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Eagles – Desperado (Album Review On Vinyl & Apple Music)

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Eagles – Desperado (Album Review On Vinyl & Apple Music)

A year after their astonishingly good Self-Titled debut, the Eagles returned with Desperado; an album arguably leaning more towards a country-styling, than their debut, as they focused on the old west in American culture. Considering Desperado as a concept album, one can't help but see a correlation between Desperado and Elton John's similarly themed 1970 released Tumbleweed Connection. Perhaps the Eagles copied that concept, but if that was ever an element, it has never been discussed to my knowledge. Either way, as a fan of the old west, when the theme is done well, as it is in this case, it can be extraordinarily rewarding for the listener. 

Also rewarding is the 2014 vinyl reissue that I’m fortunate to own. Sonically, it is a beautiful reproduction that is dynamically pleasing with an incredible soundstage that is as wide as it is deep. I love it when the speakers disappear, and I become immersed in the music. Part of the immersion can also be attributed to the album artwork that is striking in its presentation and this particular reissue has a textual cover, reportedly the same as the original 1973 vinyl release. While the red text, on the near-black background, looks a little washed out and therefore more difficult to read, it is a major improvement over the Self-Titled debut whereby the text on the inner sleeve was basically unreadable. 

While this re-issue was marketed as replicating the original artwork, the album label is different from the original releases I’ve seen. Where they had a plain white background, this edition features a cloudy background. It isn’t really an issue, but I do appreciate accuracy should a record be considered a replica. Nevertheless, this particular release is mastered and pressed perfectly and therefore I can wholeheartedly recommend it to any fan of the Eagles. 

For those of you not interested in collecting music on physical formats, the Apple Music stream, an Apple Digital Master, is exquisite in its own right and you really won’t long for a better reproduction; unless, of course, you compare the releases as I have and in that instance, this vinyl reissue offers a more captivating experience. 

SIDE ONE

Doolin-Dalton is incredibly compelling. That harmonica just reaches into my soul every time I listen to this masterpiece. It’s also important to note that it is less harsh on the vinyl version when compared directly to any of the digital counterparts.

Twenty-One is too ‘country’ for my liking. The banjo is an acquired taste and while I don't dislike it, I feel it is played too fast for this song and subsequently, it’s as though I’m listening to two different songs when Twenty-One starts playing.

Out Of Control is a solid rock song that I feel would have sounded better on On The Border, just as James Dean is. If you didn't know, James Dean was recorded for Desperado but held back at the time as it didn’t match the album perfectly.

Tequila Sunrise is a beautifully relaxing song that gets better the more often I hear it. I don't know as I could ever tire of this song as it uses every part of the soundstage to ensure you're enveloped in sound. Amazing!

Desperado, despite not being released as a single, has become a fan favourite and is one of the Eagle's very best recordings. Vocally it is a little rough around the edges, but that gives the song character and I couldn't imagine it with any more spit and polish.

SIDE TWO

Certain Kind Of Fool is fantastic with the perfect tempo, guitar strum, and vocal delivery. Certain Kind Of Fool is a hidden gem that casual fans would likely miss but is undoubtedly one of the best songs on the album.

Doolin’ Dalton (Instrumental) is a distraction and while it flows well into Outlaw Man, Desperado would have been fine without this deviation. Interestingly, this instrumental track has never been listed on the back of the record sleeve. It is written on the record label, however. Other than a typo that has remained consistent throughout the years, I can’t help but wonder why this may be the case.

Outlaw Man is a killer song with a spectacular soundstage and while positioned on the B-side of the album, it’s an A-side in my opinion. I love it! On a side note, this song would have been perfectly suited to Fleetwood Mac’s Rumours era.

Saturday Night is a lovely ballad. Perfect harmonics and just an all-around great song. As good as some of the tracks on Side One are, it is the second side that makes Desperado a must-own album. Astonishingly good!

Bitter Creek is one of my all-time favourite Eagles songs. You may not have heard it before as it is unlikely to be played live and doesn’t appear on any of the Eagles’ career perspective releases, but there is something very special here. The simplicity of that guitar strum and intermingling vocal, interspersed with the harmonies, is nothing short of amazing.

Doolin-Dalton (Reprise) is enjoyable but I would have been extremely happy if Bitter Creek was the final song on the album. I’ve never been much of a fan of the reprise, as I would generally prefer to hear the original track again, however, I do enjoy the electric guitar tracking instead of the harmonica as it creates a unique experience that works remarkably well.

Similarly, Desperado (Reprise) builds upon the original song without disrupting the magic that made the original so special. It’s a perfect way to close the album, ensuring I’ll listen again and stay within the Eagles’ catalogue.

Desperado is an album of hidden gems, combined with a few hits and a couple of misses. However, it all comes together in a coherent experience that is thoroughly enjoyable and worthy of the Eagles.

