Spiders – Why Don't You Love Me / Hitch Hike / Don't Blow Your Mind (EP Review)

Before Alice was Alice Cooper he was Vincent Furnier; a young man with a dream of making it big in the music industry. While we know how that story progressed, the earliest recordings of Alice Cooper, both the man and the band, are often overlooked for these recordings don’t fall under the Alice Cooper moniker. Then known as the Spiders, the band entered the studio in 1966 to record Don’t Blow Your Mind; an original (Dennis) Dunaway/Furnier tune that made its way, rightly so, to number one on a local Top Forty radio station¹ in Phoenix, Arizona. 

While the EP Why Don't You Love Me / Hitch Hike / Don't Blow Your Mind, from 1998, offers an admirable facsimile of this original recording, from a sonic perspective, disappointingly the B-side to Don’t Blow Your Mind, No Price Tag, is omitted from this release. Arguably, No Price Tag isn’t the greatest song in the world, and is the poorest from these early recordings, but it is a strange omission nonetheless. The likely reason for its absence is that only 500 copies of the original single were ever pressed and being released over five decades ago, it gets more challenging to track down high-quality original pressings, stampers, and tapes.

Nevertheless, what makes this release so unique is that the pre-Alice Cooper sound was akin to other bands of the era. A Beatles' influence can certainly be heard, as can The Rolling Stones, but when you listen to these early recordings the band sounds nothing like they do on Pretties For You or Easy Action. Some may even suggest that the Spiders sounded far better on these early recordings than on their first couple of albums and I’d have to agree with them. Yes, the Spiders were much more imitators than trendsetters, so the music they performed during this period should be viewed through a lens of influence and mimicry; an act that Cooper himself acknowledges, declaring that had he not had the Beatles or the Stones to mimic, his music career would never have happened².

Of course, the band would branch out into their experimental psychedelic hard rock style and never really return to the style heard in these early recordings. Disappointing from one perspective because these early tunes are compelling but it’s fair to suggest that the band would have gotten swallowed up amongst the other similar bands of the era should they have stayed on that trajectory. Plus, and most importantly, we would have never gotten the incredible music, from Alice Cooper, if their style hadn’t changed. 

Why Don’t You Love Me is a cover of the Blackwells 1965 tune and The Spiders nailed it with a more rock and roll feel than the original. Furnier’s vocal is also stronger with a gruff edginess that we’d become increasingly familiar with from Love It To Death onwards. A great energetic opener. 

Hitch Hike, similarly, is a cover of, believe it or not, Marvin Gaye’s 1962 single. Gaye’s has a solid rhythm and blues groove and as much as I like the original, I’ve gotta say that the Spiders took it, rocked it up, and made it their own with a guitar twang perfectly played and tuned thereby taking the song to another level. Yes, the Spiders’ rendition is in the same vein as The Rolling Stones’ recording from Out Of Our Heads but I still find the Spiders’ recording to be the best version of this classic tune.

Don’t Blow Your Mind is indicative of the era and is an incredible Dunaway/Furnier original composition. Yes, I may have suggested that had they continued on this sonic path they would have been overlooked due to a plethora of similar bands, but Don’t Blow Your Mind is catchy, with a solid hook, that proves that they were destined for stardom. 

Why Don’t You Love Me (Instrumental) is a great closer to have on this release and if you’re like me, and have the EP on repeat, you’ll find it incredibly rewarding to listen to time and time again as it’s short, to the point, but a wonderful exploration in what could have been. 

Why Don't You Love Me / Hitch Hike / Don't Blow Your Mind is a killer EP that I put on par with The Rolling Stones’ Self-Titled EP; a must-own for any music lover’s collection of early band recordings that predate their greatest creative achievements.

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References

1. Alice Cooper: Golf Monster, Chapter 4, Earwigs and Spiders

2. Alice Cooper: Golf Monster, Chapter 2, Black Slacks and a Tight Windsor Knot

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Eric Clapton – Slowhand (Album Review)

By the time 1977 rolled around, Eric Clapton was already well-established with a series of hits with The Yardbirds, John Mayall & The Bluesbreakers, Cream, Blind Faith, and Derek and the Dominos, along with four well-received solo albums, including the chart-topping 461 Ocean Boulevard, yet nothing in my mind compares to the consistency and flow of Slowhand. It’s Clapton’s magnum opus.

Perfectly recorded, mixed, and mastered, Slowhand simply has to be heard to be believed. The lossless Apple Digital Master, available via Apple Music, is an experience in and of itself with a warm and enveloping sound signature. Some fans will inevitably point to the SACD release and its associated surround mix but as I haven’t had the privilege of hearing that particular release, Slowhand for me will, for the foreseeable future, be a stereo-focused masterpiece. That said, I do hope that we’ll see the surround mix re-released on Apple Music; not in Atmos, but Dolby Audio (a format that comes under Apple’s Spatial Audio moniker but is not remixed for Atmos thereby matching the original surround mix in an albeit lossy format). Naturally, vinyl editions are plentiful, but the Apple Music stream simply sounds right. Vinyl aficionados will likely be rolling their eyes at that statement, but I don’t find myself looking for more as it pertains to the sound quality of this release; the stream is that good! 

