The Moody Blues – Octave (Album Review)

Released in 1978, Octave is the ninth studio album from The Moody Blues and dare I say one of their greatest, if not their greatest release. Certainly, that perspective is heavily based on subjectivity, for Octave isn’t often at the top of everyone’s list, but when music sounds this good, it is difficult to overlook.

While I can’t speak for anyone else, the probable culprit, besides the lengthy hiatus between releases, of Octave’s less-than-stellar acceptance amongst fans, likely has more to do with the slight shift in style when compared directly with their previous works. For instance, Octave relies far more heavily on synthesised elements but to ignore the release on that aspect alone appears very shortsighted. Admittedly, when we find an artist that we thoroughly enjoy, we want more of the same. However, is it not better to appreciate one, or a small selection of albums, than to feel dejected by an album that doesn’t match up to our subjective expectations?

Much of The Moody Blues music, including this release, is a sonic journey that has to be experienced firsthand to be fully appreciated. Octave, subsequently, is a hidden gem that deserves another listen if you’ve previously ignored the release. It was also the last album The Moody Blues would record with longtime producer Tony Clarke and while producers aren’t always given their dues, their influence bleeds into the work. Yes, the core of The Moody Blues would persist, post-Octave, but their newer works were somewhat different and, in my opinion, not as appealing. 

As it pertains to album artwork, I also consider Octave to be the best from The Moody Blues’ entire catalogue and that’s saying something for they’ve always had well-designed artistic album covers. This one, however, done by the legendary John Kosh, is as captivating as the music is. The doorway to somewhere else concept is hardly new, but it hasn’t aged and is still as vinyl canvas-worthy today as it was upon its initial release. 

When listening to modern releases, or remastered reissues, we usually experience a loud reproduction of the music contained within. That isn’t the case with the Lossless Apple Music stream. While not presented as a Hi-Res Lossless stream, or an Apple Digital Master, the mastering, on this particular release, allows the listener to turn the volume up to their preferred setting. Subsequently, you’ll be met with a full-bodied sound that is thoroughly enjoyable. Could it be better? Perhaps, and there are examples such as when listening to Top Rank Suite where I’d love to hear the brass elements come alive a little more, but it’s a minor quibble and doesn’t detract from the overall experience of the album. It’s also possible that that aspect could be corrected in the mix rather than mastering stages. 

Delving deeper, I note that the Expanded Edition has the 2008 publishing trademark whereas the standard version is listed as 1978. It’s incredibly frustrating when this happens and I do wish that the record label and Apple Music would offer a more detailed explanation of which edition is derived from which master because both versions are noticeably different. They’re both lovely, in their own right, but you’ll find that you prefer one over the other and it would simply be nice to know more details about a particular release. 

I prefer the standard edition, as will be shown below, as I feel it’s more luscious and dare I say more analogue with a warm and enveloping sound signature. That said, give both a listen and see which you prefer as I can’t tell you which is better (a terrible metric, by any standards) as they both have their pluses and minuses. Additionally, while I’m not overly keen on bonus songs, the Expanded Edition does contain five additional live tracks that may be of interest to you.

Steppin’ In A Slide Zone has a slow atmospheric build with a killer guitar intro and riff throughout. Once the energetic styling of the song enters the mix, it becomes a classic rock tune and sets the tone for the entire album; a great opener. 

Under Moonshine is, by comparison, more mellow with a style more reminiscent of The Moody Blues’ earlier recordings with a delicate lead vocal, dreamy harmonies, and symphonic elements that take you on a musical journey. 

Had To Fall In Love is one of the very best ballads I have ever heard. Yes, dear reader, I love a good ballad and the soulful vocal performance, melded with the musical backing, is utterly perfect making Had To Fall In Love one of The Moody Blues’ greatest recordings and one of the best ballads from the 70s. Magnificent!

I’ll Be Level With You is a raw rocker with an upbeat styling that while considerably different to Had To Fall In Love, becomes a value-added tune within the context of the album. While you’re unlikely to seek out I’ll Be Level With You on its own, Octave wouldn’t be the same without it. Plus, the guitar work and solo towards the end are thoroughly enjoyable and always encourage me to get out my air guitar. 

Driftwood is a beautiful ballad. 

Top Rank Suite, and its upbeat rhythm and jazz styling, is addictively good. No, it isn’t the greatest song on Octave, and may well be considered the weakest track on the album, but the light-hearted musical styling makes this one fun song to listen to. 

I’m Your Man has a mellow blues-based styling but as good as the musical elements are, it’s the smooth vocal that ensures I’m Your Man is a standout track. 

Survival is hypnotic, symphonic, and captivating. A hidden gem? I truly believe so, but I’d go one step further and declare it a trademark tune and a timeless classic recording.

One Step Into The Light is another standout track with a beautiful melody and lush instrumentation. 

The Day We Meet Again is the perfect closer to an exceptional album. It’s simply incredible and is a sonic pleasure for the ears. While ballads are certainly a trademark of The Moody Blues, this one leaves you both in a contemplative mood as well as being interested in spinning the album again. Such a song is a rarity but when they exist, it results in a cohesive album experience; one worthy of The Moody Blues. 

Overall, Octave is an exceptional addition to The Moody Blues' discography, featuring a mix of upbeat rockers and moving ballads. While some may lament various elements of Octave, it’s clear that the band were at the top of their game with each member contributing their own unique talents to the mix and direction of this 1978 masterpiece. 

