Bob Dylan – Slow Train Coming (Album Review)

Released in 1979, Slow Train Coming is an incredible Bob Dylan release that has long divided fans due to its overt Christian values. Yet, if you listen to Slow Train Coming, sans this knowledge, there’s a good chance you’ll consider it an incredible classic rock album. It’s moments like these that I’m glad that I appreciate the vocal more as an instrument than a storytelling device for lyrics can quickly divide fans and are so interpretable that their meaning, implied or otherwise, can detract from a worthy musical experience. However, for those that appreciate music for its literal intent, Slow Train Coming is one of Dylan’s greatest statements. 

Spirituality aside, Slow Train Coming is a gorgeous recording with Dylan front and centre in the mix meaning that Dylan, the band, and the backing singers sound as if they’re in the room with you. Yes, it helps that the Apple Music stream is presented in (Hi-Res) Lossless and is also an Apple Digital Master, but I dare say that there wouldn’t be a bad mastering of this album to be found. Despite that, the Apple Music stream is so pleasing that seeking out a copy on vinyl would be an act of futility for any other reason than the permanence of owning the album. In fact, I’d go as far as saying that the stream has a very smooth analog sound that further negates the need for a vinyl copy. If you’re into vinyl, however, don’t let that deter you but when streaming sounds this good, it is increasingly difficult to justify the physical counterpart; especially when the cost of vinyl continues its upward trajectory. 

Some may point to the well-received out-of-print multi-channel mix that was originally issued on SACD in 2003 and while I’ve never heard that particular release, I do question what a surround or new Atmos mix would bring to the album for the soundstage of the stereo edition is already immersive, wide, and with an impressive level of clarity. While Dylan’s recordings have generally been impressive, there’s no doubt in my mind that the inclusion of one-half of Dire Straits had a significant impact. 

Mark Knopfler (lead guitar) and Pick Withers (drums) did a masterful job and while Slow Train Coming sounds like a Dire Straits album fronted by Dylan, it’s a combination that I thoroughly enjoy and one that subsequently makes it one of Dylan’s greatest recordings. Of course, that takes nothing away from the other musicians on the record, but the fusion between the boys from Dire Straits and the lyrical mastermind of Dylan ensured Slow Train Coming was unique and luscious in musicality.

Gotta Serve Somebody is without a doubt one of Dylan’s greatest tunes. Yes, some will lament the spiritual nature of the song but Gotta Serve Somebody doesn’t discriminate, based on personal beliefs, but instead applies a common sense approach that permits the listener to consider their life choices. Even if you remove the lyrical intent, Gotta Serve Somebody is a masterful blues-driven tune that is as relevant today as it was when it was written. It is infectious with its musical styling and has a textbook-perfect fade-out. 

If you enjoy Gotta Serve Somebody, then you should check out Take 1 as it is a little more upbeat and jazzy with pop elements in the musical backing that make it super appealing.

The live recording from Nov. 15, 1979, is thoroughly enjoyable with a groove that draws you in. In essence, it matches the styling of the original studio recording while adding live elements, resulting in a stunning performance of Gotta Serve Somebody that is far greater than the lifeless live rendition from June 27, 1981.

Regarding the covers, you should check out Etta James’ blues-based rocking rendition as well as Natalie Cole’s smooth interpretation. There really isn’t a bad cover to be heard of this Dylan classic and no more is that true than when listening to Willie Nelson's masterful recording; one so good that it almost supplants Dylan’s original. 

Precious Angel could very well have been a Dire Straits tune. The combination of Knopfler’s licks and Dylan’s trademark raspy yet smooth vocal makes for an exceptionally pleasing song. 

In case you’re wondering, I’ve yet to hear a live recording of Precious Angel that can come close to the studio recording; they’re all underwhelming! Of course, don’t take my word for it as a few have made their way to Trouble No More: The Bootleg Series, Vol. 13 / 1979-1981 (Deluxe Edition).

I Believe In You has a relaxed verse structure; one that appeals to Dylan’s overall style, but for some reason, the first chorus grates me as I feel Dylan overreached with regard to his vocal delivery. It’s a shame because I Believe In You is an otherwise exceptional tune. 

Slow Train is musical bliss and is amongst Dylan’s greatest recordings. You’ll be toe-tapping and head-bopping but perhaps most importantly, you won’t tire of listening to it. 

Of the available live recordings, the performance with The Grateful Dead (at Sullivan Stadium, Foxborough, MA - July 1987) has a relaxed swagger that plays into the artistry of The Grateful Dead. Despite being different, particularly concerning not adopting Knopfler’s lead guitar styling, it’s simply irresistible. Also worth checking out is the performance recorded on Nov. 16, 1979; an energetic presentation that’s on par with the studio recording. 

Gonna Change My Way Of Thinking has a killer groove and a perfect mix. It’s blues-based rock and roll at its most fundamental and while the song itself wouldn’t necessarily be a standout, I’ll always get my air guitar out when Gonna Change My Way Of Thinking comes on. 

Do Right To Me Baby (Do Unto Others) is a great tune with a solid backbeat and guitar tuning that complements Dylan’s vocals. It’s album filler, but it slots in perfectly to the tracking of the album and I couldn’t imagine Slow Train Coming without Do Right To Me Baby (Do Unto Others). 

When You Gonna Wake Up is a killer rock tune and one that should have been released as a single; it’s that good! The mix and soundstage are awe-inspiring and When You Gonna Wake Up is subsequently one of the best songs Dylan ever recorded. The band was at the top of their game on this one, particularly the brass section. 