Where the vinyl counterpart would be of value is in the album cover department. While several Clapton albums have iconic cover art, Slowhand is one of those marvels in music where you’ll feel captivated to listen to the album while simply looking at, and holding, the album artwork. Immediately identifiable, the cover art captures the sound, the spaciousness in the mix, and ensures that it isn’t only a musical experience that one can enjoy. 

Behind the scenes, it’s imperative to give credit to the great Glyn Johns for his production and engineering work for Clapton acknowledges in Eric Clapton: The Autobiography that the disciplined producer brought the best out of Clapton and the band, even though they were all getting drunk and stoned¹. Perhaps the most interesting aspect of this admission is that, like many of the greatest albums ever recorded, intoxication was a key element in allowing the performance to speak for itself and in a way, become timeless. Of course, I’ve long suspected that the drugs of the 60s and 70s were of a special batch, for they simply don’t make music like that anymore, and while I don’t condone substance abuse, the correlation can not be ignored. 

What else can’t be ignored are the songs that comprise Slowhand; let’s take a look, and a listen, shall we? 

Cocaine may not be a Clapton original, but his interpretation of J.J. Cale’s original is incredible, adding a more bluesy rock feel to the song while simultaneously removing the twang Cale used in his rendition the year before. 

Wonderful Tonight is one of the most magnificent ballads ever recorded, although I’ve no doubt that some may find it cringeworthy. If nothing else, we surely can all agree that Clapton’s slow hand on this tune is simply exquisite. Naturally, with a song of this style and success, there were bound to be covers and Boyce Avenue’s and Ronnie Dunn’s are thoroughly enjoyable, although it doesn’t stray too far from the original. Michael Bublé’s and Damage’s interpretations, however, aren’t great as they shift the core elements too far thereby destroying the magic of the original composition. Babyface’s, Paul Canning’s and Khalil Fong’s aren’t bad but in all cases, Clapton’s original can’t be beaten. Although, Masaaki Kishibe’s new age instrumental version comes close. 

Lay Down Sally is a toe-tapper but I much prefer the instrumental aspects of the song for while I appreciate Clapton’s vocal, I find Marcy Levy’s backing vocal to be too present in the mix. Whereas, on The Core, I feel her vocal is better placed. Admittedly, The Core is a duet so it should be expected that the vocals were recorded and mixed in a similar manner in an attempt to not overshadow either artist. It’s a shame Lay Down Sally wasn’t mixed similarly. 

Next Time You See Her is blues to the core with a simple hook; sometimes that is all you need.  

We’re All The Way is closely aligned, musically, with Wonderful Tonight. While We’re All The Way may lack the timeless feel of Wonderful Tonight, it’s still a gorgeous song. 

The Core is a solid duet and in a way, it’s surprising to hear Marcy Levy take the lead on the first verse. It’s somewhat unexpected but works extremely well. As mentioned earlier, the vocal mix here is perfect. Also of note, The Core is the longest song on Slowhand and while it could be suggested that it’s too long, the rhythmically infused guitar elements are wonderful to listen to and if you enjoy listening to music while driving, put this on, on your next Sunday drive, and you’ll notice just how magical it is as you traverse through roads less travelled, seeing the countryside, and appreciating the music in your soul. It likely wasn’t written with that intent, but it translates to the scenario perfectly.  

May You Never is a John Martyn cover and not that I have anything against Martyn, but I’m so grateful that Clapton re-recorded it for Martyn’s original is akin to a demo rather than a finished song. 

Mean Old Frisco has a deep blues sound signature that is simply irresistible. While it may not set new ground, and is somewhat predictable, I find that comforting from a listener’s perspective because you can simply meld with the groove and thoroughly enjoy the song. 

Peaches And Diesel is an incredible closer despite being an instrumental tune. Sonically it returns our attention to Wonderful Tonight, a highlight of the album, and subsequently compels me to listen to Slowhand again. 

To say Eric Clapton is a musical legend is an understatement and perhaps even an insult for his musical prowess is amongst the best to have ever strummed a guitar and he proves that on Slowhand; a laid-back rhythmic masterpiece. 

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City Boy – Self-Titled (Album Review)

Released in 1976, City Boy was the eponymous debut for a band that should have received more acclaim than they did. Offering music lovers soaring guitars to a melodic rock rhythm should have cemented their success but it wasn’t to be. A shame, yes, but thankfully streaming gives us all an opportunity to find an album, and a band, that otherwise would never have been on our radar. 

Produced by Robert John "Mutt" Lange and engineered and mixed by Mick Glossop, City Boy is an astonishing recording that has been mixed with pure perfection and would help cement these two behind-the-boards masters’ careers. Lange would not only produce City Boy’s first five albums but would go on to produce some of the biggest albums in music history; most notably AC/DC’s Back In Black, Foreigner‘s 4, and Def Leppard’s Pyromania. Of course, Lange would branch out beyond rock and produce Shania Twain’s masterpiece, Come On Over. With such a legacy, and City Boy being one of his first outings in the producer’s chair, one would rightly wonder how much of his legacy can be heard on these early recordings, but one need not worry for City Boy has a level of spit and polish that, arguably, couldn’t have been realised by the band themselves. That isn’t to suggest that City Boy weren’t capable, for a debut this is one astonishing recording of a very tight band, but correlations can and should be made between Lange’s later works and City Boy for his signature high production style can be easily heard on City Boy.