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Eagles – Self-Titled (Album Review On Vinyl & Apple Music)

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Eagles – Self-Titled (Album Review On Vinyl & Apple Music)

Some of the most interesting albums are debuts as they can either make or break an artist. Regardless of the outcome, it’s always interesting to see how an artist evolves, especially from a retrospective viewpoint. That said, I don’t believe I’d be wrong in suggesting that the Eagles had already found their sound on this Self-Titled debut and went about refining their talents on each subsequent release.

Album covers in the 70s were probably as unique as they have ever been, with artists and record labels seeing what would work and what wouldn’t on the large vinyl canvas. The Eagles’ debut is no exception as the cover would not only encompass the bands country meets rock musical style perfectly but would fold out to a larger poster that one could hang or admire while listening to the album. Over the years, the Eagles’ Self-Titled release has been reissued numerous times and the edition I’m fortunate enough to own is the 2015 vinyl re-issue with the original album artwork. 

Yes, it looks impressive, but as the record doesn’t sit in a dedicated enclosure, one has to be careful not to pick the record up, out of its outer sleeve, and watch as the record slips from one’s hand across the room. Okay, so perhaps that’s an exaggeration, but if you’re new to vinyl, these unique designs can be a challenge when dealing with the larger format. 

The inner sleeve, while not used to house the record, is plain and somewhat lacklustre if I’m to be honest. The red text on the natural background is incredibly difficult to read and subsequently wasn't well thought out in my opinion. The label itself is plain but elegant and I must admit that I love looking at record labels. I even lust over Compact Discs and in a bygone era, it wasn’t uncommon for me to appreciate the designs of the Compact Cassette. I'm not sure why it’s such a fascination, but I find it a thoroughly enjoyable part of the record collecting process.

Of course, as impressive as the record looks, it would be pointless if the audio quality wasn't up to par. Well, I think we can all agree as to just how sonically stunning the Eagles are, and this debut is no exception. The record is as black as the ace of spades, perfectly flat, and has no noticeable inner groove distortion or surface noise. While purists may lament that a significant majority of reissues are being sourced from high-resolution digital files, rather than the original master tapes, the pressing of this 2015 reissue is flawless with a full analogue sound that simply has to be heard to be believed. 

Compared to the Apple Music stream, an Apple Digital Master, the vinyl record is far superior and subsequently, you won’t see me part with this vinyl record anytime soon. Yes, it is that good and for fans of the band, I highly recommend this particular reissue. That isn’t to say, of course, that the album can’t be enjoyed via Apple Music, or another streaming service, it most certainly can, but if you have the opportunity to own this album on vinyl, you really should pick it up.

SIDE ONE

Take It Easy is perfect for a country drive. When I hear this Eagles standard, I can only imagine the excitement of fans when they put the record on for the first time in 1972. It must have blown their minds for it still astonishes me to this day as to how developed the musicality of the Eagles is on this debut. In many respects, it's good that Jackson Browne was unable to finish the song and required Glenn Frey’s involvement. I simply couldn’t imagine the Eagles debut without Take It Easy. Jackson Browne did, however, record a rendition for his 1973 album, For Everyman, and while it’s a lovely interpretation, that doesn’t stray far from the Eagles’ original, Browne’s interpretation failed to set the world on fire as the Eagles’ version did.

Witchy Woman is a killer track that really showcases just how well the vocal harmonies of the Eagles’ members flow together. Witchy Women is, in many respects, the perfect classic rock song that encompasses many musical eras and styles. Seriously, I could be here all day just listing them, but let’s just enjoy listening to this amazing tune, shall we?

Chug All Night is a slow starter but develops into a solid song that is thoroughly enjoyable. While it may not be a fan favourite, the album wouldn’t be the same without the frantic beat and low volume harmonies that are off-the-chart good. A great rock song!

Most Of Us Are Sad is sensational! The drum and bass track blow my mind, as does the guitar strumming and vocal harmonies. Music doesn't get much better than this.

Nightingale was almost not included on the album as producer Glyn Johns felt it was substandard. One could hardly argue with him as it is filler, a B-side at best, but the record label, in this case, won and it’s of course included. In reality, it isn’t fundamentally a bad song, it just isn't of the same calibre as the other songs on the album. 

SIDE TWO

Train Leaves Here This Morning is a lovely country-focused tune that has a beautiful soundstage and depth that envelops you in sound.

Take The Devil is one of the best songs on the album, and in the Eagles catalogue, that very few know about as it doesn't make an appearance in live performances or on career perspective releases. The rhythm is seriously addictive, and the musicality of the entire recording is uncompromising. 

Earlybird has a fun little entrance, but it can be equally infuriating if you're not in the mood for those chirpy bird sounds throughout. Nevertheless, while it may be a B-side, it's a solid song that fits well with the style of the album.

