is structurally sound and the sum of its parts, rather than being appealing because of one or two songs. 

Toorak Cowboy is a toe-tapping, head-bopping, good time with a country meets glam rock style that is highly appealing.

Smut, true to its name, pushes the lyrical boundaries with its tongue-in-cheek wordplay atop a compelling musical backdrop. It’s a fun song that showcases the band’s irreverence as they challenged societal norms with their bold take on taboo topics.

Hey What’s The Matter is groovy; try sitting still through this one. As with much of the album, it’s impossible to not groove along to the music. The result is that Living In The 70’s can very easily become the ideal soundtrack to an energetic life.

Motorcycle Bitch is gritty riff-driven heaven and Strachan’s vocals on Motorcycle Bitch, in particular, are magnificent. There’s little doubt in my mind that he was one of the greatest vocalists to ever record a tune. Bon Scott is usually held up as the poster child for Australian rock and roll vocals and while this doesn’t take anything away from his vocal prowess, Strachan was on par, if not slightly more capable as a vocalist, particularly concerning pronunciation. I mention this as I don’t feel Strachan has ever received the recognition he deserved.

Broken Gin Bottle was not part of the original tracking of Living In The 70’s, having been released as the B-side to the Living In The 70’s single. However, I couldn’t imagine the album without it as it fits the overall styling so well. Again, and I know that I’m repeating myself, the gritty blues-infused guitar work is extraordinary and will compel you to listen to the album again.

Living in the 70's is a bold, unapologetic, and groundbreaking album. Skyhooks' ability to combine biting social commentary with infectious melodies and a uniquely Australian identity made it a cultural touchstone but this debut isn’t just an album, it’s a cornerstone of Australian music history and one of the greatest albums ever recorded.

Ringo Starr – Goodnight Vienna (Album Review)

Ringo Starr – Goodnight Vienna (Album Review)

Released in 1974, Goodnight Vienna is the follow-up to Ringo Starr’s commercially successful and critically acclaimed album Ringo, yet despite the fanfare, this is the stronger album. That may rub some people the wrong way but it is my subjective truth. As with many of Starr’s solo works, Goodnight Vienna is somewhat whimsical, but it perfectly encapsulates his unique charisma via an appealing blend of rock, pop, and ballad-styled tunes. The result is that Goodnight Vienna is a dynamic album that is severely underrated; much like his hidden gem Old Wave.

Goodnight Vienna is also notable for featuring one of Ringo’s most star-studded lineups with collaborations coming from John Lennon, Elton John, Bernie Taupin, Harry Nilsson, David Foster, Gary Wright, and Dr. John, to name a few of the incredible musicians that contributed to this sensational album. However, it is Jim Keltner’s recordings with Starr that I find most interesting for Keltner is a master drummer in his own right, but to drum for the drummer of The Beatles; that would, at the very least, have been intimidating. Still, given the extensive nature of Keltner’s session recordings, it would be fair to say that as much as Ringo was crucial to the success of The Beatles, Keltner is much more diverse and while not a household name, is an ardent student of the art of drumming.

Speaking of art, if we look beyond the music, the album artwork for Goodnight Vienna is captivating. Inspired by the 1951 film, The Day The Earth Stood Still, Goodnight Vienna has one of the most recognisable covers from the era; a time when a record’s visual presentation was of paramount importance in not only making it stand out in record stores but in providing a complete visual counterpart to the music. Admittedly, the artwork has little, if anything, to do with the music contained within, but its somewhat quizzical nature melds perfectly with Starr’s overall style.

While I have yet to be fortunate enough to attain a copy of this classic album on the larger vinyl canvas, the Lossless Apple Music stream, an Apple Digital Master, is nothing short of exceptional. Every musical element is given room to breathe and while that’s primarily a testament to the recording and mixing of the album, the soundstage is both enveloping and captivating, thereby ensuring that it’s not only a pleasure to listen to but so appealing that other than the tactility of a vinyl record, and that warmer analogue sound, there really is little reason to seek out a physical release.