Mick Glossop’s career has been equally impressive with a discography that knows few bounds. Perhaps most impressive, however, is his extensive work with Van Morrison having contributed his production, engineering, and mixing skills to 17 of Morrison’s albums. Either way, City Boy showed that when you get Lange and Glossop working together on a production, magic happens.

Of course, City Boy is more than the production team and the musicians, Lol Mason (lead vocals), Mike Slamer (lead guitar), Steve Broughton (rhythm guitar), Max Thomas (keyboards), Chris Dunn (bass), and Roger Kent (drums) deserve immense credit for City Boy is one of the greatest albums recorded in the 70s; despite sales suggesting otherwise. Their musical prowess mixed with a vocal harmony style makes for a very pleasurable listening experience and of particular note is Mason’s vocal dexterity which is beyond reproach and Mike Slamer’s guitar work that is otherworldly. Slamer is, without doubt, one of the greatest guitarists you’ve, likely, never heard of. 

(Moonlight) Shake My Head and Leave sets the rhythm immediately, and you’ll be toe-tapping from the very first note, but I’d argue that it’s the weakest song on the album. It’s a little campy in its structure but stick with it for the song opens up with some divine guitar soloing. 

Deadly Delicious reminds me instantly of Skyhooks and I can’t help but wonder if the Australian natives had an influence on City Boy with Living In The 70’s predating City Boy by two years. I don’t know about you, but I can even hear a Shirley Strachan styled vocal delivery. That correlation aside, Deadly Delicious is a pure psychedelic rock masterpiece that really highlights Lol Mason’s vocal capabilities. There is, however, a percussive element mid-song that has a Caribbean wind-chime like sound that I find to be distracting, particularly as it’s a jarring aspect when contrasted with the other musical elements. It doesn’t ruin the song, but I would have preferred that element to be omitted.

Surgery Hours (Doctor Doctor) will have you grooving and like Deadly Delicious is indicative of the 70s sound. Surgery Hours (Doctor Doctor) would have been perfect for a single release, in my opinion, but I also hope that a modern hip hop artist comes across the song and chooses to sample its addictive hook.

Sunset Boulevard slows the tempo but as a classic rock tune, Sunset Boulevard is sensational, rivalling the very best and most popular songs of the era. Honestly, how this album, and particularly this song, was never admired by the broader music-loving public is beyond belief. It just goes to show that sales success isn’t an indication of quality. Absolutely magnificent!

Oddball Dance is so much fun. It’s quirky but is so addictive that I find myself putting Oddball Dance on repeat every time it comes on. It has everything one could want from a song: soaring guitars, killer bass and drum rhythm, magnificent percussive elements, and a lyrical presentation that is not only soothing but energetic. The interlude, however, can take you out of the song, but it doesn’t last long and when the song returns to its original path it’s a momentous moment. 

5000 Years / Don't Know Can't Tell is another song that showcases just how solid City Boy already was despite this being their debut release. The skill present on this song, and many others on the album, would arguably be reserved for artists with a much greater legacy to fall back on, but in the two years prior to this recording, these master musicians honed their art to such an extent that it defies belief. If you haven’t yet done so, may I recommend you turn the volume knob to the right when 5000 Years / Don't Know Can't Tell comes on. You won’t regret it!

The Hap-Ki-Do Kid has a diverse musical style that works surprisingly well as it takes influence from multiple genres. In fact, much of City Boy’s music is so genre-busting that one would rightly hear correlations from various artists, styles, and genres of music when listening to City Boy. Ultimately, it’s a fun tune but after the almost nine-minute behemoth that was 5000 Years / Don't Know Can't Tell it almost feels as though The Hap-Ki-Do Kid ends prematurely. 

The Greatest Story Ever Told is, arguably, the greatest song ever recorded. Okay, perhaps that is overreaching a little but it is a masterpiece that, without doubt, would be in my Top 100 70s Classic Rock playlist; if I had such a playlist, of course. The mix is perfect and the flow between the verses and chorus is the definition of perfection. Every musical element is perfectly presented, and the fade-out is utterly brilliant, meaning there isn’t a single aspect of the song that I’d change. 

Haymaking Time is a lovely closing tune, encouraging me to listen to the album again, but I would have loved for The Greatest Story Ever Told to close the album with Haymaking Time being the second to last track. Interestingly, however, I would have been less likely to listen to the album again following The Greatest Story Ever Told as it is a far more contemplative song, from a musical perspective, than Haymaking Time so perhaps the band and the production team got the tracking right in the first place. 

City Boy is a timeless masterpiece that not only harps back to the 70s era, but is equally appealing to modern music lovers of classic rock. It is with that thought that I feel incredibly fortunate to be able to appreciate music at a time when almost every recording ever made is readily available for if that wasn’t the case, I would likely have never come across City Boy and you, dear reader, wouldn’t be able to enjoy it while reading this review. Unless, of course, you’re one of their longtime fans and have always known just how good, and under-valued, City Boy really is. At least streaming allows the rest of us to play catch-up for this is one album not to be missed. 