Man Gave Names To All The Animals has to be my favourite song on Slow Train Coming. It isn’t that it’s the perfect song, but I enjoy the reggae feel and its quirkiness for it’s a fun little number and sometimes that’s all you need. Yes, one could classify it as a children’s song due to its lyrical meaning and the fact that The Wiggles covered it, but this adult version, that’s what I’m calling it, is masterful. 

If you’re after a live performance, you can always check out the recordings featured on Trouble No More: The Bootleg Series, Vol. 13 / 1979-1981 (Deluxe Edition), but be warned; they’re not very good! 

When He Returns is stripped down with only Dylan on vocals and Barry Beckett on piano. While different in style from the rest of the album, it’s a stunningly beautiful piece that showcases Dylan’s vocal prowess better than any other song on Slow Train Coming. It also offers the listener a reflective respite as well as encourages the playing of the album again. While some may revolt against the religious nature of When He Returns, doing so is short-sighted for this is an incredible song that deserves to be heard and respected as one person’s perspective that may differ from your own.

Whether you agree with Dylan’s inferred Christian values on Slow Train Coming, or not, there is little doubt that this is musically one of his greatest creative achievements and is one of the greatest albums released in 1979. There isn’t a bad song to be heard and even the cover art is appealing to fix one’s gaze upon while slipping into the sonic wonderland that only Dylan, and one-half of Dire Straits, could deliver. 

Check out more Bob Dylan reviews by Subjective Sounds

Supertramp – Breakfast In America (Album Review)

If you haven’t already, you really need to listen to Breakfast In America as no review can adequately describe the uniqueness of this record. It’s an experience in and of itself and while some may suggest that Crime Of The Century is their greatest release, I’d counter that by declaring that Breakfast In America is, in fact, the most extraordinary album Supertramp ever recorded and is one of the best records released in 1979. 

Released in 1979, Breakfast In America would ride the charts, worldwide, all the way to the top, selling more than 20 million copies and would become Supertramp’s most commercially successful release. That’s hardly surprising with its enjoyable and somewhat amusing tunes and a cover art design that is a perfect visual counterpart to the music contained within.

Speaking of the artwork, if you’re fortunate to own a copy on vinyl, you’ll be captivated by the little details for the city skyline is composed entirely of elements common to diner culture in America. While I’ve yet to pick up a copy on vinyl, I was fortunate to have owned the Blu-ray High Fidelity Pure Audio (HFPA) release but despite a slightly larger canvas, the detail within the artwork was sorely missed, much the same way as it is on the CD and streaming editions of this release. While the music is the most important element, good cover art design, at times, makes the experience more immersive. 

As it pertains to immersion and audible bliss, the lossless Apple Music stream is merely adequate. If memory serves me well, the DTS Master Audio, option on the HFPA release, reduced the sharpness in the treble region that is inherent with this recording. That edition has long since gone, however, following a hard cull of my collection and a refocus on vinyl and streaming.

The lossless Apple Music stream utilises the same mastering that is found on the 2010 remastered CD releases, but if you are content with listening to this album at low volumes you likely won’t have a problem. Pump the volume and you’ll end up with a glassy digital sound that lacks fullness and warmth and is rather fatiguing to listen to. In truth, it isn’t Apple’s fault, for A&M Records could issue them with a better master but has neglected to do so. It’s a strange omission, especially considering Crime Of The Century is presented on Apple Music not only as (Hi-Res) Lossless but also as an Apple Digital Master and it sounds luscious by comparison.

Gone Hollywood gradually builds; it’s a perfect opening tune that sets the tone for the entire record. Its composition and mix are so profound that Gone Hollywood quickly becomes not only a killer opener but one of the greatest songs ever recorded, in music history, by anyone. Bob Siebenberg’s drumming here, and throughout, is some of the best you’ll ever hear but in truth, the entire band was on fire. The mid-song slowdown is simply magnificent and makes me immediately think of the overused adage that they don’t make music like this anymore.  

The Logical Song follows Gone Hollywood well but there are moments where Roger Hodgson’s vocal is a little jarring. It’s a shame as The Logical Song is an otherwise great tune. 

The music video is a faux live recording that is perfectly adequate and representative of the band at the time. Unlike other videos from the era, the editing was done tastefully thereby allowing one to enjoy the song without cringey cuts and overlays. 

Goodbye Stranger is a fantastic Rick Davies’ tune. His vocal here is perfect and the sparse introduction certainly helps to amplify it. While some may lament the falsetto vocal, I feel it is well restrained. Similarly, the interweaving backing vocal is brilliant and even the finger clicking is expertly placed in the mix and not overly used throughout the song. Plus, that closing guitar lick is what air guitar dreams are made of. 

Breakfast In America has a reggae meets jazz meets classic rock feel to it. It’s fantastic! It’s moody and is one of the songs from the album that demands a little more oomph in the mid to low-end audible regions as a too-clinical approach can leave this tune sounding lifeless. Breakfast In America is one song that you’ll want to feel, not simply hear, and sadly the stream doesn’t do it justice.

Oh Darling is a lovely song and despite being nothing to write home about, Breakfast In America wouldn’t be the same without it.

Take The Long Way Home is an absolute classic. If you haven’t played this tune on a Sunday drive, on your way home, you’re missing out. Of course, the song has nothing to do with driving home but that doesn’t make it any less suitable for the task. It’s more about finding where home is, within your soul.

