Cold Chisel – East (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Four Walls is one of Chisel’s greatest tunes.

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

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

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Queen – The Game (Album Review)

It isn’t erroneous to consider Queen as an artist better known for their hits than their albums, but as it pertains to their 1980 release, The Game, it’s all killer, no filler. Naturally, the songs are the key element here as there is more cohesion between chosen tracks, but the shorter runtime also assists with the tightness of the album; one that you’ll find yourself compelled to put on repeat. Yes, it’s an up-and-down motion for those amongst us who appreciate vinyl, but when the music is this good, it’s worth the trouble. 

While I consider myself incredibly fortunate to own the superb Queen Studio Collection vinyl box set, the lossless Apple Music stream, an Apple Digital Master, is the perfect counterpart. Yes, the vinyl reproduction, a half-speed master out of Abbey Road Studios by Miles Showell, is the pinnacle as it relates to sonic reproduction, but it would be shortsighted to ignore the streaming digital counterpart. Let’s just put it this way, Queen’s albums were not only recorded and mixed with kid gloves but they’ve been mastered to the very highest standards. Subsequently, as much as I appreciate the vinyl re-issue of The Game, I don’t miss it when playing the stream, thereby further validating just how exceptional the stream is. 

Despite the cohesive nature of the music presented on The Game, this release is a shift of form for the band that heralded “…and nobody played synthesiser…(again)”,  “No synths!”, and “No Synthesisers!” with pride on prior albums. I don’t know about you, but I’ve never been too concerned with the specific techniques or instruments used, for change isn’t always a bad thing, especially if handled with respect. The Game subsequently changes the rules by allowing synthetic instrumentation; to great effect, I might add. Queen, however, didn’t hide this inclusion touting instead that “This album includes the first appearance of a Synthesizer (an Oberheim OBX) on a Queen album.”

Play The Game doesn’t have the greatest opening, but it’s classic Queen! As soon as the introduction subsides, however, the song comes into its own with some gorgeous guitar work by Brian May, but it’s the rock meets pop styling, as well as Freddie Mercury’s piano backdrop and the additional synthetic elements that take Play The Game to another level perhaps best described as prog rock in style.

The music video is about as corny as music videos can get. Of course, at the time they were revolutionary and weren’t considered with such disdain, but if anyone was seeing the music video for Play The Game for the first time, in the modern era, they’d likely run for the hills and never give it a second thought as it does nothing to amplify the song or stature of Queen. It’s so bad that it undermines their musical talents. 

Dragon Attack is a bass lover’s dream come true; thank you, John Deacon! Dragon Attack has such an addictive funk-driven groove that it hooks you from the very first note. An exceptional tune and one of Queen’s most underrated with some stunning guitar and drumming mixed in.

Another One Bites The Dust continues the funky bass-driven sound. There’s so much that could be said about Another One Bites The Dust but nothing really needs to be said for it’s one of those songs that when you hear it, you get it! That said, it is one of those 70s tunes with suspected backmasking. Truth be told, I’m not going to play my record backwards just to see if I can confirm this and it befuddles me as to who, in their right mind, would listen to records backwards. Yes, our inquisitive nature finds it appealing, but I like to listen to and experience music, not find hidden elements that may or may not have been intentionally placed there. 

Need Your Loving Tonight is simply a killer rock and roll tune. It was never going to be a hit, but it’s barebones, thereby lacking the usual fanfare of later Queen records and somewhat harking back to their origins.

Crazy Little Thing Called Love is part rock and roll, part rockabilly, and undoubtedly inspired by Elvis Presley. What a great little tune!

The music video for Crazy Little Thing Called Love is a hoot. Seriously, it’s cringeworthy, but it’s so much so that if you can watch it, without bursting into laughter, you’re much more in control of your emotions than I am. 