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Meat Loaf – Hang Cool Teddy Bear (Album Review)

Many Meat Loaf albums are underrated, as we compare his output too often to Bat Out Of Hell, but Hang Cool Teddy Bear is more than a simple cash-in on the legacy, for there are some extraordinary songs to be heard. Yes, there are a couple of songs that I don’t feel suit Meat Loaf’s vocal style, but if you give it a chance, Hang Cool Teddy Bear is a great rock album that is worthy of the Meat Loaf moniker. Of course, Meat Loaf is more than a singular entity and the lineup of collaborators in this 2010 release is impressive, although, no music is featured from Meat Loaf’s long-time collaborator, Jim Steinman.

As for the recording, mix, and mastering of Hang Cool Teddy Bear, it’s LOUD! That isn’t necessarily a bad thing for it works well with the style of the album, but you’ll likely find yourself turning the volume down and listening at lower levels to prevent listener fatigue. Thankfully, even though the album is dynamically compromised, it hasn’t been compressed to the extent that elements, such as cymbals, are crunching unnaturally. In that regard, Ted Jensen did an admirable job mastering the album to modern standards. 

Similarly commendable is Boris Vallejo’s cover art. There’s just something about fantasy artwork that works so well for album covers. Naturally, while the music is the most important aspect, pictures can tell a thousand words and in this case, you can take from the artwork what you want. All I know is that this would look awesome on a vinyl-sized canvas. 

Peace On Earth isn’t the greatest tune to launch the album on, for the introduction is somewhat pointless and the tempo is a little too upbeat for Meat Loaf. Also of note is Meat Loaf’s lyrical style that appears to be a merging of himself, Lou Reed, and Johnny Cash. Does it work? I’m not sure it does, but you grow to accept it as it also makes an appearance on Living On The Outside. Regardless, while I’d suggest that the verses are a little chaotic, I thoroughly enjoy the delivery of the chorus. 

Living On The Outside, similarly to Peace On Earth, has a great chorus but a somewhat inconsistent verse structure. Nevertheless, Living On The Outside is catchy, with a solid rhythm, and some killer guitar licks. 

Los Angeloser should have opened Hang Cool Teddy Bear. An utterly brilliant and witty tune! You’ll be head-bopping and toe-tapping from the very first note and its literal meaning is reminiscent, in my mind, of Alice Cooper’s Lost In America. The combination of James Michael and Meat Loaf has struck again and I don’t know about you, but I would love to see these two collaborate on a future record in the same way as Jim Steinman and Meat Loaf collaborated. 

Despite being the first single from Hang Cool Teddy Bear, Los Angeloser failed to gain traction in the charts; a shame considering it is arguably the best song on the album and most certainly should be in Meat Loaf’s career highlight reel. However, one can’t help but wonder if the quirky music video played a role in its lacklustre success with the only redeeming factor being Meat Loaf’s role as the preacher. Alas, we’ll never know!

If I Can't Have You (feat. Kara DioGuardi and Hugh Laurie) had the potential to be another I’d Do Anything For Love (But I Won‘t Do That), albeit with a faster tempo. The dynamic range, however, is a little shallow resulting in a smaller and more compressed soundstage that hides not only the backing vocals but Hugh Laurie’s piano elements throughout much of the song. DioGuardi’s vocal, however, is simply gorgeous and spot on. 

Love Is Not Real/Next Time You Stab Me In The Back has an enjoyable backbeat and overall rhythm, but it is Brian May and Steve Vai's intermingling guitar solo that makes this song truly memorable.

Like A Rose is one of the best songs on Hang Cool Teddy Bear and is one of my all-time favourite Meat Loaf tracks. In part, it’s due to Jack Black’s involvement but the tip of the hat to the Beastie Boys takes Like A Rose to another level. If there was one aspect that I’d change, it would be the mix. The guitar is simply too concealed and if it was more forward in the mix, and turned up by a few decibels, Like A Rose would be a guaranteed rock anthem.  

Song Of Madness is one tune that you’ll want to pump the volume on. Not only is Steve Vai’s guitar work masterful but Meat Loaf pushes his vocals beautifully, ensuring his signature smooth highs and guttural lows are prominent throughout. But, that bass tracking, by Chris Chaney, is what dreams are made of. A killer heavy metal-inspired tune!

Did You Ever Love Somebody slows the album down a little, but this isn’t your usual Meat Loaf ballad. It sounds, from a vocal perspective, like a demo as Meat Loaf’s full range isn’t on display here but that is also, strangely, part of its appeal. Did You Ever Love Somebody, however, could have been a masterpiece if a little more spit and polish had been applied. That introduction and gradual build, though, is magical. 

California Isn't Big Enough (Hey There Girl) is a rock song, with 80s synth elements, amongst a cascade of other styles, resulting in a compelling, yet confusing, composition. I enjoy the chorus, but as with a couple of other songs on Hang Cool Teddy Bear the chorus is where this song shines.

Running Away From Me is a classic B-side. It was never going to be a hit, but I like it. 

Let's Be In Love isn't a bad song, but is made significantly better thanks to Patti Russo. Again, Meat Loaf's vocal presence feels lacklustre, especially in the quiet passages, but given the love song styling it could be suggested that his vocal is intentionally vulnerable. Nevertheless, in comparison, Russo's Vocal takes the song to another level and it’s just disappointing that Russo doesn’t enter the mix until around the midway point of the song.