Goodnight Vienna (It's All Down To) has an incredibly catchy rhythm and is one song that is perfect for Starr’s vocal style. Written by John Lennon, it’s also one of his greatest songs that he never recorded himself, but it has the Beatle-esque styling that many fans will find appealing as you can imagine just how the Fab Four would have approached this recording. I’d suggest it would be largely the same, perhaps with a few more musical elements thrown in for good measure, but it’s a sensational fun upbeat song to start the album with. The only disappointing aspect is that the song’s a little short and despite flowing well into Occapella, another 30 seconds to a minute would have been ideal.

Occapella brings Starr’s whimsical personality front and centre with this funky Allen Toussaint composition. Driven by a bouncy musical bed, and an infectious rhythm, Starr’s vocal presentation adds to the overall appeal of the song, thereby ensuring that Occapella is one of the greatest songs he’s ever recorded.

Oo-Wee is a straightforward rocker with a touch of Starr’s carefree attitude. While not necessarily groundbreaking, Oo-Wee offers listeners a fun moment that reflects Ringo’s penchant for simple, feel-good tunes.

Husbands And Wives, a cover of Roger Miller’s 1966 original recording from Words And Music, is simply magnificent. Starr takes the original, and adds a touch of tenderness and sincerity to his usual vocal flare, thereby ensuring that this interpretation was in every way as appealing as the original was.

Snookeroo is a lively tune that stands out as one of the album’s highlights; particularly when it comes to the addictively good chorus. Written by Bernie Taupin and Elton John, Snookeroo offers a semi-autobiographical tale on Ringo’s working-class roots, but it’s the electrifying musical bed that ensures Snookeroo is memorable.   

All By Myself is a moody blues-inspired track that sees Ringo delve into more sombre territory than is usual for his musical output. Despite lacking the energy of the other songs on Goodnight Vienna, the chosen arrangement and Starr’s vocal performance add depth to the album’s overall tone, thereby making it a perfect album-only number.

Call Me, with its mellow melody and catchy chorus, makes for an enjoyable listen, especially following on from All By Myself, and is another quintessential album-only tune that while not a standout, ensures the record is the sum of its parts, rather than appealing due to a few standout tunes.

No-No Song has a reggae-tinged rhythm and lighthearted feel that make it an undeniable earworm. Combining humour and an anti-drug message, No-No Song is charming and is one of the most memorable tracks from the album.

Only You (And You Alone) is a cover of the legendary Platters’ 1955 hit and while it has been recorded by a who’s who of the music industry throughout the decades, Starr interprets the song considerably differently thereby ensuring that this classic tune has a warm radiance that is somewhat missing from the original recording. Musically, it’s a little more uplifting whereas the original has a haunting quality that, despite being a style of the era, can also make the song a little less romantic and despondent when compared to Starr’s recording.

Easy For Me offers a melancholic orchestral arrangement that allows Ringo to convey an emotional vulnerability via his lyrical delivery. While the song’s pacing may feel slow, compared to the more vibrant tracks on the album, it’s also one of Starr’s greatest vocal performances.

Goodnight Vienna (It's All Down To) [Reprise] brings the album full circle and closes this experience perfectly with this brief and celebratory conclusion that will encourage you to spin the record again.

Ultimately, Goodnight Vienna is a delightful album that successfully blends humour, charm, and musical variety. Add to that the collaborations and contributions by some of the era’s most legendary musicians and what you’ve got is a timeless record that is not only one of the best Starr ever recorded, but it’s amongst the greatest records released in the 70s; certainly in 1974.

Lynyrd Skynyrd – Second Helping (Album Review)

Lynyrd Skynyrd – Second Helping (Album Review)

Released in 1974, Second Helping is Lynyrd Skynyrd’s sophomore album and a powerful follow-up to their debut, (Pronounced 'Lĕh-'nérd ‘Skin-'nérd). Having already made waves with the masterful Free Bird, amongst many other (now) classic songs, does this follow-up match the musicality from their first album?

Yes, but also no. It’s complicated. Let me explain.

As pioneers of the Southern Rock genre, Lynyrd Skynyrd had a unique sound that rooted them firmly within the blues while also seeing them incorporate elements of country, rock, and a touch of funk. That fundamental aspect doesn’t change with this second release, and this record strengthens the band’s position and standing within the genre, but it’s also more hard rock-focused than the southern bluesy soft rock of the debut. In addition to that aspect, Second Helping is considerably more polished and layered, by comparison, thereby making it my favourite of their career.