Peaceful Easy Feeling is a lovely song but the guitar twang mid-song is a little too high pitched for my liking and I subsequently find it distracting. A shame considering it is an otherwise exceptional song with yet another beautiful vocal presentation. 

Tryin' is a solid song to close the album with. Nothing to write home about, but a perfect B-side if there ever was one. Tryin' certainly makes me want to listen to the album again and stay within the Eagles’ extensive catalogue of music.

The debut Self-Titled Eagles album is astonishingly good from start to finish and shows a band with a signature sound that normally takes others years to develop. It really is one of their greatest albums and even if you're a casual fan, you'll find something to love on this Self-Titled debut.

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Elvis Presley With The Royal Philharmonic Orchestra – If I Can Dream (Album Review On CD & Apple Music)

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Elvis Presley With The Royal Philharmonic Orchestra – If I Can Dream (Album Review On CD & Apple Music)

It never ceases to amaze me just how many different ways the music industry can repackage the music we know and love. While I was underwhelmed by the Carpenters With The Royal Philharmonic Orchestra release, I was blown away by the Elvis Presley album, If I Can Dream. 

The song selection is superb, but I do question if Burning Love was the best song to get the Philharmonic treatment and open the album with. Of course, that is only one song, and the rest of the album is beyond reproach with a very tasteful orchestral inclusion to a modest selection of Presley’s timeless classics. 

Of course, this 2015 compilation wouldn’t be the only release to merge classical influences with the rock and roll legend, but to be completely honest, the 2016 followup, The Wonder Of You, isn’t as spectacular as this initial release and feels as if it was only released to capitalise on the success of If You Can Dream. Of course, the Helene Fischer duet on The Wonder Of You is, to say the least, compelling as she has a divine voice. Never say never, dear reader, for one day you may just see a review of The Wonder Of You pop up on Subjective Sounds; just don’t hold your breath for a review of Christmas With Elvis And The Royal Philharmonic Orchestra.

The release of If I Can Dream that I’m fortunate to own is the standard 14-track CD release. Sonically, it’s beautiful and that is of course, in part, due to the masterful arrangements and mixing that ensures Elvis has never sounded better. The mastering is beyond reproach and showcases just how good Compact Discs can sound, thanks in part to Vic Anesini at Battery Studios in New York. Of course, as with all standard releases, there is also a Deluxe Edition that I’ve lusted over for some time, but I have to remind myself that I am thoroughly happy with the track selection that is featured on the standard CD release and while I may be missing out on Anything That’s Part Of You, What Now My Love, and Heartbreak Hotel, I much prefer the artwork on the standard release as it is less pompous than the Deluxe Edition. Although, and this may be confusing, the Apple Music edition uses the alternative artwork even though the additional tracks are not present. Speaking of the Apple Music edition, it too is stunning and is delivered as an Apple Digital Master thereby ensuring that no matter how you choose to enjoy this album, you’ll have the best experience possible. 

The obvious advantage, however, over the streaming counterpart is the extensive liner notes that not only pay homage to the era but give fans an insight, via Priscilla Presley, into Elvis’ mindset following his recording sessions whereby he longed for a fuller sound, one that can really only be achieved with the assistance of an orchestra. I can’t argue with that opinion, for I too would appreciate a fuller sound when listening to some of the legacy Elvis recordings. Thankfully, the songs on If I Can Dream give music-lovers an insight into what could have been and I’ve no doubt that if you take the time to listen that you’ll hear these classics as you’ve never heard them before; falling in love with them all over again.

Just a final comment on the liner notes, I can’t begin to express just how appreciative I am to the team behind this release. They have gone above and beyond, nothing has been missed, and it is a pleasure to sit, flick between the pages, and enjoy as I sit back and listen to this masterpiece. I’d like to say this is common, but I have so many CD releases that seem as though they’ve just been thrown together on a whim, with no real thought or care put in place, especially in the modern era where streaming is now dominant. Subsequently, it is refreshing to see that some still go that extra step to ensure fans are rewarded with albums that can really be wonderful experiences that extend beyond the sonic pleasures of the release. 

Burning Love is a great song, but I’m a little conflicted about the decision to use it as the opener as the other songs included on this compilation release are a little less rock and roll. That isn’t to say that Burning Love doesn’t work with an orchestra approach, or that I dislike the song, nothing could be further from the truth. It simply means that out of all the songs selected, I feel this is the least appealing, but I can understand why it was chosen. Regardless of my subjective thoughts, fans will likely be in awe and will thoroughly enjoy this rendition. 

It’s Now Or Never is a lovely song and sets the tone and overall tempo for the rest of the album. 

Love Me Tender is one of the most beautiful songs ever written and recorded and while the original is beyond reproach, this melding of styles takes the song to a completely new level. One that will allow you to experience it as if it were the first time all over again. Songs like this are the very reason why I love music as much as I do. 