If It Rains is a great song but I would love to hear it with a slightly faster tempo and a little more edginess. 

Elvis In Vegas is a great closer but as good as Meat Loaf performs it, I’d love to hear Jon Bon Jovi record it as he co-wrote it with Desmond Child and Billy Falcon. A great song, regardless. 

Hang Cool Teddy Bear is likely no one’s first choice when listening to Meat Loaf, but it is underrated and is deserving of more attention as there is some thoroughly enjoyable music to be heard here. If you haven’t had a chance to check it out, I hope this review convinces you to give it a chance. Give it a few plays, particularly in the background, and you may be surprised just how much the entire album grows on you. 

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Julian Lennon – Photograph Smile (Album Review)

Julian Lennon’s Photograph Smile, his fifth studio album, is one of the greatest pop/rock albums ever recorded and remains a timeless masterpiece. Yes, some would reflect on Lennon’s musical approach and suggest that it is too similar to his father’s musical style, but I honestly consider Julian Lennon to be completely independent of John Lennon and while there may be correlations I’d argue that Julian’s musical prowess on Photograph Smile is superior to his father’s and that is coming from someone who is in awe of John Lennon and his legacy. 

Day After Day is a fantastic tune, but the abrupt opening has always irritated me, for you’re not necessarily expecting it. Nevertheless, it’s a great start to the album and is a lovely composition that will have you toe-tapping and head-bopping throughout. There’s also a little guitar element, around the 3-minute mark, that reminds me of Lynyrd Skynyrd’s Free Bird. 

Cold has an incredible soundstage and the level of vocal and instrumental distortion is absolutely perfect. The tempo is well suited to the song and the included acoustic guitar is simply beautiful. Without a doubt, Cold is one of the best songs on the album!

I Should Have Known is one of the many songs on Photograph Smile that I know by heart and never tire of. The chorus compels me to sing along; an activity that I find myself doing throughout the entire album. While it suits the mood of the song, if there was one criticism to be made it would be that the muddiness in the lows can be a little distracting when listening via headphones. 

How Many Times is a great song but if there was one tune that I’d skip when listening to the album, it would likely be this one. It’s arguably longer than it needs to be and doesn’t push the creative envelope far enough to stand out from most of the pop/rock songs from the era. That said, the meaning behind Lennon’s lyrics here is admirable and when listening from that perspective, one can have a different opinion. 

I Don’t Wanna Know is a fun track and sometimes that is all you need. 

Crucified is a little left of the centre when compared to the tracks that preceded it. It’s sonically bold, perhaps a little too bold, but if you can get past the stylistic shift, it isn’t a bad tune. 

Walls is simply beautiful. 

Believe is perfectly suited to closing your eyes and allowing your body to flow back and forth to the rhythm. It’s hypnotic and utterly addictive.

Good To Be Lonely is a lovely song.

Kiss Beyond The Catcher is a cool tune with arguably one of the most interesting song titles I’ve ever come across. 

And She Cries is one of my favourite songs on Photograph Smile; a song that I could listen to on repeat for hours as Lennon’s vocals are absolutely perfect on this recording.

Photograph Smile is hauntingly beautiful as it’s musically stripped-down allowing Lennon’s incredible vocal to sit prominently in front of, and on top of, the music. This is what good music should sound like.

Faithful flows perfectly from Photograph Smile and is another beautiful song with a lovely connotation. Gemma Hayes’ backing/duet vocals here are also magnificent. 

Way To Your Heart is a great closer, compelling me to listen to the album again, but the faux vinyl record surface noise only reminds me that Photograph Smile was never released on vinyl and while I have my fingers crossed for a one-off vinyl pressing, it’s likely wishful thinking on my part.

Photograph Smile may not have been wildly successful when it was released, but if commercial success was the ultimate indicator of quality music, then art as we know it has no future. Photograph Smile is truly a hidden gem and would be a welcome addition to any music lover’s collection as it is Lennon’s greatest musical achievement. Hence, if there’s only one Julian Lennon album that you add to your collection, make it this one. 

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Skyhooks – Living In The 70’s (Remastered) [Album Review On CD & Apple Music]

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 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 the first year; a feat never before seen within the Australian music scene. 

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 to be fully understood and appreciated. Exceptionally written, recorded, mixed, and mastered, you’ll be in pure musical bliss for the entire duration.

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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. Although, the CD isn’t quite as flawless as I’d like it to be for the booklet, while at first glance is perfectly fine, has an error in its printing whereby several pages of the liner notes are missing, replaced by liner notes from a Linda Ronstadt compilation. Now, I have nothing against Linda Ronstadt; a phenomenal musician, but this is Skyhooks and I’m missing all the lyrics except for the eponymous 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 really well with respect for the source material. It sounds right, unlike Cold Chisel’s disastrous Circus Animals. The soundstage is wide and enveloping and every instrument can be heard with incredible clarity. The Apple Music stream, by comparison, is a good facsimile but isn’t 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 most certainly is more fun to listen to as the music has a fluidity that is missing from the streaming counterpart despite being derived from the same mastering sessions.

That all said, it would be nice to see a vinyl reissue. It isn’t that the digital offerings are cold, anything but, but given the 70s were all about an analogue sound, it seems only fitting that one of the greatest Australian albums of the 70s finds its way back to the format that it was originally presented on. 