Lord Is It Mine is a beautiful piano-driven song and Hodgson’s vocal is particularly of note here as he takes it right to the edge but manages to restrain himself from taking it too far. The result is one of the best songs on the album and in Supertramp’s catalogue of music.

Just Another Nervous Wreck picks up the tempo a little and is a solid classic rock tune. While it’s unlikely that you’ll seek the song out on its own, when played in the linear album structure, it’s an incredible inclusion that is positioned well within the tracking of the record.  

Casual Conversations deviates a little from the styling of Just Another Nervous Wreck, but it’s a lovely mellow tune. Of course, the song wasn’t derived from such pleasant origins. It’s often been claimed that Casual Conversations is autobiographical and attempts to address the collapse of communication between Davies and Hodgson. At best, it’s melancholy, despite its relaxed nature, and depending on how you choose to interpret music, this is one song that you can appreciate either from a literal lyrical interpretation or a more musical perspective.

Child Of Vision is the perfect bookend to the album as elements from Gone Hollywood can be heard in this incredible closer. It’s a musical wonderland and is, without a doubt, one of the best songs on the album. That said, it isn’t all wonderful for the bridge between the verse and chorus often drives me insane as I don’t like the chosen vocal delivery and subsequent mix. As a result, I much prefer to enjoy Child Of Vision for its musical aspects and I dare say that if it were not for the instrumental second half of the song, I wouldn’t praise it as much as I do.

Breakfast In America is an experience and is one that isn’t easily forgotten. Despite a few minor niggles, there is little doubt that this is a masterful release; one that plays like a greatest hits album. While each and every fan will have their own preference, and there are some killer tunes to be heard on Supertramp’s other albums, Breakfast In America is a cohesive piece of work that is simply more fluid and powerful than any other Supertramp album.

Check out more reviews by Subjective Sounds

Neil Young & Crazy Horse – Rust Never Sleeps (Album Review)

Prolific is an understatement when talking about Neil Young and determining his greatest album is one of the most challenging things that fans can do. Rust Never Sleeps, the 1979 masterpiece with Crazy Horse, however, is certainly shortlisted for that honourable position for it is the culmination of incredible songwriting and recording techniques that makes this such an impressive release.  

Having long been a master in recording techniques, and while he has many detractors, due to his position on the quality of music and the presentation of his back catalogue, there is no denying that Young knows how to get the sound he’s after. As a result, Rust Never Sleeps isn’t your traditional studio-based album as it was overdubbed following being recorded live. When you listen to the album you sense the energy of the band but the spit and polish applied, in the analogue era, is nothing short of astonishing as you’d be forgiven for assuming that Rust Never Sleeps is a slick studio recording with added live elements.  This doesn’t apply to every song, as some were studio recordings, and the flow of the record isn’t disrupted as Rust Never Sleeps sounds like a single cohesive piece of musical art rather than a series of songs haphazardly put together to qualify the work as an album.  

Furthermore, from a sonic perspective, the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, is exquisite. Given Young’s penchant for purity and the very best possible sonic reproductions of his work, this should hardly come as a surprise, but Rust Never Sleeps is one recording that will cause you to look up, in wonder, as you question if Young and Crazy Horse are in the room with you, granting you a private audience; it really is that exceptional and other than picking it up on vinyl, or listening via Young’s archives, I seriously doubt you’ll be disappointed for every element of the recording is crisp, well-defined, and positioned beautifully in the mix with absolutely no unintended distortion due to poor mastering techniques. Rust Never Sleeps, along with many of Young’s albums, should be required listening for all mastering engineers as it showcases exactly how music should sound.

My My, Hey Hey (Out Of The Blue) is a perfect bookend opening to Hey Hey, My My (Into The Black), especially if you listen to Rust Never Sleeps on repeat. It’s classic Young; a simple but magical acoustic composition that highlights his vocal while providing just enough musical backing to be thoroughly enjoyable. While the crowd noises have been significantly dialled back, it really works for the song and I simply couldn’t imagine hearing My My, Hey Hey (Out Of The Blue) sans the audience. That said, I feel the song tapers off a little too quickly thereby taking the listener prematurely out of an experiential element. 

Thrasher flows well from My My, Hey Hey (Out Of The Blue) and maintains the tempo and  composition styling to great effect. Sometimes less is more and in this case, Young has applied this mantra by only including the necessary musical elements. Yes, singer-songwriters generally share this trait, but Young is a master of the craft. 

Ride My Llama is a magnificent tune with yet another barebones approach that is a common style amongst Young’s recordings. It’s fair to say that Ride My Llama will likely not appeal to all fans but the more I listen to Rust Never Sleeps the more I appreciate the song as there’s seemingly something new to experience each and every time it is played. 

Pocahontas has a killer rhythm. You’ll be toe-tapping from the very first note. While some will logically cling to every lyric and the song’s associated meaning, longtime readers will note that I prefer enjoying music when the vocal is akin to an instrument rather than a storytelling device and in that regard, Young’s performance is stunning with just enough room echo to give you a sense of spatial depth. 

Young would go on to perform Pocahontas on the MTV Unplugged platform and that particular performance, as featured on Unplugged, is solid but doesn’t capture the magic of the original recording heard on Rust Never Sleeps. An even earlier version (circa 1976) exists and was released by Young on Hitchhiker in 2017; a thoroughly enjoyable, and similar, recording to this one. Other live recordings of this landmark tune also exist on Songs For Judy and Year Of The Horse. Both are worthy of listening to but sometimes, as is the case this time around, the original release is unbeatable. 