Some of you may naturally have an opposite opinion, as music is highly subjective. Still, I find the cohesive nature of Second Helping to be stronger than the song selection and linear structure of (Pronounced 'Lĕh-'nérd ‘Skin-‘nérd). That isn’t to say that Second Helping is perfect, for I question the decision to include the J.J. Cale cover, Call Me The Breeze; a solid addition, yes, but one that doesn’t always compel me to play the record again as it’s a somewhat weak closing tune.

Either way, when you combine the higher production values, exceptional songwriting and overall performance, Second Helping could only have been bested if Call Me The Breeze had been omitted and my beloved Free Bird was added to the backend of the album. Naturally, that cannot happen, nor should it, for it would forever change the artistic direction of the band, but with that in mind, it’s clear to suggest that Second Helping was a worthy follow-up.

Speaking of production values, while the recording and mix are second to none, I feel the mastering could be a little more refined. Additionally, Don't Ask Me No Questions is more demo-styled than any other song from the album; an aspect that takes you temporarily out of the album listening experience. Nevertheless, when listening to the Lossless Apple Music stream, an Apple Digital Master, it’s thoroughly enjoyable but I’d also suggest that it’s merely adequate, rather than being exceptional. There are no glaring issues to report, it just doesn’t sound as immersive or sonically fluid as I'd ideally like and that, I feel, would likely come across well with regards to the various audiophile-based releases of this classic album. Of course, having not heard those other releases, I cannot comment on their sonic prowess, but a slight adjustment to one’s EQ settings could likely adjust the album to perfectly reflect one’s tastes.

Sweet Home Alabama kicks the album off with one of the most iconic riffs in rock and roll history. It may be Lynyrd Skynyrd’s most well-known song, for it’s a masterpiece, but it is worthy of inclusion amongst the songs that are considered part of the Great American Songbook for it’s one of the greatest songs ever written and recorded.

I Need You presents itself as a slow-burning, bluesy ballad that demonstrates the band’s versatility and while I Need You was never destined to be a hit, it’s one of their most pleasing tunes for the soulful and haunting guitar interplay between Allen Collins and Gary Rossington is exceptional, as is Ronnie Van Zant’s raspy, pleading vocals. The highlight for this music lover, however, is Ed King’s bass tracking which is subtle, yet extraordinary. The culmination of all aspects makes I Need You a hidden gem; particularly for those who are not familiar with Second Helping.

Don't Ask Me No Questions has a killer riff, funky rhythm, and a raw production style that appeals to the song, but it’s somewhat out of sync with the production standards heard throughout the rest of the album. Nevertheless, this Southern rock number is a solid addition, even if Don’t Ask Me No Questions is more akin to a demo than a fully-fledged song.

Workin' For MCA has a vibe that will get you moving as it dives into the complex relationship between artists and the record industry. Perhaps most interestingly, however, is that MCA Records allowed the song to be published. That in itself takes courage, but what can’t be denied is the musical prowess of this song as lyrical interpretation is one thing, but the musical bed, and that guitar solo, are simply sensational.

The Ballad Of Curtis Loew is a thoroughly pleasing blues-based number that, while not a standout, is a quintessential album-only tune.

Swamp Music, with its lively swampy groove, lives up to its title by embracing the bayou feel that is both infectious and fun.

The Needle And The Spoon has an incredible hook that is emphasised by the gritty lyrical topic and issues relating to not only addiction but the dangers of drug use. It’s moments like this that I celebrate enjoying music sans lyrics, with the vocalist becoming another instrument within the mix, for I can tune out the meaning and groove along to what I consider to be one of Lynyrd Skynyrd’s greatest tunes.

Call Me The Breeze is a solid cover of J.J. Cale’s original, from his 1972 release Naturally, yet despite Skynyrd's livelier presentation, it isn’t an ideal closing track as it seldom encourages me to listen to the album again. I’d also argue that Lynyrd Skynyrd was, by this stage, so well-established that the need to include a cover was superfluous to the album’s requirements and it’s a shame they didn’t have another song ready to go for their own compositions are incredible and have stood the test of time.