Rock It (Prime Jive) has one of my favourite Queen openings, ever. The mix and otherworldly spaciousness, particularly in the vocal, is magical. Roger Taylor does a solid performance on lead vocals, but it is Mercury’s introduction that is the real drawcard here. That shouldn’t take anything away from Taylor, for it’s a great song as it is, it’s just that Mercury is one of the, if not the greatest, vocalists of all time. Hence, he’s hard to beat! 

Don’t Try Suicide is an odd little song. As you may imagine, it’s very literal as there’s little need to interpret meaning, but I’d argue that as well as it works within the album’s sequencing, it is one song that wouldn’t have been missed had it been omitted. 

Sail Away Sweet Sister is an unsung masterpiece! Brian May knocked it out of the park from both a composer’s standpoint and that of a lead vocalist.

Coming Soon has an interesting flat backbeat that I remain, to this day, unsure of. It’s as if my mind doesn’t know which element of the rhythm it should attach itself to and I, therefore, consider it more as a transitional tune than a song in and of itself and in that role, it perfectly aligns with the album structure. 

Save Me is the perfect closing track and while it isn’t the greatest ballad I’ve ever heard, it’s perfect for Queen and compels me to play the album again.

The music video for Save Me is far better than those for Play The Game and Crazy Little Thing Called Love and is truly worthy of Queen and their legacy. 

Overall, The Game is one of Queen’s greatest and most coherent album experiences and is rightly shortlisted as one of the best albums released in 1980. If you don’t have this album in your collection, give it a listen and reflect as to why for it’s worthy of the aforementioned accolades. 

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Dire Straits – Dire Straits (Self-Titled Album Review)

Dire Straits, or more specifically Mark Knopfler, in the role of vocalist, lead guitarist, and writer, created a uniquely timeless sound that would resonate with music lovers the world over. Perhaps most surprising is just how polished this self-titled debut is. Granted it’s a little rough around the edges, but few artists have such an initial outing; one that can still be celebrated and appreciated decades later. 

Released in 1978, Dire Straits would catapult the British rock band to the top of the charts with memorable songs like Sultans Of Swing and Water Of Love. Of course, it wasn’t just the singles that would set this debut apart from the crowd, but the entire body of work that is as close to perfection as a debut possibly could be. Yes, Communiqué is a step up and while some declare it to be nothing more than a carbon copy of this debut, I find it to be less edgy with a smoother all-over presentation that sees the band evolve from this debut release. Still, Dire Straits, when not directly compared, is a masterpiece in its own right and is without a doubt one of Dire Straits’ greatest albums.

As it pertains to the sonic presentation of the recording, the lossless Apple Music stream is listed as remastered and therefore should be on par with the 1996 remastered CD edition; most likely the source of the stream. In any case, there’s no noticeable loss in fidelity as the stream sounds stunning with a complex, detailed, and atmospheric soundstage. 

When digital reproduction sounds this good, one must question just how much more sonic bliss can be attained from the original master recording. As with Dire Straits’ entire catalogue, it has been reissued ad nauseam and while I adore this debut release, I’ve yet to feel compelled to pick up one of the various vinyl editions. Yes, there will be those of you who question my dedication and love of Dire Straits following that admission, but when the music sounds right, it’s important that we listen to it, appreciate it, and stop looking for something that may or may not be quantifiably better. Seriously, the stream is so enjoyable that the only benefit of tracking down a vinyl copy is to attain the slightly warmer analogue sound that’s associated with the format.

Down To The Waterline captivates you from the very first note with some mystical guitar licks and some of the most beautiful atmospheric music you’re ever likely to hear. The mix is utterly brilliant with a level of immersion that will consume you as Down To The Waterline sets the tone for the entire album. 

Water Of Love is the perfect mixture of rock and folk-styled music. Imagine, if you will, a lazy sunny afternoon with a beverage and Dire Straits tickling the sonic senses. It’s a tranquil thought, isn’t it? 

Setting Me Up is one of the songs that doesn’t grab me on this debut release. The tempo is too fast, especially considering where it’s positioned in the album's sequencing. Additionally, the twang of the guitar, while suited to the song, causes a stylistic shift that detracts from the previous calmness of Water Of Love. 