Sail Away is one of the most lovely songs you’re ever likely to hear. I’ve no doubt some will lament the vocal structure and Nicolette Larson’s inclusion, but I find the opposite to be true in that it is the vocal and backing vocal mix that makes Sail Away such an incredible tune. Taking nothing away from Larson, this is one song that would have been perfect on any Crosby, Stills, Nash & Young album. 

Powderfinger is distortion heaven with one of the very best rock and roll guitar licks ever recorded. You’ll need your air guitar for this magnificent tune.

The recording on Live Rust is underwhelming as it doesn’t have the same energy as that heard on Rust Never Sleeps. The live performance on Weld, however, is killer.

As with Pocahontas, an earlier recording of Powderfinger exists on Hitchhiker. It’s cleaner and while the distortion that is adored is missing, this acoustic-driven interpretation is exceptional in its own right and is worthy of checking out if you haven’t done so already. 

Welfare Mothers continues the hard-rocking vibe. While it may not come close to the magic heard on Powderfinger, and is arguably a little repetitive, I’ll be damned if I don’t turn the volume up every time this song comes on. 

Sedan Delivery is the only lacklustre tune to be heard on Rust Never Sleeps. It’s a perfect B-side, but the shifting tempo, while chosen for stylistic reasons, results in a less than ideal musical flow thereby limiting the emotive element that permits the mind to the latch onto a singular rhythm throughout. 

Of the live recordings, the performance from Live Rust is fundamentally a carbon copy of this rendition, while Way Down In The Rust Bucket offers a slightly different and modernised rocking interpretation from 1990 when the album was recorded. It is, subsequently, my preferred live version as the recording from Year Of The Horse is too loose.  

Hey Hey, My My (Into The Black) turns the distortion all the way up, but rather than it being a mastering decision it is a style chosen by Young and perfectly applied. As the closing song, it provides a masterful bookend to the album that permits further contemplation of what you’ve just heard while simultaneously willing you to put the album on repeat for Rust Never Sleeps is so good that it’s unlikely you’ll only listen to it once. 

If Rust Never Sleeps isn’t the greatest Neil Young release of all time, I don’t know what is. It's certainly one of the best albums released in 1979. Yes, I love his 1968-74 output and I’ve long appreciated Mirror Ball and Psychedelic Pill but there’s just something special to be heard here; something missing from every other album Young has released. Perhaps it’s the recording style, or the songs themselves, but whatever it is, Rust Never Sleeps is a pinnacle moment in the story of Neil Young & Crazy Horse. 

Check out more Neil Young & Crazy Horse reviews by Subjective Sounds

Eagles – The Long Run (Album Review)

For decades, The Long Run was considered the final chapter in the Eagles’ story, and in a way it is, for as exceptional as the four new songs from Hell Freezes Over are, and Long Road Out Of Eden is, The Long Run is the culmination of the classic Eagle’s body of work. While it could never compete with the success of Hotel California, it offers a more cohesive overview of their career with rock influences ranging from their self-titled debut to Hotel California’s laid-back fluidity. The Long Run, subsequently, is one of the greatest Eagle’s albums and one of the best records released in 1979.

Released in 1979, The Long Run featured Timothy B. Schmit for the first time in the Eagles’ lineup as he replaced Randy Meisner. Meisner, as a founding member of the Eagles, was synonymous with their sound but Schmit filled the role perfectly and along with the addition of Joe Walsh in 1976 is amongst my favourite lineup changes in all of recorded music history. Schmit's subtle tones brought a new level of musicality to the band and I Can’t Tell You Why is about as close to perfect as any song can get. 

Perfection was something the Eagles were known for, particularly with regards to their production values and while there isn’t a bad way to experience this album, some versions appeal to me more than others. The vinyl record (2014 reissue/cat: RRM1-508) I’m fortunate to own is spacious, detailed, smooth, and silent with a level of bass depth that isn’t overbearing but similarly feels like it isn’t quite there. It’s a small issue, and one that generally doesn’t bother me, but it sounds a little too accurate. A first-world problem, I know, but when I invest in vinyl, both from a cost and time perspective, I want to be wowed and while I thoroughly enjoy this pressing, I often wonder if another edition would better suit my expectations of a warmer reproduction. 

The (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, is fantastic and while it lacks the vinyl sound signature, it’s edgier and fuller with the same benefits heard on the vinyl release; but there’s a little less spaciousness that is particularly noticeable on songs such as The Disco Strangler with regard to the echoing vocal. The bass issue I have with the vinyl release isn’t present here as the bass is less pronounced but smoother and more analog sounding; a dichotomy considering it is most certainly a digital medium. Regardless, if I had to choose one, as much as it pains me to say it, I’d go with the Apple Music stream every time as it simply sounds right. My body moves involuntarily, I want to sing along, and the air guitar makes an appearance throughout; all aspects that are missing when I play the vinyl counterpart. 

The Long Run isn’t the greatest opener, although you immediately know what you’re going to get. Is it Don Henley’s greatest vocal performance? No, but the guitar tuning and licks are what make The Long Run such an enjoyable tune.

I Can’t Tell You Why is nothing short of a masterpiece and is, without doubt, one of the best songs the Eagles ever recorded. Schmit’s vocal is otherworldly but the entire composition of the tune is so perfect that I could listen to it on repeat indefinitely; it’s most certainly a song for inclusion on any desert island playlist. 