If nothing else, Second Helping strengthens the band’s influence for with this 1974 release, Lynyrd Skynyrd’s Southern sound, merged with the album’s raw energy and blend of blues, rock, and country elements, solidified their place in American rock whilst simultaneously creating a series of timeless songs that would ultimately result in one of the greatest albums of the 70s.

Lou Reed – Sally Can't Dance (Album Review)

Lou Reed – Sally Can't Dance (Album Review)

Lou Reed's 1974 album Sally Can't Dance stands out in his discography with its blend of his traditional rock roots and experimental production choices that saw Reed, arguably, edging closer to mainstream success than at any other time in his career. Fuelled by Reed’s rock roots, an exceptional production, and his unique balance of thought-provoking gritty lyrics, Sally Can’t Dance is surprisingly accessible; especially to those who weren’t drawn to his earlier solo works or that of The Velvet Underground. That said, Sally Can’t Dance isn’t so far removed from his origins that it fundamentally would have alienated Reed’s fan base, yet some would vehemently disagree with that statement.

Hardened individuals aside, Sally Can’t Dance is broadly appealing because it not only has great songs, but the glam rock mixed with a touch of funk ensures that just about any music lover can get into this release. No, it’s no Transformer or Berlin, but it shouldn’t be compared to those classic releases. Instead, we should consider what an artist is and from my perspective, evolution and experimentation are just as important, if not more so, than giving the fans what they expect. Granted, the album’s high production values would likely be a turn-off for some, but Sally Can’t Dance is, without a doubt, one of Reed’s most underrated releases.

While Reed may have been less than enthusiastic regarding this release, I often appreciate the albums that artists may prefer to disown; think Alice Cooper’s DaDa. That is, thankfully, why music is so subjective and how one interprets the music will differ from person to person and even from the artist’s perspective. As such, if you’ve ignored this release for far too long, because that’s what the cool kids do, give it another chance, on its own, and I’ve no doubt you’ll look at it differently.

Speaking of looking at the album differently, the album artwork is amongst Reed’s greatest; only bested by Transformer. The boldness of the artwork and the use of white space is particularly appealing. Even if you’re a Lou Reed fan who isn’t enamoured with the music contained within, you’d still want a copy of Sally Can’t Dance on vinyl for the larger canvas would make for an exceptional piece of artwork amongst your record collection.

While I’m yet to pick up a physical release of this classic album, I will say that I’m thoroughly pleased with the Hi-Res Lossless Apple Music stream for this is another Apple Digital Master that simply sounds right with an immersive stereo presentation, one that ensures every musical element has room to breathe. Of course, it helps that the album was recorded and mixed with kid gloves. Naturally, without another edition to compare it to, I can’t declare the streamed edition as being the very best this album has ever sounded, but aside from the analogue sound signature of vinyl, that is different (rather than being better), I don’t feel the need to pick up a physical release for the stream fulfils all my musical requirements for this record.

Ride Sally Ride opens the album beautifully with a level of musicality that is poetic, well before Reed’s smooth, yet gritty vocal, enters the mix. Yes, it is different from much of Reed’s broader catalogue of music, but its somewhat laid-back feel is thoroughly enjoyable and sets the tone for the entire album. Ride Sally Ride is also one of my all-time favourite Lou Reed songs for his chosen vocal delivery style works incredibly well.

Animal Language picks up the tempo with a lively, almost vaudevillian, melody, but it's the included animal language that truly sets this tune apart and reminds me fondly of Bob Dylan’s Man Gave Names To All The Animals from Slow Train Coming; another album by a legendary artist that divided the fans. Ultimately, Animal Language is a fun, quirky, tune that is perfectly suited to the album.

Baby Face is a slower, more contemplative, track with a subtle yet lush instrumental bed. The mix is utterly perfect as every element, including Reed’s exceptional vocal, is given room to breathe while never overshadowing any other aspect of the recording.

N.Y. Stars, with its upbeat chugging rhythm and grating guitar riffs, is one of the songs, from the album, that harks back to Reed’s more traditional styles for the musical bed is intertwined, yet slightly off, with Reed’s poetic delivery. It’s a solid tune but is arguably not well-suited for this album.