Living In The 70’s is a killer, rhythmically charged, opener that will have you singing along as you’re grooving to the tune. It has some exceptional guitar and percussion work that showcases the polish and musical skill Skyhooks had right out of the gate.   

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 my opinion, in that it becomes a fun listen that is unique when compared to much of the music at the time. Even by modern standards, Whatever Happened To The Revolution sounds fresh. 

Balwyn Calling, again, has some killer guitar work. I wonder if it would be wrong to suggest that Living In The 70’s is an album that is successful due, primarily, to the intertwining guitar elements.

Horror Movie is, without a doubt, my all-time favourite Skyhooks tune. If you haven’t turned the volume up by now, you’re listening wrong!

You Just Like Me ‘Cos I’m Good In Bed says it all, doesn’t it? A fun track that will bring a smile to your 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 tune that flows beautifully within the album structure and is another song that showcases just how proficient Skyhooks were; there’ll never be another quite like them!

Carlton (Lygon Street Limbo) incorporates the energy and musicality of Australian music in the 70s. 

Toorak Cowboy is a toe-tapping, head-bopping, good time in a country-style that you’ll either love or hate. It’s a little different to the other songs featured on the album, but it works. 

Smut, like Toorak Cowboy, shifts the tone of the album slightly, but it never feels out-of-place despite the mellower approach here. 

Hey What’s The Matter is groovy; try sitting still through this one. As with much of the album, it’s impossible thereby making Living In The 70’s the perfect soundtrack to your energetic life.

Motorcycle Bitch is riff-driven heaven and Graeme Strachan’s vocal on Motorcycle Bitch, in particular, is 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. I mention this as I don’t feel Strachan has ever received the recognition he deserved. 

Broken Gin Bottle (B-side of original Living In The 70’s Single) was not part of the original tracking of Living In The 70’s, but I couldn’t imagine the album without it. Again, and I know that I’m repeating myself, but the guitar work is extraordinary. Of course, every element makes the song and Skyhooks were on fire with Living In The 70’s. If you only ever listen to one Skyhooks album, make it this one. A debut, yes, but it plays like their greatest hits release.   

What more can be said about one of the greatest albums ever recorded? Not much, the music speaks for itself; it’s that good!

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Eagles – Hotel California (Album Review On Vinyl, HFPA Blu-ray, CD, & Apple Music)

Hotel California is a timeless classic, but does it build upon the masterpiece that is One Of These Nights or is it merely the success of the title track that has given such reverence to this 1976 release?

While the answer to this question will be highly subjective, I’ll give you my opinion based on listening to the album more times than I can recall. Before we discuss the songs that form Hotel California, however, let’s take a quick look at the versions that I’m fortunate to own for each of them is unique in what they offer to fans. 

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2014 Vinyl Reissue: 

While I consider myself fortunate to own this edition, it is good, not great. Mastered by Bernie Grundman from 192/24 bit files, one would assume that the album should sound magnificent yet when comparing to the 40th Anniversary releases, as we will shortly, this 2014 vinyl reissue falls short as it is too bass-focused thereby causing a muddiness to the music. Yes, it takes comparing editions to hear this muddiness, but when listening to the 2014 vinyl reissue, and attempting to clear your mind of other influences, it is likely that you’ll note something is off. Again, the reproduction is good but if you’re after the very best pressing of this recording, this edition is unlikely to impress with its darker sonic signature that conceals elemental aspects of the music.

The packaging, however, is impressive. You’ll be presented with a gatefold design that harks back to the original release. Liner notes are detailed but missing lyrics for all songs other than Hotel California; an aspect that remains true to the original releases. The original band fold-out poster is also included, meaning that besides the barcode and up-to-date release information, this edition is about as pure as you’re going to get unless you track down, or are fortunate to own, an original pressing. 

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40th Anniversary Deluxe Edition:

When one thinks of a box set release, especially the size and complexity of the 40th Anniversary Deluxe Edition set, it wouldn’t be erroneous to assume that a vinyl record should have been included. It is an omission that befuddles the music-lover within for a Deluxe Edition of anything should be an all-inclusive release. Yes, I acknowledge there are Super Deluxe Editions and that they need to leave something for a 50th Anniversary release, but as a music collector it bothers me that we are required to purchase multiple copies of the albums we know and love in order to get everything. It is a collectors nightmare and the record labels know only too well what they’re doing. 

As a result, when the 40th Anniversary came about, a standard CD, Expanded double CD edition, and this Deluxe Edition were released. Yet, to my knowledge, no vinyl reissue was released meaning that the mastering on the vinyl release is subsequently different to that on the digital reissues. I’ve no doubt for many people this will not be an issue, but if you love music as I do, you may find yourself wondering which version would be the best to own. While tastes are highly subjective, I can say without hesitation that if I were to purchase only one release, it would be the standard remastered 40th Anniversary CD. 

Given the 40th Anniversary Deluxe Edition set includes a High Fidelity Pure Audio (HFPA) Blu-ray Disc that contains the 192 kHz/24-Bit stereo mix of Hotel California, one may assume that I would prefer this edition more as the CD is a standard 44.1 kHz/16-bit by comparison and bigger is always better; right? 