The live performance from Hell Freezes Over is, as I’ve suggested before, incredibly smooth with zero distortion, notable as it’s a live recording, thereby resulting in a perfect song that will see you toe-tapping to the infectious rhythm. The performance featured on Eagles Live is a lovely early interpretation from 1980 that is very similar to the studio recording but  the recording from Live From The Forum MMXVIII is different. Like, really, different! It just isn’t the same and while I acknowledge that Schmit has aged and likely cannot hit the near-falsetto vocal like he could in his prime, I find it detracting to the extent that I don’t appreciate this particular performance. 

While there have been a few covers of this classic tune, one of the best that you should check out is Diana Krall’s from Wallflower. It doesn’t match the original, but it jazzes it up. That said, I would have loved to have seen Krall invite Schmit to record the backing vocals with her, or even perform the song as a duet, for I feel it would have been amazing. 

In The City isn’t an Eagles’ original for Joe Walsh initially recorded it for The Warriors soundtrack. That particular version is a little edgier, from a rock perspective, than the Eagles’ interpretation but both are rather similar and I appreciate the Eagles’ version just a little more as it’s more melodic in both vocal harmony and overall musicality. 

The live performance from Hell Freezes Over takes the song one step further and while I would suggest that Walsh’s vocal is too forward in the mix this is arguably the best recording of In The City as it has the rocking rawness Walsh is best known for. Similar to I Can’t Tell You Why, I’d give the Live From The Forum MMXVIII recording a miss. It isn’t great. A shame considering that In The City is a killer tune and one of my all-time favourite Joe Walsh songs. 

The Disco Strangler is a solid tune but the guitar tuning can be a little grinding. Henley’s offbeat vocal works for the song but there’s no doubt in my mind that it isn’t well-suited to the album. That said, if it were on On The Border it would have been perfect. The core redeeming quality, however, is the echoing vocal at the end of the song. I love the mixing choice in that regard. 

King Of Hollywood is pure bliss and the perfect counterbalance to The Disco Strangler. While the guitar work isn’t quite Dire Straits’ level, it’s gorgeous and is one of The Eagles’ greatest tunes. 

Heartache Tonight has a great rhythm but it’s a little too muddy and concealed, especially in the introduction and chorus. Given that the album has always sounded that way I can only assume that it was an intentional creative choice and while it doesn’t destroy the song for me, it does cause minor irritation to an otherwise great song. 

Those Shoes is a killer tune and who doesn’t love the talk-box; a severely underused tool in modern music. It just gives a unique sound that, yes, we all make when we’ve got our air guitar out and we’re playing along. 

Teenage Jail is a solid album track, but it’s unlikely you’ll ever seek it out on its own. That isn’t to suggest that the song’s bad, far from it, but it simply flows better as an album track than as a standalone song. 

The Greeks Don’t Want No Freaks is a quirky song to follow Teenage Jail. It shouldn’t work, yet it does. Sometimes a fun little tune is all that’s needed and The Greeks Don’t Want No Freaks suits that purpose. 

The Sad Cafe is a beautiful closing song. Another classic Eagles’ tune that will encourage you to listen to the album again and stay within the Eagles’ greater catalogue. Due to the slower tempo, it’s also the perfect song to cease listening to the Eagles on as it permits a level of reflection, especially if you’re, as I am, into late-night listening sessions. 

Overall, The Long Run is a superb album and a perfect closing chapter to the Eagles’ 70s output. While it may be less fluid than Hotel California, it does, as previously mentioned, encompass elements from all their previous albums thereby making this a must-own for any fan.

Check out more Eagles reviews by Subjective Sounds

Dire Straits – Communiqué (Album Review)

While the self-titled Dire Straits debut is a must-own for any music collection, their second album, Communiqué, is less edgy with a smoother all-over presentation that sees the band evolve from their origins; even though Communiqué was released several months post their 1978 debut. Those dismissing Communiqué as a clone of their first album suggest so because it is fashionable. I’d argue that while they are complementary they are entirely different beasts and should be appreciated in that manner.  

Visually, Communiqué is stunning. The album artwork pops due to its simplicity and use of white space while also permitting a sense of curiosity. It’s, in my opinion, the greatest album artwork ever released on any Dire Straits release. 

Sonically, the lossless Apple Music stream remaster of Communiqué is simply stunning. The entire recording was done so well that I dare suggest there isn’t a sonically compromised version available. It’s dynamic with no audible compression and while different masterings and subsequent releases exist, the Apple Music stream is, in my mind at least, perfect! 

Once Upon A Time In The West opens with Mark Knopfler’s magnificent guitar work that sets the tone for the entire album, but it is the depth of the overall mix and Pick Withers’ drum track that lights up Once Upon A Time In The West with a laid back vibe and sonic wonder that will cause you to raise your head in pure admiration. A magnificent opening track. 

News flows perfectly from the opening song, reducing the tempo, but not diluting the magnificence. Aside from Knopfler’s guitar work, David’s (on Rhythm Guitar) as well, John Illsley’s bass tracking provides the perfect emphasis that holds the sum of its parts together. Withers, again, knocks it out of the park with some of the best drumming you’ll ever hear.  

Where Do You Think You’re Going? continues the laid-back style of Communiqué and it is with this delicate nature that you can begin to thoroughly appreciate Dire Straits’ musical prowess for it isn’t always about the boldest presentation but the fluidity and how music makes us feel. In this case, Where Do You Think You’re Going? reminds me of why I love music.