Kill Your Sons has a sombre, darkly reflective, tone that is ideally suited to Reed. It is one song, however, that makes me glad that I appreciate the human vocal as another instrument in the mix, rather than a storytelling device, for this is one depressing tune; regardless of its context.

Ennui presents a slower tempo and somewhat muted instrumentation that matches the song’s title, creating a feeling of emotional exhaustion and disinterest. Add to that Reed’s weary vocal performance and you’ve got an appealing, yet melancholic, tune. It’s not, however, as depressive as Kill Your Sons is.

Sally Can't Dance is a killer title track set to a funky and danceable rhythm. However, the stark contrast here is that despite the upbeat groove, with its bass-heavy rhythm and infectious hook, the song has a grim narrative. Of course, that was always a core talent for Reed; combining dark humour with catchy songwriting.

Billy closes the album with a slower, more reflective, track full of nostalgic undertones that explores a sense of lost youth, friendships, and missed opportunities with an interesting twist. Yes, I don’t often listen to lyrics for their literal interpretation, but some artists, such as Reed, occasionally demand one’s attention.   

Overall, Sally Can't Dance captures Lou Reed at an intriguing point in his career, straddling mainstream appeal while holding on to the experimental, gritty edge he was known for. Each song on the album reflects Reed’s ability to deliver razor-sharp social commentary, but most importantly Sally Can’t Dance is a remarkable achievement and a standout within Reed’s diverse discography.

Kansas – Kansas (Self-Titled) [Album Review]

Kansas – Kansas (Self-Titled) [Album Review]

Kansas’ self-titled debut album, released in 1974, represented a bold and confident entrance into the burgeoning world of progressive rock, a genre that, at the time, was primarily dominated by British acts like Yes, King Crimson, and Genesis. However, Kansas brought something unique to the table with their distinctly American blend of rock, incorporating elements of folk, jazz, and classical music with a heavier, almost Southern rock edge.

Emerging from the Midwest, the band honed their sound playing countless live shows before landing a record deal, and this self-titled release reflects the tight chemistry and musicianship they had developed on the road. Their signature style, where violin, keyboards, and guitars weave into intricate tapestries of sound, was already taking shape and is apparent throughout the album’s eight tracks, which effortlessly switch between driving rock anthems and sprawling, multi-part epics.

Naturally, with such a cohesive and dynamic sound, the sonic reproduction needs to replicate the production values and in this instance, the 2004 remastering, from which the streamed Expanded Edition derives is perfectly balanced and thoroughly enjoyable. It isn’t the greatest mastering, however, for it sounds a little concealed in places. Of course, that could be due to the recording and mixing styles, and I’ve certainly heard Kansas’ music, in the past, sound a little too thin for my liking. That said, I’d suggest that the mastering for this self-titled debut is one step above what I hear on my beloved Monolith, but you’ll still need to adjust your EQ or tone controls to get the very best out of the album.

Can I Tell You opens the album with a punchy dynamic fusion of hard rock and prog with a touch of funk. Highlighting the band’s tight musicianship right from the start, particularly between Robby Steinhardt’s fiery violin work and Steve Walsh’s powerful vocals, Can I Tell You is a hidden gem that introduces Kansas’ signature sound, balancing melodic hooks with a sense of musical adventure.

Bringing It Back is a solid J.J. Cale cover, but I’d argue that Kansas’ strengths lie in their original compositions. Still, it showcases the band’s ability to groove while simultaneously delving into prog-rock territory.

Lonely Wind is a simply magnificent ballad. Driven by the piano, and featuring a lush arrangement, Lonely Wind is one of their greatest recordings; one that makes this debut album worthy of any music lover’s collection.

Belexes is a quintessential Kansas track, blending progressive rock complexities with hard rock aggression. Belexes is, subsequently, another of the album's highlights as the intricate musical bed magnificently shifts through a series of time signatures and tempo changes, all while maintaining a cohesive driving force.