Well, it is more complicated than that for the included HFPA Blu-ray Disc is essentially a reissue of the 2001 DVD-Audio release. That isn’t to suggest it is bad, for the surround sound mix is extraordinary. What I am saying, however, is that this edition is a different master to the 40th Anniversary CD. Subsequently, it is the mastering, rather than the format, that I am drawn to. 

In a similar manner, the Apple Music edition, an Apple Digital Master, is also derived from the latest remastering sessions and sounds astonishingly good. Not quite as impressive as the CD, for the CD has a more open and natural presentation, but unless you’re comparing them, as I have, you likely wouldn’t be disappointed in the streaming counterpart.  

Returning our attention to the remastered CD, the advantage it offers over the HFPA Blu-ray stereo mix is that it smooths the edges of the recording slightly. Don’t get me wrong, it isn’t a night and day difference, for if it were, we’d be talking about completely different albums. What I would say, however, is that if you dislike digital glare, then the CD offers a more laid-back presentation. 

One would rightfully question playback equipment, but this too is uniform as both the HFPA Blu-ray stereo mix and remastered CD were played through my Oppo BDP-103 utilising its Cirrus Logic CS4382A DAC. Even the Apple Music stream was played back via this approach as the Oppo Blu-ray players permit adding an Apple TV, via HDMI, thereby utilising the analogue circuitry of the unit. This uniformity certainly assists when comparing different masterings and formats thereby allowing any differences to be more noticeable than if the audio was decoded via various DAC implementations. 

Stereo editions of Hotel California aside, the 40th Anniversary Deluxe Edition set, of course, offers a DTS 5.1 surround sound mix of this classic album. Yes, it is the very same Elliot Scheiner mix from the DVD-Audio, but given that edition has been out of print for years and considerably expensive on the secondhand market, it is wonderful to see that it is once again available for those of us who are interested in the surround mixes. 

The greatest compliment I can give the surround sound mix is that if you’ve got a DTS capable system, stop reading this review and go and track down a copy for it offers a feeling that can only truly be appreciated firsthand. 

Yes, it changes many aspects of Hotel California, that you know and love, especially if you’ve only heard the stereo mix, but you’ll feel it in your bones and in your soul like never before. 

As is the case with all DTS soundtracks, there is a bass-focused aspect that one must consider. It is different to the bass aspects found on the 2014 vinyl reissue, for they muddy the sound. The 96 kHz/24-Bit DTS 5.1 surround sound mix is detailed and enveloping, meaning that while the bass is prominent, it isn’t overpowering but helps to better form a soundstage that will envelop you with sound. Of course, your experience may vary depending on how your surround sound system is configured. 

While I’ve never been fortunate enough to hear the 2001 DVD-Audio release or the respected DCC release from the 90s, I’d argue that there really isn’t a bad version of Hotel California to be found and that each version is a true representation of the original recording with slight variances that may, or may not, appeal to you.

As you can likely gather, choosing the best version is not necessarily an easy task for all editions have their own pros and cons. So, how do you choose? 

It isn’t easy and the inclusion of the surround sound mix certainly complicates things. However, as I alluded to earlier, when I think about playing Hotel California, I gravitate towards the CD that is included in the 40th Anniversary box set as it provides a sound signature that falls conveniently between the other versions I’m fortunate to own. It simply gets everything right and there are no glaring aspects of concern. It is smooth, with just the right amount of bass and treble. Plus, and I can’t stress this enough, it is widely compatible with the other CD players I own. As much as I appreciate HFPA Blu-ray releases, they are almost as inconvenient as vinyl for very few of us have multiple listening spaces for such a setup. As mentioned earlier, if you’re after a good all-rounder, you can’t go wrong with the standard 40th Anniversary CD for it is readily available, affordable, and is pretty close to the best this album has ever sounded in stereo; from my perspective, at least.  

Of course, in this three-disc collection, I’ve yet to mention the Live At The Los Angeles Forum 10/20-22/76 component. While it is an abridged release, it’s solid from start to finish and despite not being as sonically spectacular as Hell Freezes Over, it’s a great classic live recording that is worthwhile for any collector. If you’re not interested in the HFPA Blu-ray Disc, then the double CD release for the 40th Anniversary of Hotel California has you covered as this live recording is presented on the second disc. Streamers can also rejoice as there is a digital version available as well. 

That all said, there is no doubt in my mind that the 40th Anniversary Deluxe Edition is beautifully presented with the included 44-Page Book containing Rare Photos and Memorabilia, along with a 20-Page Hotel California Tour Book and Three Posters. However, I’m less than impressed with the way the discs are sitting within the box. The rubbery knobs that the discs sits on will undoubtedly be a point of failure in the future and I would have expected much more for the price. As I’ve already mentioned, the lack of a vinyl edition being included is an oversight and to be honest unless you’re after the HFPA Blu-ray Disc, I’d go with one of the CD options as there simply isn’t enough value to justify the cost. 

Hotel California is a masterpiece even if it’s an overplayed one by some people’s standards. However, I never tire of it and consider its introduction to be one of the best ever recorded in music history. The studio recording is flawless, but if you haven’t had a chance to hear the live recording from Hell Freezes Over; I implore you to give it a listen for Hotel California has never sounded better. Hotel California has a little bit of everything and that addictive rhythm, with the intermingling guitar solo is simply magical. There is little wonder Hotel California has been played ad nauseam over the years and I can only imagine what it would have been like to have been in the studio as it was being recorded. Incredible!