Fever (feat. Michael Bublé) is a great song and while I was initially skeptical of Bublé’s inclusion, it works incredibly well. However, if there is one element that doesn’t sit well with me, it is the vocal tracking. There is a difference between the Presley and Bublé vocal tracks, resulting in a little echo, most likely due to the tracks being recorded in two different studios, at two different time periods. You don’t notice it when listening to the songs with Presley on his own, but it is a minor irritation in this song. Not that it deters me from enjoying it, for I love it, but this slight variation is especially apparent when listening via headphones, so music lovers who are sensitive to such small deviations may be best advised to listen to the album via speakers. 

Bridge Over Troubled Water is an absolute classic and while I love the Simon & Garfunkel original, Presley’s rendition has always been incredible, one of the very best ever recorded, and this orchestral rendition takes the song to another level of listening pleasure. Truth-be-told, I’ve never heard a bad interpretation of this masterpiece, but I do have a soft spot for this version and I suggest you turn the volume up, sit back with a glass of wine, and enjoy. It’s absolutely spectacular!

And The Grass Won’t Pay No Mind is a song where you can really hear Neil Diamond. Arguably, I feel the Neil Diamond original is the better version and as I think about it, I can’t help but wonder just how incredible Diamond’s entire catalogue would be with an orchestral mix. Nevertheless, this is a lovely rendition and a perfect addition to the album. 

You’ve Lost That Lovin’ Feeling is another absolute classic and while I enjoy Presley’s interpretation, I feel the mix with the original recording and the orchestral backing is a little rough in places, especially in the backing vocal elements that I feel detract from the orchestral element as they are simply too prominent in the mix.

There’s Always Me is one of the songs on the album that I’m not overly familiar with. Yes, I adore Presley’s entire catalogue, but even the most devout fan will likely be unfamiliar with a few songs here and there. Nevertheless, There’s Always Me is a lovely addition to the album and doesn’t feel out-of-place.

Can’t Help Falling In Love is another Presley classic that requires no introduction or commentary. The original is a masterpiece and this orchestral version has merely enhanced the song. Stunning!

In The Ghetto is one of my all-time favourite Elvis songs. Without a doubt, the production team behind this release really chose well, considering just how many exceptional songs Presley recorded in his life. I can only imagine the discussions surrounding the selection process. It certainly wouldn’t have been easy and perhaps that is why additional releases have been forthcoming because the mixture of Elvis and the Royal Philharmonic Orchestra is arguably a match made in heaven.

How Great Thou Art is a lovely hymn and on first listen doesn’t seem like a good song to select for this compilation, but I’m happy to say that I stand corrected for I couldn’t imagine this release without this song. 

Steamroller Blues is moody, brooding, and absolutely perfect. 

An American Trilogy is a lovely song that is enhanced beautifully with orchestral overtures. 

If I Can Dream is the perfect song to close the album on as it bookends this collection of songs nicely, ensuring that I will listen to the album again and stay within Elvis’ extensive catalogue of music. 

Overall, If I Can Dream is, truly, a dream come true for any Elvis fan. Elvis is in the room with you, as is the Royal Philharmonic Orchestra, and arguably has never sounded better. I don’t know about you, dear reader, but I couldn’t imagine a better homage to such a sensational talent. We are truly fortunate to have Elvis’ music, but we are even more fortunate to have such a respectful modernisation of some of his greatest hits. 

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Santana - Abraxas (Album Review)

Santana - Abraxas (Album Review)

Rock meets Latin grooves in an atmospheric masterpiece that sounds as fresh today as it was back in 1970; a rare feat by any standard. 

Santana’s Abraxas was not only a music wonder, but that cover art is striking. Yet, for some reason, I don’t have a vinyl copy or even a CD version, subsequently relying on the smaller streaming offering. I’ll certainly have to look at picking up a copy in the near future, but there is so much music that I love, that I should also own, that I’d be broke and homeless if I purchased every album that appealed to me. Nevertheless, Abraxas is special. While it can be catalogued and placed into convenient musical styles, I dare say that Abraxas is almost a genre on its own for even today there isn’t often as much musical diversity on a single album as there is on this release. 

While the musical prowess of Santana (the band and the man) is beyond reproach, one may assume that the Apple Music stream, an Apple Digital Master, would result in a lacklustre presentation. While it’s true that I haven’t been fortunate enough to listen to the MOFI (Mobile Fidelity Sound Lab) reissue, or an original vinyl pressing, I can assure you that the Apple Digital Master is magnificent and I would place it up against any edition of this album as it simply sounds right. That, of course, doesn’t mean that I don’t want to pick up one of the aforementioned releases, or even a surround sound edition, but it’s an acknowledgement that mastering really does matter and in this case, it doesn’t matter that the stream is being delivered in a compressed lossy format. 