Journey From Mariabronn is an epic tune that showcases Kansas’ progressive rock ambitions in full force. Musically, the track is akin to a tour de force, with dramatic shifts in dynamics and tempo, but it’s the interplay between all musical elements that not only captivates but creates the song’s expansive soundscape.

The Pilgrimage has a jazz-inspired introduction that initially makes one wonder if they’re listening to the right album. That is, until the folky upbeat nature of the song enters into the mix with a strong emphasis on melody and harmony. While The Pilgrimage is unlikely to be anyone’s favourite Kansas tune, it offers a nice reprieve from the heavier, more intricate songs, thereby showcasing Kansas’ versatility.

Aperçu is the second of the album’s extended tracks and is another deep dive into the band’s progressive style. Clocking in at nearly ten minutes, Aperçu is a sprawling journey through multiple musical landscapes and is one of Kansas’ most ambitious tunes.

Death Of Mother Nature Suite flows seamlessly from Aperçu and is a killer tune that encompasses all aspects of Kansas. From their ballad style to their hard rock and progressive approach, Death Of Mother Nature Suite has it all and is an ideal closer for it allows for reflection as well as compelling the listener to play the album again. It’s also amongst Kansas’ greatest compositions and it’s, therefore, a shame that casual listeners likely won't hear this exceptional tune; for it’s a deep cut, one that all music lovers should listen to.

Kansas’ self-titled debut is a fascinating introduction to a band that would go on to become one of the defining acts of American progressive rock. The raw talent and ambitious songwriting, heard on this release, is undeniable and the band’s ability to balance accessible melodies with complex arrangements sets them apart from their contemporaries. The result is that Kansas is an essential listen for fans of 70s prog rock and rock in general.

Eagles – On The Border (Album Review)

Eagles – On The Border (Album Review)

Released in 1974, On The Border was the Eagles’ third studio album and marked a pivotal moment for the Eagles, transitioning from their country roots to a more rock-oriented sound. While it wasn’t a complete departure and reinvention of themselves, On The Border has a delicate balance of styles that take influence from their first two records whilst simultaneously evolving the Eagles’ signature sound. Add to that the introduction of guitarist Don Felder, whose arrival gave the band a new level of energy, and you’ve got an album that is representative of the best of both worlds; the before and after, if you will.

Perhaps most interesting, however, is that On The Border is my least-played Eagles album. I honestly can’t tell you why as each time I spin the record, I’m blown away with not only the song selection but the entire recording, mix, and mastering. Yes, there are songs that I don’t feel are necessarily perfect on their own, but when combined On The Border is most certainly an album experience from start to finish.

It isn’t a lack of sonic reproduction either, that determines the lack of playback, for it sounds just as good as any other Eagles’ release, regardless of whether or not you listen to the Hi-Res Lossless Apple Music stream, an Apple Digital Master, or in my case the 2014 vinyl reissue that I’m fortunate to own.

While vinyl collectors would love to hear that the 2014 reissue offers a lovely facsimile to the original release, thinking that would likely yield a little disappointment. Yes, the reproduction is respectable. However, in this instance, the album artwork is reissued on a smooth canvas rather than the rough texture of the original releases. It’s a minor thing, granted, but one that fans and collectors care about. At least, as you can see from the photos, the foldout poster is included, so all is not lost. Frustratingly, had I attained the 2014 US reissue, that version has the textured cover art. Yes, dear reader, you read that correctly. The same edition released for the US market, in 2014, was different to the UK release. Sometimes it’s incredibly annoying to be a music collector for small variances such as this make no sense at all.

Of course, you’re probably more interested in how the 2014 reissue sounds. Well, Eagles’ albums are generally pristine with regard to their sonic quality and while this vinyl reissue isn’t bad, the Apple Music stream is smoother and fuller with a more analogue sound that is more laid back in its delivery. It’s ironic, I know, given that it’s almost certain that the vinyl re-issue was sourced from a digital master as well. That said, this isn’t the first time an Apple Digital Master has left me impressed and made me question the purpose of my beloved record collection. Hence, for those who disregard digital offerings without ever actually comparing them, all I can say is you’re missing out for it isn’t always the case but digital has come a long way over the years and is considerably more affordable than vinyl reissues; particularly in the modern era.