Communiqué has a slight tempo boost with a little more twang. It’s Dire Straits 101, but as much as I enjoy Communiqué in the linear album format, it’s one song from the album that I generally don’t seek out on its own. As the title song, however, it’s perfectly suited, but I think the one aspect that has always bothered me with Communiqué is Knopfler’s vocal is too forward in the mix. Some may like that approach, and it isn’t necessarily a bad thing, but Dire Straits is as much a musical outfit as it is a vocal storytelling one and subsequently I appreciate their output for the musicality far more than I do the literal intent. 

Lady Writer may well have a Sultans Of Swing feel to it, and there’s no doubt in my mind that Sultans Of Swing is superior to Lady Writer, but just as much of AC/DC’s catalogue sounds the same to everything they’ve ever recorded, I consider Lady Writer to share the same similarity; arguably a positive aspect for fans of Sultans Of Swing. Plus, that guitar work throughout the second half of the song is exquisite in its own right.

The music video is naturally dated, but it isn’t bad for a faux live recording as it’s been edited in such a way that you get a sense of the energy the band had at the time. The audio, however, is atrocious. Granted, the existing videotapes probably aren’t in the best condition, but it would be great to see the record label rework the audio before distributing the video. 

Angel Of Mercy is toe-tapping gold and could almost be considered a country tune with the drawl and twang present throughout. There’s also a little Caribbean influence to be heard and while Angel Of Mercy isn’t necessarily a standout, it’s a solid B-side.

Portobello Belle has a Bob Dylan feel to it, as several other songs on the album do, and it is little wonder that Dylan employed the services of Mark Knopfler and Pick Withers for his magnificent 1979 release, Slow Train Coming. That, dear reader, is a much better correlation to make regarding a carbon copy of music than suggesting Communiqué lacks originality when compared to Dire Straits’ debut. 

Single Handed Sailor has some gorgeous guitar licks throughout but that closing solo is undoubtedly the highlight; stunning!  

Follow Me Home has an incredibly immersive soundstage with atmospheric elements that transport you to another location. It’s without a doubt one of the most relaxing tunes that Dire Straits ever recorded and is the perfect way to close this exceptional album as it encourages you to play the record again or sit in quiet contemplation and marvel at the audible wonder that is Communiqué.

While there are many killer tunes to be heard on Communiqué, there is little doubt in my mind that this is Dire Straits’ most cohesive album and therefore I implore you to listen to it linearly; I promise you won’t regret it! Of course, it’s also one of those special releases that will appeal to every occasion and situation but don’t listen to the detractors. It’s better than their debut and I’d even go as far as suggesting that it is their very best album and one of the greatest albums released in 1979.. 

Check out more Dire Straits reviews by Subjective Sounds

Kansas – Monolith (Album Review)

A soaring progressive rock masterpiece that is intensely underrated is a good way to describe Kansas’ sixth studio album Monolith. For decades, fans have been divided when it comes to this 1979 release for it heralded a slight shift from Kansas’ prior works; one that some would suggest was a step too far. I, on the other hand, see Monolith as a natural progression and one of the albums that would influence the hair metal, ballad-driven, 80s era. 

Visually, the album artwork is perfectly aligned with Kansas’ preceding and future output and only second to Point Of No Return. It possesses an imaginative quality that allows the listener to gaze upon the artwork and ponder how, or if, it is related to the music while creating their very own fantasy.  

Sonically, the lossless Apple Music stream is sufficient but I’d be lying if I didn’t say that Monolith requires a remaster. The sound is arguably well-balanced, but it’s a little thin for my liking and you, like I, will likely find a need to adjust the EQ or tone controls on your playback equipment to get the most out of the recording. That said, a thinner sound was applicable to rock bands throughout the era, and even into the 80s, so your opinion may differ from my own. The 2020 vinyl reissue on Music On Vinyl may address this issue but that largely depends on the mastering that was used for this particular reissue. At any rate, I have yet to acquire that version so I’m not able to comment further. 

On The Other Side is a masterstroke as it pertains to the opening song of an album. The guitars soar, the bass slides in perfectly, and the drum backbeat is utterly amazing before Steve Walsh’s vocal enters the mix and culminates in an incredible classic rock tune that is up there with the best rock music ever recorded. That said, Robby Steinhardt’s violin and anvil performance stand out here, ensuring that the song itself, and Kansas’ overall sound signature, is progressive in that this isn’t just another generic rock album. 

The music video is an excellent live performance of the song, but I do wish that they had just got straight into the performance itself as the introduction is utterly ridiculous. Similarly, the video ends rather abruptly rather than fading out, and the multi-window editing style disappointingly becomes a recurring aspect that ultimately detracts from the music itself; a common style from the era, but one that has aged badly. 

People Of The South Wind adds incredible energy to the album and while it isn’t the strongest song from Monolith, it’s a solid tune with some killer guitar licks, particularly in the solo, that will likely appeal to many. People Of The South Wind most certainly was radio-friendly, with a pop/disco-vibe, that is true to the times but would likely have been declared a sell-out by their hardcore fan base.

The music video for People Of The South Wind thankfully does away with the finicky edits, allowing the music and the faux live performance to remain undiluted. The result is a much more compelling music video than On The Other Side. Still, it ends abruptly and I hope that it is merely someone not paying due diligence when digitising the original tapes rather than that being the way the videos were ended. 