Singing Winds, Crying Beasts is a gorgeous opening, the wind chimes get me every time, as does the roaring guitar element. Plus, that rhythmic bass and percussive elements are immersive, offering a full-body experience, especially if you turn the volume up a little. There is no denying just how good Singing Winds, Crying Beasts is and it sets the tone for the entire album; exceptional!

Black Magic Woman / Gypsy Queen is one truly remarkable song and while the Black Magic Woman component is a cover of the Fleetwood Mac original, a masterful recording in its own right, Santana takes the raw rock elements, infuses them with Latin grooves and additional blues elements, that sets in motion a recording that would become one of the very best covers to have ever been recorded. Plus, Gregg Rolie’s vocal delivery on this edition is absolutely perfect; no wonder it became a chart-topper. While Gypsy Queen isn’t always represented when Black Magic Woman is played, I feel that its inclusion amplifies the core song and therefore I feel it is a natural extension of Black Magic Woman. 

Oye Como Va is a fun tune that gets my body moving involuntarily. What’s not to like? 

Incident At Neshabur is a little offbeat, in comparison to the previous tracks, but this isn’t a song you’ll likely be wanting to toe-tap to, but be present with for it demands the listener’s attention. That said, I wouldn’t class Incident At Neshabur as one of my favourite Santana tunes, but it is far from bad. 

Se A Cabo reminds me of Miles Davis. You might think that that is a strange comparison, but some of Davis’ greatest work was in his fusion of styles and Se A Cabo is very similar in that regard as each listen reveals a new layer of musicality that makes you not only question the song but your relationship to it and music in general.

Mother’s Daughter has a killer opening and is an incredible song, although I do feel that Rolie’s vocal is either a little too forward or the musical aspects are a little too shallow in the mix. It just sounds as though there should, or could, be more. 

Samba Pa Ti is simply gorgeous. I could listen to this masterpiece on repeat indefinitely. 

Hope You’re Feeling Better gets better the more you play it. It becomes infectious and ultimately becomes one of the most enjoyable songs on Abraxas. 

El Nicoya is a solid closer, but I do wish the final track was Hope You’re Feeling Better as I feel El Nicoya is more an interlude than a song in its own right. 

Overall, Abraxas is deserving of the reverence it’s given for it is a masterpiece from start to finish. I’d even go as far as saying that Santana never topped Abraxas; a bold statement, yes, but Abraxas reached heights that only a few musicians and bands ever reach. 

1927 – ...ish (Album Review On Vinyl)

1927 – ...ish (Album Review On Vinyl)

Sometimes a debut album can become a smashing success that simply can’t be replicated. Selling in excess of 400,000 copies and winning the 1988 Australian Recording Industry Association (ARIA) Awards for best debut single (That's When I Think of You) and album, 1927 effectively became a household name in Australia overnight. While international success eluded them, that shouldn’t reflect on the wonderful musical experience that is ...ish. Ian McFarlane, in his opus The Encyclopedia Of Australian Rock And Pop, put it perfectly when he wrote ...ish is brimful of stirring, stately pop rock anthems. Yes, dear reader, it is that good!

SIDE A

To Love Me is a great opener that is truly representative of the Australian music scene during the 80s. It is recorded, mixed, and mastered beautifully, as is the entire album.

That’s When I Think Of You has a beat, vocal presentation, and guitar solo that are off the charts. There is no pretentious playing here, it is simply beautiful! This is what good music sounds like, you literally won't be able to stop your body moving to the rhythm. So good!

If I Could is rock ballad heaven. Listen to the song once and you’ll be singing it for the rest of the day. If I Could is simply stunning!

You'll Never Know picks up the tempo, but doesn't feel out of place in the tracking of the album. By this stage, if you haven't already turned the volume up, I suggest you do so. Get that air guitar out and warm up those vocal cords, you're going to need them.

Compulsory Hero is one of the greatest songs ever recorded, by anyone, anywhere in the world. It is an unofficial Australian anthem and not only does it bring me to tears, but it makes me proud to be an Australian. It’s a sonic masterpiece!

SIDE B

All The People is a great pop/rock tune, but it was always going to be difficult for any song to follow Compulsory Hero. Thankfully, in the minute or so it takes to flip the record, the senses have a chance to reset. Regardless, All The People is a worthy addition to the album.

Nothing In The Universe is a lovely song. While not on par with some of the earlier songs, it is certainly no B-side.

Propaganda Machine has an interesting punk/pop feel to it. I love it!

Give The Kid A Break has a sensational beat and series of guitar riffs. I hope you didn't turn that volume knob down as this song deserves to be heard at ear-bleeding levels. While a B-side, no one ever said a B-side couldn't be thoroughly enjoyable.