New Kid In Town is a great tune that sounds as if it should have been on One Of These Nights and once you’ve got past the stylistic shift, from Hotel California, New Kid In Town is a lovely song in its own right that works perfectly well within the album structure. 

Life In The Fast Lane picks up the tempo and again highlights the guitar-focus that seems to be a trademark of Hotel California. It’s rhythmically charged and while it could be suggested that just as James Dean doesn’t fit the overall style of On The Border, Life In The Fast Lane is similarly a little too rock and roll for this album. 

Wasted Time is one of Don Henley’s greatest vocal achievements. A beautiful song, with a perfect mix, and one that complements Hotel California perfectly. While the upcoming reprise seems a little out-of-place when it comes to digital releases, nothing is better than flipping the record from Side One and having the reprise to look forward to for I could easily argue that Wasted Time is the very best song ever recorded by the Eagles. It blows my mind every time I listen to it. 

Wasted Time (Reprise) is a lovely instrumental counterpart to the core song and while Hotel California wouldn’t be the same without it, I do wish that they would have remixed/edited the album for release digitally, thereby omitting the reprise, as flow and continuity isn’t as important as it was for the original vinyl release.

Victim Of Love takes things up a notch and despite being considerably different to Wasted Time, Victim Of Love is perfectly tracked. While Henley once again is the lead vocalist, his drumming on this particular track is a standout for me as it provides a perfect backbeat rhythm that the rest of the music is built upon. While I’ve pondered if Hotel California is greater than its lead track, songs like Victim Of Love and Wasted Time prove that Hotel California is a masterful achievement. 

Pretty Maids All In A Row continues that masterful style and Joe Walsh’s unique vocal, especially in the opening verse, offers an interesting stylistic shift. I don’t know about you, dear reader, but while Walsh is well-respected in his own right, I’ve often felt that he hasn’t received the recognition he deserved, particularly in the Eagles, for he is one of the greatest musicians of our time. 

Try And Love Again offers yet another vocal perspective to the Eagles style and Randy Meisner knocks it out of the park. While his departure allowed Timothy B. Schmit to join the Eagles, Meisner certainly went out on a high with this song having also penned it.

The Last Resort is the perfect closer and afterwards, at times, I’ll sit and let the music that I’ve just listened to permeate my soul. Yet at other times The Last Resort will compel me to listen to Hotel California again; it is that good!

Hotel California most certainly deserves the recognition it receives and while I’d still suggest that One Of These Nights is their greatest achievement, there are few albums that are as tight as Hotel California. 

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Live At The Los Angeles Forum 10/20-22/76: 

Take It Easy is a great toe-tapper and one of the best live editions that I’ve heard. That guitar solo, while short, works superbly well in enhancing the song from its origins. 

Take It To The Limit was previously released on Eagles Live and I remain convinced that this performance bests the original studio recording. If nothing else, Meisner’s vocal is smoother and less shrill than the studio recording; an aspect that I appreciate. 

New Kid In Town, for this particular live performance, is superior to the studio recording. It is a little more laid back in its presentation, particularly in the harmonies, and that subsequently makes it a little more enjoyable and less jarring on the senses. 

James Dean still sounds out-of-place in the Eagles’ catalogue, from my perspective, and while there is nothing wrong with this recording, it doesn’t break new ground either. That said, I do prefer this live recording over the studio release. 

Good Day In Hell is an interesting choice for a live performance as I consider it album filler. Nevertheless, it’s a solid performance that works really well within this collection and it’s another song that I feel is better than the studio recording. 

Witchy Woman has such a grungy guitar intro; I love it! While first released on their self-titled debut some four years earlier, this free-flowing performance is exceptional.  

Funk #49 is classic Joe Walsh, from his time in the James Gang. It’s a great song and a fantastic cover. In some ways, I wish it was an Eagles’ original, but at least we’re fortunate to have this live recording. 

One Of These Nights is styled somewhat differently from the original studio release; I like it! 

Hotel California is arguably the first live performance of the well-over 1,000 times the Eagles’ have performed this classic song and it’s really good. It isn’t the best, not by any means, for that award goes to the Hell Freezes Over performance. It is nice, however, to hear earlier renditions to appreciate how it would have been presented at the time, especially in regard to the guitar tuning as it offers a different interpretation. 

Already Gone is a solid closer with an addictive rhythm and twang…hold on a sec, I said that very same thing when reviewing Already Gone as the opener for On The Border. And, yes, the woo-hoo-hoo vocal elements remain distracting.  

While Live At The Los Angeles Forum 10/20-22/76 is clearly truncated, and it would have been wonderful to have a more complete recording to enjoy, it has been put together extremely well whereby you’re left wanting more; always a good thing! 

Overall, you really can’t go wrong with Hotel California but as there will undoubtedly be a 50th anniversary release of this album, it is my hope that the shortcomings will be rectified. We will, of course, have to wait another few years to see how the Eagles and their record label will convince us that we need yet another edition of one of the most beloved albums in our collection. Until then, the 40th Anniversary editions shall suffice.

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