Six Blade Knife would have been perfect following Water Of Love for its smoother, with a focus on humble rhythmic elements that will see you toe-tapping and head-bopping throughout. 

Southbound Again is incredibly groovy and sometimes, that is all that is needed. 

Sultans Of Swing is, without a doubt, a masterpiece. It’s akin to magic in a bottle and the musical interplay and guitar licks leave little wonder as to why it’s one of Straits’ most recognisable tunes. 

In The Gallery is where Knopfler’s vocal really shines as it is perfectly refined and toned for this style of song. Of course, In The Gallery also has some captivating guitar playing thereby making it one of the best songs on the album and one of Dire Straits’ most underrated songs. The mix is also of particular note here as it’s well-defined, three-dimensional, and enveloping thereby allowing every musical aspect to shine. 

Wild West End shifts the tone of the album and is one of the rawer-sounding songs on this self-titled debut. Yet, there’s something to appreciate here for it may sound like a demo but it’s this unassuming aspect that makes Wild West End a compelling listen. 

Lions is a solid performance that closes out Dire Straits nicely, but the introduction is a little too slow for my liking. Thankfully, once the song gets going, all is good but it remains an irritating aspect nonetheless. 

As far as overall enjoyment and flow are concerned, Dire Straits is up there with their greatest releases and is not only one of the best debut albums of all time but is one of the best albums from 1978. In my mind, it is only bested by their second album, Communiqué; thereby offering a double punch of magnificent rock music that still, to this day, offers a unique experience. Yes, dear reader, they don’t make music like this anymore; not even Mark Knopfler. 

Check out more Dire Straits reviews by Subjective Sounds

Flowers – Icehouse (Album Review)

Flowers would soon become Icehouse and the rest, as they say, is history! 

Released in 1980, Icehouse catapulted Flowers to the top of the Australian and New Zealand charts with songs that have forever become part of the social consciousness. With their unique New Wave feel, songs such as Can’t Help Myself, We Can Get Together, and Walls would ensure Flowers, and later Icehouse, had a body of work to build upon ultimately culminating in the highly successful, Man Of Colours. 

Not only has Icehouse returned to the live touring circuit but the humble record is also experiencing a renaissance and Icehouse was thankfully reissued on the format despite Davies’ disinterest in vinyl. Printed on a textured print stock, Icehouse is one vinyl record that you’ll appreciate holding as the music plays, for the tactile nature of the material used ensures a greater connection to the artwork. It’s as if you’ve been allowed to hold a painting, touch the brushstrokes, and generally appreciate it in a manner that can’t be easily expressed. The gatefold layout is also greatly appreciated as it mimics the original Regular Records release. Nothing is missing for it’s a perfect replica and the attention to detail can’t be understated.

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Physical media fans will rejoice as there’s also a double CD/DVD 30th Anniversary edition that has been released that mimics the design and layout of the vinyl counterpart. It’s stunning and was in my collection before moving away from the format to focus on and embrace my vinyl collection. Streamers, however, miss out on the visual component; a problem that I’d like to see corrected with the release of a Visual Album.

As it pertains to the sonic quality, one thing that’s been widely applicable to Icehouse is that their records, regardless of format or mastering, have often been exceptional. While not an Apple Digital Master, the lossless Apple Music stream is on par with what I remember the CD/DVD edition sounding like. The vinyl mastering, I believe, is from the same 2011 Steve Smart (Studio 301 Mastering) sessions that the 30th Anniversary (2CD+DVD) reissue is based on, meaning that you can thoroughly appreciate Icehouse regardless of format and mastering concerns. That said, purists will lament a digital master being pressed to vinyl, but that is their loss for Icehouse has never sounded better with an immersive soundstage, exceptional detail retrieval, and a warm analog sound that draws so many of us to the format. There’s an increase in both high-end and low-end frequencies and bass notes are more three-dimensional when compared directly to the digital counterpart. That, of course, isn’t to suggest that the digital editions are compromised in any way, for they also sound magnificent, but it is merely an acknowledgement that the vinyl reissue offers a slightly more refined sound. This 2017 vinyl pressing is also extremely quiet and kudos needs to be given to Universal Music for manufacturing a record that Icehouse fans can be proud of. 