The Mess, unfortunately, doesn't follow the quality B-side that is Give The Kid A Break. The mess is, for lack of a better term, a mess and sounds like pure filler. That, however, doesn’t deter me from flipping back to Side A and enjoying this sensational album once more.

...ish is not only one of the greatest albums ever recorded by an Australian band, but it is also sonically and musically on par with all the greatest bands of the era. In fact, the production quality is world-class and it truly shows on the 2018 vinyl re-issue. Pressed at the world-renowned Pallas plant in Germany, I’ve never heard this album sound so good…ever! The record is pressed on audiophile quality eco-grade vinyl and is so silent you’ll hear the blood rushing through your veins before you hear any unwanted surface noise. The soundstage is immersive, with incredible depth that proves just how good vinyl can sound if diligence is taken in the mastering and pressing process. Yes, the edition on Apple Music is excellent, but it pales in comparison to the vinyl release.

I could honestly keep talking about how exceptional this album is, but I suggest you just track down a copy and experience it for yourself.

The Beatles – Abbey Road (2009 Remaster) [Album Review On Vinyl, CD, & Apple Music]

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The Beatles – Abbey Road (2009 Remaster) [Album Review On Vinyl, CD, & Apple Music]

There are masterpieces and then there is Abbey Road. Very few albums in the history of recorded music maintain the mystique that Abbey Road does. From its iconic cover art, to the Paul is dead conspiracy theories, to the sonic wonderland that still eludes musicians to this day, Abbey Road is beyond perfect and this is, therefore, less of a review and more of a love letter to the fans and those remarkable individuals who made the album.

When comparing Abbey Road, it is important to note that all three versions detailed in this overview are from the same mastering sessions and therefore, logically, should be on par with each other. I can attest that that is the case as they all sound incredible, but there are some minor differences that I would like to highlight. 

The CD has plenty of punch, perhaps a little too much at times. Yes, vinyl by its very nature needs amplification but I prefer digital music that allows me to pump it to the level that I choose, yet the 2009 CD release requires me to turn the volume down to a level that is a few decibels lower than I would ultimately prefer. This increased volume is also fatigue-inducing and while I find that I can play the vinyl edition on repeat for hours on end, the treble-focused presentation of the CD can be a little jarring at times; despite it’s overall warm, for CD, tone. This is where the Apple Music edition, an Apple Digital Master, shines as the laid back analogue sound, as heard on the vinyl reissue, has made it’s way to the Apple Music edition thereby ensuring that this version is less shrill in the treble range, subsequently resulting in a much more pleasurable listening experience at all volume levels. 

It’s important to note that the vinyl reissue was pressed from a high-resolution master file and Apple Music similarly requires the high-resolution master to be presented before compressing to the AAC format; a result that is increasingly providing a much better audio quality when compared to the CD counterpart. Now, the delta between versions remains quite low and in all honesty, unless you’re comparing them, as I have, it is unlikely that you’ll be disappointed by the CD release for, as a standalone item, it is superb and an example of how good CD can sound. It is just that I prefer the tonally warmer sound that is more noticeable on the vinyl and Apple Music editions but I’ve no doubt that many CD lovers wouldn’t consider the CD release to be too clinical and clean sounding, but perfect to their ears. I’ve never been completely enamoured with accuracy and enjoy a bit of colouration, especially when it comes to the mid and low range elements, but that isn’t necessarily everyone’s taste. Truthfully, there isn’t a bad way to experience the 2009 remasters but if you’re like me, trying to find the version that best suits your tastes, then the above details will hopefully assist you with making a judgement call. 

Where the CD shines, however, is in its presentation. The Digipak folding design works well, and the included liner notes are a nice addition to peruse as you’re enjoying the music. If you’re after lyrics, however, the CD is not for you but thankfully Apple Music provides that functionality. The vinyl edition, however, is barebones with no booklet or liner notes other than the main cover sleeve. It’s a little disappointing if I’m to be completely honest. The CD is also an enhanced CD but that technology is unfortunately rather dated and if you no longer have a CD drive in your computer, then the Abbey Road Documentary is forever locked within the plastic disc. Again, the Apple Music edition provides additional functionality and thankfully the documentary is included in the digital version. I acknowledge, however, that this can be rather distracting as you’re unlikely to want to watch it every time you play the album. Thankfully, you can simply deselect it from your library and only stream it when you wish, ensuring that the music remains front and centre. 

Side One

Come Together is an incredible song and a perfect opener. Interestingly, when I first heard Come Together, it was Michael Jackson’s version and at the time I had no idea that it was a Beatles original. Well, Jackson performed it admirably with a little more pop than the original, but the ultimate masters are The Beatles and we can completely ignore Aerosmith’s bastardisation of this classic. However, if you like the classical guitar, you’re going to love Miloš Karadaglić’s version from Blackbird.   