Angels Have Fallen opens with Steinhardt’s stunning violin, but it is the lyrical delivery from Walsh that truly captivates the senses as the song builds to its ultimate peak before returning to a more mellow tempo. It’s simply magnificent and is without a doubt one of the strongest songs on the album and in Kansas’ entire catalogue, but it should be noted that the mix is the pinnacle element here as every musical aspect is perfectly positioned in the soundstage. Angels Have Fallen is one of those songs that you can immediately connect with upon hearing it. That aspect is no more apparent than during the second half of the song where the vocals, guitar, and other musical elements bring the song to its soaring closing moments that will encourage you to turn the volume to 11. Phil Ehart’s drumming in this particular section is second to none proving that he is one of rock and roll's greatest drummers. 

How My Soul Cries Out For You picks up the tempo but flows perfectly from Angels Have Fallen with its signature progressive elements that do sound a little dated, but not in the detrimental sense of the word. You likely won’t seek it out on its own, but as an album track, I couldn’t imagine Monolith sans this tune. That said, the mid-song lull should have been reconsidered as it breaks with the flow of the music and makes me question if it was really necessary. There’s also an audible drop-off towards the end of the song; likely intentional as it sounds like the master tape was spliced and recompiled in the mixing phase and never corrected or adjusted. An irritating aspect, yes, but one that we can do nothing about. 

A Glimpse Of Home has a corny opening, upon modern-day reflections, but it’s an underrated sonic masterpiece so good that it makes me wonder how A Glimpse Of Home and Monolith, in general, was not better received for it has stood the test of time and is amongst some of the very best music released in 1979.

Away From You is a solid tune but it suffers from another quirky introduction that ages the song. Of course, the trite chorus structure doesn’t help either but it’s one of those moments where you have to accept it for what it is. 

As it pertains to the music video for Away From You, there isn’t much to say as it retains the faux live recording featured on On The Other Side and People Of The South Wind. A solid promotional video, yes, but not music video worthy. 

Stay Out Of Trouble, by comparison, is a killer tune. Perhaps the only questionable aspect is its shifting tempo; a stylistic choice that is suitable but becomes disjointed in the listener’s mind thereby making it difficult to select the best tempo to attach oneself to. Look, it’s progressive rock 101 but it may take a few plays to fully become engrossed in Stay Out Of Trouble. 

Reason To Be is a lovely ballad. Yes, I am one of those music lovers that adore ballads and don’t find them corny; even when they most certainly are. It is just that I often adore the vocal prowess of rock musicians and Reason To Be showcases just how good Walsh is as a vocalist and while some may disagree, I’d put him on par with any of the Eagles. It’s so soothing that it becomes the ultimate closing song as it both encourages me to listen to the album again and reflect on the music that I’ve just heard.

The music video for Reason To Be, however, is woeful and what is it with that wow and flutter in the audio, I can’t help but wonder if that is intentional or not, given that it has a metallic sound signature. Likely, it was simply on the original tape that was digitised by the record label and they never corrected it, but it really throws out the tuning of the songs for those who enjoy watching music videos. 

Overall, Monolith is sensational and the fact that it has been so underrated is a travesty for it is a remarkable piece of audible art. While some would disagree, I consider Monolith to be Kansas’ best album. 

Check out more Kansas reviews by Subjective Sounds

The Alan Parsons Project – Tales of Mystery and Imagination (Album Review)

Unlike George Lucas ruining the original Star Wars trilogy, the 1987 remix of Tales of Mystery and Imagination is nothing short of perfection and while the original mixes, from 1976, are worth your time tracking down and listening to, the remix is arguably the best way to enjoy this cult classic. 

Yes, there’s an 80s vibe to this 70s album, but the prog-rock style remains ever-present thereby offering not only refinement in production but a significant improvement over the original. No doubt there’ll be some who prefer the original mix and there’s nothing wrong with that. Subjectively, I prefer the fuller, more atmospheric, sound of the remix along with the inclusion of the Orson Welles’ narration; although it does make for a less fluid and relaxing musical experience. 

While the original mix has previously been difficult to come by, in the modern era, it’s wonderful to note that it is available, as of 2024, via Apple Music et al. However, in going back to the album whilst compiling the upcoming Best Albums of 1976 ranked list, I took the time to listen to both versions and can declare that I remain most impressed with the 1987 remix as it’s more akin to a rock symphony than its original mix. It is simply a sonically better, and bolder, presentation, that works incredibly well with the style of music. 

It’s also important to mention that the 1976 mix was reissued in a 2007 Deluxe Edition and via the 40th Anniversary releases; a release that is not currently available to streaming services. As physical releases go it should be noted that Mobile Fidelity Sound Lab was the first to re-issue the original album on CD in 1994, although this particular release isn’t readily available and goes for considerable prices on the second-hand market. These releases no doubt showcase a perfect example of why physical media reigns supreme, but it’s a missed opportunity for those of us who choose streaming as our primary method for music delivery and it would be nice to see these additional versions released to a broader audience. 

Similarly frustrating is the fact that a higher resolution and the well-respected surround sound mix is missing from Apple Music. The only version present is the lossless CD-quality edition and while it’s an adequate facsimile, it could be so much more immersive. Given Apple Music’s push for Spatial Audio Dolby Atmos streams, it’s bizarre that Mercury Records hasn’t delivered Apple Music for streaming via their network. Most likely, while it is only conjecture on my part, they’re probably waiting for the 50th Anniversary release window before offering an updated release. Some may ponder if the surround mix is available elsewhere, or if a higher resolution is present via TIDAL or Qobuz and the answer to that thought process is no. They have the exact same version, of this album, as Apple Music. While it may be a frustrating omission, let’s hope that we will see additional offerings over the next couple of years as the album approaches its 50th Anniversary.