Subsequently, while the Apple Music stream presents the album as a double CD equivalent, with bonus tracks exclusive to the digital releases, this review will focus on the core 11-track release; just as it was originally released in 1980 when Flowers captivated audiences across Australia and New Zealand.

SIDE 1

Icehouse has one of the most immersive introductions you’re ever likely to hear on a debut album. The theatrical entrance continues throughout the entirety of the song as an undercurrent that pulls you into the eerie soundstage and won’t let you escape. It’s an experience in and of itself! 

We Can Get Together is one of the band’s most identifiable songs. The presentation is incredibly basic, yet complex. I know I’m contradicting myself, but as predictable as the song is, it isn’t until you sit and listen that you can appreciate the intricate layering of sonic elements. Truth be told, this could be said about their entire catalogue and is likely a core reason why I’ve been a lifelong fan of the band.

Fatman is straight-up New Wave rock and roll with a touch of blues; I love it!

Sister is one of my favourite songs of all time. Davies’ vocals, mixed with the electric keyboard and incredible guitar tuning, make this song truly memorable. Even the mid-song instrumental interlude is exceptional and shows a level of musicality that is normally absent from debut recordings. Admittedly, Davies had classical music training and Flowers was a pub act well before the release of Icehouse, but the quality presented on this first showing never ceases to amaze me. 

Walls returns to the, similarly, eerie sonic signature that was present on the title track. The vocal presentation is magnificent and adds depth and character to the song. In modern recordings, Autotune would be used to achieve this effect, but that wasn’t available at the time of this recording and I’d love to know exactly what vocal compression technique was used during the production of the song. 

SIDE 2

Can’t Help Myself, in production terms, is one of the rawest songs on the album. It’s straight-up New Wave rock and while the drum beat is akin to a click track for the mind, the guitar interlude is simply gorgeous.

Skin has an intricate composition. The drum beat, guitar riffs, and synth additions make Skin incredibly addictive and the sound layering ensures that the listener, upon each play, will appreciate newfound elements in the song. 

Sons slows the tempo of the album with a bold sound and beautiful soundstage. It isn’t my favourite song, but the album wouldn’t be the same without it and I would be lying if I didn’t say that it grows on you the more you listen to it. 

Boulevarde has a killer guitar riff that introduces the song, although I simultaneously feel that it is too drawn out. It very well could have been an instrumental track, but after the initial jolt, when the lyrical component enters the mix, the song settles and becomes a killer rock tune with some incredible guitar soloing to close it out.

Nothing To Do has a beautiful bass introduction. Seriously, the bass guitar is an under-utilised instrument in many recordings. While we all know the bass guitar sound, we rarely hear it represented as well-defined as it is in the introduction of Nothing To Do. Overall, Nothing To Do is rather eclectic with numerous musical influences. If nothing else, it’s certainly unique.

Not My Kind is the perfect closing bookend with a driving rhythm and raw rock sound that you’ll either love or loathe. It’s important to note that it’s a little too shrill on the digital editions whereas the vinyl reissue rounds out the sound thereby making it more compelling and encouraging the listener to flip the record back to Side One.

While technically still a Flowers album, I consider Icehouse to be the band and while it can certainly be a little confusing for new fans, Icehouse is one of those must-own albums as it has become a classic record of the Australian 80s music scene. If I had such a list, Icehouse would most certainly be regarded as one of the greatest debuts of all time but for the time being, it will certainly make its way to the upcoming Best Albums List Of 1980 as there isn’t a bad song to be heard on this release. 

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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. 

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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.

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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. 

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