Something is absolutely stunning, leaving me somewhat speechless upon each listen. 

Maxwell’s Silver Hammer is a fun tune, despite its darker lyrical undertones, that will get your body moving to the rhythm. I just can’t seem to sit still when listening to Maxwell’s Silver Hammer and I love McCartney’s somewhat awkward giggle during the recording. Thankfully that was kept in! 

Oh! Darling is pure McCartney. His vocal recording on this track is spectacular; the best in his career in my opinion. 

Octopus’s Garden is perfect, I love it! 

I Want You (She’s So Heavy) is one of my favourite Beatles’ songs and is a great way to close out Side One of the vinyl release. Is it just me or do you find it challenging to accurately predict the end of the song? It is almost like a game for me and I rarely get it because the song keeps going on and on and on and on but I must admit that the sharp cutoff always irritates me for a moment as I would prefer the song to simply fade away. Yes, I Want You (She’s So Heavy) very possibly could have been a disaster, but it is arguably The Beatles at their very best. 

Side Two

Here Comes The Sun is superb. Nothing more really needs to be said when a song is this good. 

Because is moody, brooding, and the ultimate sonic contrast to Here Comes The Sun. The triple-tracked harmonies are spectacular, making Because the epic we know it to be. 

You Never Give Me Your Money flows perfectly from Because and is musically gorgeous. Although, and perhaps it’s just me, at times I feel there is a little too much distortion in the guitar tracking and it can subsequently become a little distracting. 

Sun King is a little off-beat and it takes a while to get used to. While it isn’t a song that I would actively seek out on its own, it works well with the melody aspect on the second half of Abbey Road.

Mean Mr Mustard flows beautifully and is a great song. I particularly like the fuzz bass as it works extremely well for this song.

Polythene Pam shifts the musical style masterfully. A great tune! 

She Came In Through The Bathroom Window is brilliant!

Golden Slumbers is stunningly beautiful and while I admire its polished recording, getting to the point of the song, I would love it to be a full-length song, for I feel it is that good. That said, it flows perfectly into Carry That Weight and both together could ultimately be seen as a singular song. 

Carry That Weight has an incredible presence and is one song where I would have loved to have been a fly on the wall in the studio when it was recorded. Surely they knew they had a masterpiece on their hands during the recording sessions. 

The End is brilliant and is Ringo’s chance to shine with a melodic drum beat that sets the tone for the song and closes out the album perfectly; at least it would have if they hadn’t left in Her Majesty. 

Her Majesty (Hidden) is the only song on Abbey Road that I abhor. It doesn’t ruin the album for me, but it is cringeworthy and frankly unnecessary. 

I could listen to Abbey Road on repeat indefinitely and it isn’t uncommon to put the record on in the morning and still be flipping it that evening. It’s a prized possession and if I had to choose a version that I prefer, it would be the vinyl reissue for its laid back presentation as I feel it is the very best way to experience this masterpiece.

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The Crickets – The "Chirping" Crickets (Album Review)

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The Crickets – The "Chirping" Crickets (Album Review)

When I got back into collecting music a few years ago, after a hiatus that was born from the flexibility of the MP3 era, The “Chirping” Crickets was one of the first albums that I wanted to pick up. However, at the time, it had been out of print for years and it would subsequently take European grey labels, such as WaxTime, to re-issue this as well as many other classics. When I class WaxTime as a grey label, it is because their releases are not officially sanctioned by the record labels but are instead re-issues of albums that have gone beyond the time limitations of copyright in particular regions of the world. Subsequently, these records are not always mastered or pressed from the highest quality masters but from consumer-grade releases such as high-resolution digital downloads or CD. In this particular case, it sounds as though The “Chirping” Crickets album has been pressed from a CD release. That isn’t to say that it’s bad, but there are elements where the pressing is a little shrill, particularly noticeable in Buddy Holly’s vocal. Yes, this is an old recording, but it should arguably be a little smoother. Nevertheless, the record and associated mastering is musical and I find myself thoroughly enjoying the album from start to finish. 

The record cover is nicely reproduced and I’ve always considered the cutout look, see hairline, to be hilarious. The rear cover is completely different, from any prior releases, with the reproduction of original liner notes as well as an additional blurb that will likely appeal to fans of Holly and The Crickets. To be quite honest, I’m rather impressed with the rear cover on this release for it is compelling to hold as I listen to the album. It’s presented nicely, going a little further than some of the official re-issues. Additionally, the inner sleeve is an archival anti-static sleeve that ensures dust and static is kept to an absolute minimum. Collectors will attest that these sleeves are hard to come by as re-issues are often delivered in the most hideous inner sleeves, regardless of price. It is therefore refreshing to see a secondary label go above and beyond for music lovers. 