While fans will be aware of Alan Parsons’ legacy, newcomers may not realise that this project and the subsequent albums didn’t merely come about randomly for Parsons worked with The Beatles, Paul McCartney & Wings, and Pink Floyd as an engineer on Abbey Road, Red Rose Speedway, and Dark Side Of The Moon respectively. To say he’s a legend would be an understatement but no amount of collaborative efforts with these musical masters could have prepared the world for the haunting musical retelling of Edgar Allan Poe’s most classic written works.

Of course, 70s art rock would be for nothing if album artwork hadn’t played a key role. Instantly recognisable, the barren artwork directs your eye to the centre image, one of a shadow man presented on a strip of recording tape. The concept’s great for it is as if there’s an open door in the two-dimensional world that we can see but can’t quite access. From a distant view, it also gives the impression of an audio waveform; at least to me. 

Upon the release of the 1987 remix, however, the cover art did get a makeover that fills in the white space with an even more obscure caricature, taken from the original liner notes, that works surprisingly well with the existing artwork. It also maintains a solid match to the music but whichever way you look at it, both designs can stand on their own, sans the musical accompaniment. 

As with many popular albums from the era, there was a range of alternative cover art, with some of the cassette releases being particularly appealing along with the 1977 vinyl reissues that feature Parsons being wrapped up as if he would become the faceless mummified man. 

Nevertheless, while the cover art may have drawn you to the album, it’s ultimately the music that keeps us engaged and coming back for more. Join me as we explore the music that makes the Tales of Mystery and Imagination so compelling. 

A Dream Within A Dream (1987 Remix) opens the album with Orson Welles’ narration. While it isn’t the best opening, it’s far from the worst and helps the music to build gradually in the background. Once the minute-long spoken introduction has ended, the rest of this tune, instrumental in nature, has an oriental feel to it before morphing into a rhythmic rock piece. A Dream Within A Dream is just that; a multitude of songs within a singular track. Stunning and emotive, A Dream Within A Dream most importantly flows seamlessly through the transitions, blending perfectly into The Raven. 

The Raven (1987 Remix) is the opus here, both from Edgar Allan Poe’s perspective as well as The Alan Parsons Project. It’s magnificent and in part that is due to Alan Parsons’ use of the vocoder that breathes an otherworldly life into the song. Similarly, Leonard Whiting’s non-distorted vocal on The Raven is incredible, as is the guitar solo that is notable for being included in this 1987 remix. Even if you’re not a fan of the entire album, The Raven is one of the greatest classic rock songs ever recorded. 

The Tell-Tale Heart (1987 Remix) has a Led Zeppelin feel to it but it’s symphonic rock at its very best. There are moments of chaos and moments of subtle delicateness, but it all comes together in a killer tune that will set your stereo on fire; figuratively speaking, of course! 

The Cask Of Amontillado (1987 Remix) flows seamlessly from The Tell-Tale Heart, even though the style is much more mellow by comparison. It takes a group of master musicians to pull off such a transition even when contrasted against the era of the linear album format. The adage that they don’t make music like this anymore rings true for The Cask Of Amontillado is audible perfection.

(The System Of) Doctor Tarr And Professor Fether (1987 Remix) is a killer rhythmic tune. John Miles’ did a remarkable job on the vocal but it’s the guitar tuning, and performance, that really sets this recording apart from the rest of the songs on Tales of Mystery and Imagination. 

The Fall Of The House Of Usher [Instrumental] (1987 Remix) while split into Prelude, Arrival, Intermezzo, Pavane, and Fall sections is arguably a collective body of work that shouldn’t be considered as individual pieces when discussing the movement. Yes, it is sectional and could be discussed in that manner but The Fall Of The House Of Usher is stronger as a continuous piece of work that will remind you of Pink Floyd in places, particularly in the Arrival section, and classical symphonies in others. There’s even a classic film vibe, think The Godfather, to be heard within the Prelude area of the movement.

The Fall Of The House Of Usher [Instrumental], overall, is a lovely piece but one would rightly suggest that Side A of the original vinyl release would be worn out, unless you’re more of a fan of the symphonic elements, for that is where the soul of Tales of Mystery and Imagination really lies. Of course, what could be seen as a weakness could also be interpreted as a strength for this album can be listened to, and subsequently interpreted, in different ways. The Fall Of The House Of Usher [Instrumental] is a 15-minute behemoth but it’s as memorable for its length as David Bowman's movement through space and time in Stanley Kubrick's 2001: A Space Odyssey. 

To One In Paradise (1987 Remix) closes the album out nicely while ensuring that you’ll feel like playing it again. Even though To One In Paradise may not compare to the songs found on the first half of the album, it’s contemplative meaning that even if you decide not to spin the record again, you’ll be just as rewarded for sitting back and reflecting on the music you’ve just experienced. 

From start to finish, the Tales of Mystery and Imagination is an experience. One that will captivate you, and allow you to interpret Edgar Allan Poe’s works in an entirely different manner to his written output. Despite its modest success and subsequent cult following, I’m sure that if you take the time to listen, undistracted by the world around you, you’ll also become a fan of The Alan Parsons Project: Tales of Mystery and Imagination…forevermore. 

Check out more The Alan Parsons Project reviews by Subjective Sounds