To give you a little more context, the song My Man loses the bass and drum emphasis on the vinyl reissue when compared to the Apple Music stream, yet Ol’ 55 sounds a little better on the vinyl reissue. It really is a bit of a mixed bag and while I generally don’t give numeric ratings for sonic quality, I’d place the vinyl reissue as a 3 out of 5 and the Apple Music stream as a 4.5 out of 5. If I could get the Apple Digital Master on vinyl, I’d be one happy fan. And, yes, I acknowledge the ludicrous nature of that statement.

Perhaps the best way to explain what I’m hearing is that I find myself distracted when listening to the vinyl reissue. If my phone is nearby, I’ll reach for it. Yet, I’ll happily sit and listen to the stream, on repeat, for hours on end. Subsequently, my advice would be that if you’re considering picking up a vinyl reissue, give the stream a listen first and consider what advantages a vinyl edition would offer you.

Already Gone is a solid opener with an addictive rhythm and twang, although it isn’t the strongest song on the album. Not only do I feel it launches the record on an abrupt note, but I find the woo-hoo-hoo vocal elements to be distracting. Yes, the guitar work throughout is a redeemable quality, and overall it is far from the worst song that the Eagles ever recorded, but it’s most certainly an album-only number that contributes to the solidity of this classic record.

You Never Cry Like A Lover slows the tempo down and is a masterful tune. The soundstage depth and air surrounding each musical element is an experience in and of itself as it will surround you in a captivating sonic presentation. The accompanying guitar solo reminds me fondly of America's style, but it’s the delicate vocal harmonies that are layered with typical Eagles’ precision that truly sets this tune apart as being one of the greatest songs the Eagles ever recorded.

Midnight Flyer would have been perfect for Desperado but isn’t necessarily out of place on On The Border. Full of bluegrass and authentic Americana influence, the lively banjo, infectious rhythm, and vocal delivery ensure that this fun tune is memorable and balances out the ballads and heavier rock elements heard throughout the album.

My Man is a beautiful vocal-focused ballad. It’s one of the best songs from On The Border, despite never receiving the recognition it deserved.

On The Border has a killer rock intro that I adore. The tempo shifts a little when Don Henley’s vocal comes into the mix, but as the song progressively builds it becomes an incredible blues-based rock and roller with a touch of funk that makes this a standout and an ideal title track.

James Dean as a song on its own isn’t fundamentally flawed, but I’ve never felt that it was suited to the Eagles or On The Border. Yes, it's energetic and fun and could be seen as a precursor to Glenn Frey’s 80s output, but it also sounds as if it belonged on a 50s-era release; by another band or artist.

Ol’ 55 is a stunning cover of Tom Waits' original. Turn the volume up, close your eyes, and sing along if that brings you joy for Ol’ 55 is one of the best songs the Eagles ever recorded. The gentle musical bed and steel guitar enhance the melancholic feel, and the harmonies soar in a way only the Eagles can deliver.

Is It True is another song that has never received the accolades it deserved, for its catchy melody, jangly guitars, and easygoing rhythm make it one of the lighter, more pop-oriented tracks on the album. Randy Meisner’s lead vocals are particularly notable for they add to the song’s overall charm and blend ideally with the Eagles’ mid-70s sound.

Good Day In Hell is one of the Eagles’ greatest rockers with gritty guitar work, incredible vocals, and the addition of Felder’s exceptional slide guitar, resulting in a timeless and exceptional tune.

The Best Of My Love closes the album with one of the Eagles’ most beloved ballads; a masterpiece by any metric. The vocal harmonies are pristine, and the acoustic arrangement is warm and lush, creating a soothing, reflective atmosphere. The bottom line is that this classic tune is an ideal closer for it encourages reflection whilst simultaneously compelling the music lover to play the record again.

On The Border stands as one of the finest achievements in the Eagles' catalogue and is one of the standout albums from 1974. The album expertly blends their signature country-rock sound with a more assertive rock edge, creating a dynamic and cohesive collection of songs. Its balance of heartfelt ballads, upbeat anthems, and introspective storytelling, elevates it above many other releases of the time and remains one of the most iconic albums of the 70s.

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

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.