The vinyl itself is beautifully silent and has a generous heft to it with a blackness that can only be rivalled by a black hole. The only limitation of this release is the digital source. I do not doubt that if WaxTime were presented with a better master, this would be off-the-charts good, rather than enjoyably adequate.

This particular reissue also included 4 Bonus Tracks that were absent from the original release and they’re, in my opinion, value-added additions. Nevertheless, for the purists out there, you’d be well-advised to consider the favourably reviewed 2016 Analogue Productions re-issue which has the original track listing or the Apple Digital Master available on Apple Music.

SIDE ONE

Oh, Boy! is a great toe-tapping song to get the album started and sets the tone for the entire record. 

Not Fade Away has always been a favourite of mine. The lyrical delivery and musical pauses make this tune truly great. The Rolling Stones covered this song and made it their own in a rendition that pays homage to the original while amplifying it and ensuring that it remains one of the greatest songs from the era. 

You’ve Got Love has a creamy smoothness that I simply adore and is exactly what I think of when I think of the 50s sound. 

Maybe Baby is a song that I can’t help but sing along to. Sensational! It has also been covered extensively with The Hollies’ recording being a valiant re-styling effort that stands out from the crowd, due in part to its slower pop-driven tempo. 

It’s Too Late is a thoroughly enjoyable ballad; one that I would have loved to have heard Elvis Presley record. Nevertheless, this Chuck Willis song is superbly covered and if you haven’t checked out the original, you should because it is excellent in its own right. Roy Orbison’s recording of It’s Too Late is simply magical while Otis Redding’s rendition is simply adequate and Derek & The Dominos’ rendition is similarly assigned. Of course, if you’re interested in interesting cross-overs, Kanye West sampled It’s Too Late for Gone as heard on Late Registration and it works remarkably well.  

Tell Me How is an incredibly addictive upbeat track. If there is one criticism, it is merely that it is too short. Of course, that is also one of its strengths but if you’re like me you’ll want to drop the needle on Tell Me How again. In one way, we can be thankful that digital music, specifically streaming music, has made such a feat much more convenient. 

Blue Days, Black Nights is the first bonus track available on this particular version. It’s a great song, but I’d be lying if I said that it didn’t change the flow of the album. Nevertheless, I love it, so it is a value-added bonus.

Rock Around The Ollie Vee is the second bonus track and is excellent and another song that I would have loved to hear Elvis cover. 

SIDE TWO

That’ll Be The Day needs no introduction, fanfare, or explanation, suffice to say that it is timeless Buddy Holly & The Crickets. So timeless in-fact that it could be suggested That’ll Be The Day was a song that was an original element of the launching of The Beatles as it was the first song recorded by The Quarrymen; the band that would ultimately morph into The Beatles. Linda Ronstadt also covered the song in a country-pop rock styling that is different, yet similar, to the original but it is Foghat’s rendition from 1974’s Energized that I really enjoy as they took the song, reinterpreted it, and made it their own while paying homage to the original. 

I’m Looking For Someone To Love is perfectly tracked following That’ll Be The Day and while it isn’t as superb as the aforementioned song, it is thoroughly enjoyable.

An Empty Cup (And A Broken Date) is a killer 50s barbershop-styled ballad. They don’t make them like this anymore!

Send Me Some Lovin’ continues the style of An Empty Cup (And A Broken Date) but isn’t nearly as impressive. It is, however, a solid B-side originally recorded superbly by Little Richard. As a rock and roll standard, it has been covered rather extensively by the likes of Sam Cooke, Otis Redding, Dean Martin, and the incomparable John Lennon. All the aforementioned artists covered Send Me Some Lovin’ wonderfully with many matching, if not exceeding, the brilliance of the original Little Richard recording and The Cricket’s interpretation. 

Last Night is a great song, although I’ve often felt it is a little eerie, in a similar vein to Santo & Johnny’s haunting Sleepwalk; a song I adore despite the musical style. 

Rock Me Baby is one of my favourite songs from The “Chirping” Crickets. The rhythm is perfect and while not the final song on this reissue, as the closer on the original album release, it most certainly encourages the listener to play the album again. 

Don’t Come Back Knockin’ is a solid addition with a toe-tapping beat. 

I’m Changing All Those Changes is a great bonus closing track that encourages me to spin the album again and I don’t know about you, dear reader, but the guitar plucking on I’m Changing All Those Changes, while not necessarily perfect, is sublime.

Overall, The “Chirping” Crickets is a landmark album that should most certainly be in every music lover’s collection. Purists will undoubtedly love the original tracking but those wanting more will likely welcome the additional four songs that have been included on this reissue. As for me, I can appreciate either but if I am to be completely honest, I lean a little on the purist side and while I can understand WaxTime expanding the re-issue to set itself apart from other releases, I like my vinyl to consist of the original tracking and consider digital releases to be the perfect opportunity to include additional recordings. 

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