Check out more reviews by Subjective Sounds

The Angels (Angel City) – Face to Face (International Version) [Album Review]

Australia’s answer to AC/DC wouldn’t necessarily be the correct way to introduce a review for The Angels’ 1978 release Face To Face, but it wouldn’t be wrong either. 

While AC/DC will always be billed as one of Australia’s greatest exports, their success ultimately meant that their hometown sometimes feels a little despondent for the beloved rockers have spent more time abroad than at home and when success came calling, who can blame them for embracing any and all opportunities. The Angels, however, never quite matched the international heights of AC/DC and are very much Aussie to the core; still playing the pub and club scene, in the land down under, to this day. 

None of that, of course, means that The Angels didn’t see international success, for they’ve been incredibly influential, and successful, in their own right, but the troubling aspect that would haunt music lovers, just as it did with AC/DC, was the variances in editions between the homegrown Australian release of their early albums and the international versions. 

Known in some regions as Angel City, The Angels’ second studio album Face To Face would also consist of a different track listing for our international neighbours; an element that may have worked when the world was less connected than it is today, but as a byproduct of that era, it becomes frustrating when deciding which version of the album is the one that is best to listen to. 

In recent years, many artists that have had differing regional releases have chosen a standard release, usually the international edition, to be the official release henceforth, but The Angels haven’t taken this approach and instead give fans the ability to choose for themselves as three versions of this incredible album have been made available via Apple Music. While it can be fascinating to see varied editions, it also has the potential to cause indecisiveness and is therefore essential that after preliminary listens, music lovers decide on one particular release to focus on henceforth. 

The first version to consider is billed simply as Face To Face and contains the original cover art and track listing that one would have experienced if one picked up a copy in Australia in 1978. It isn’t great! That statement will likely be met with criticism, but Straight Jacket is a terrible opening tune and thankfully isn’t included on the international release. Love Takes Care is also album filler whereas the entirety of the international edition is a non-stop rocker. Live It Up is a solid tune but the live aspect doesn’t flow well from Marseilles. Songs that I do wish had made it to the worldwide release, however, are Be With You, Outcast, and I Ain’t The One; fantastic tunes!

The second version is an expanded release of the original album that also includes five live tracks and is billed as Face To Face (Alberts Classic Series). I’ve never been a fan of adding live recordings to the back end of studio albums, but in this case, they’re solid performances and a value-added proposition for fans who enjoy live recordings.  

The third option, and my preferred, is the international release that retains the Angel City band name, on the album artwork, despite being filed under The Angels. It simply has a flow that works far better than the original Australian release thereby ensuring the album experience remains paramount. As for which edition you will prefer, well I can’t say as we all have subjective likes and dislikes, but for this review, we’ll stick with the international release for simplicities sake. 

Listening via Apple Music, this edition of Face To Face is the CD counterpart in every way sans the tactile aspect, of course, and it rocks. It isn’t the final word in audio quality and I feel a remaster is in order, but a slight boost in the mid to low end will likely result in a more appreciable experience overall for most listeners. Yes, Face To Face was remastered for a CD reissue in 2011, but the Apple Music stream is not sourced from that release. As to why, I’m honestly not sure, but I can surmise that it was due to the CD being re-released under the Angel City banner rather than The Angels. Hence, when it came to streaming, the older mastering was supplied to Apple Music et al. I know, it’s a tad confusing, but at this point in time, if you’re after the remastered edition, it appears the only way to get a hold of it is to track down a copy on CD. 

Take A Long Line is a high energy upbeat number, with an addictive groove, that you’ll immediately gravitate towards. While it could be said that Take A Long Line is a run-of-the-mill rock and roll tune, and I’d likely agree, there’s nothing wrong with that as it opens the album well and sets the tone for the entire record.  

Marseilles is one of those songs that you’d be forgiven for thinking was an AC/DC tune, as the lead guitar, and overall composition throughout the song is eerily similar. Of course, Doc Neeson’s vocal is noticeably different to Bon Scott’s, so while correlations exist, they cease to be as prominent once the vocal kicks in. Now, this may be blasphemous to say but I feel Neeson is a better vocalist than Scott. Neeson has a smoother and more well-defined vocal with a little less treble that I thoroughly enjoy as I find it to be a little less fatiguing. Of course, your subjective opinion may, and likely does, differ from mine, but that doesn’t take away from the fact that Marseilles is a killer rock and roll tune by any standards. 

After The Rain is toe-tapping head-bopping gold with a killer, albeit brief, guitar solo. What a great tune!

Am I Ever Gonna See You reminds me of the music featured in countless coming-of-age films. Hence, the musicality is a little cringeworthy. It doesn’t mean, however, that it’s a bad song, but it isn’t one that I seek out on its own, outside of the album listening experience. 

Shadow Boxer has a punk feel to it. Perhaps this is a perfect example of how The Angels differ from AC/DC in that while much of their music is a replication of itself, songs like Shadow Boxer show that The Angels were capable of far more musical diversity.   

Comin’ Down is a rocking tune and is one of The Angels’ greatest recordings. 

Out Of The Blue is more mellow and will likely remind you of artists such as David Bowie, Nick Cave, and Lou Reed. It’s a great song and regardless of The Angels being inspired, or inspiring others, I love making these correlations, whether they were intentional or not, as it further explores my love of music. 

Can’t Shake It is It’s A Long Way To The Top; an AC/DC classic. As with Marseilles, the similarities subside once the lyrics enter the mix, but that guitar lick is so memorable that the similarity makes me want to spin up High Voltage.

Waiting For The World has my body moving involuntarily to the rhythm; a sign of an exceptionally good song!

No Exit is a perfect closer. The rawness presented throughout, along with the guitar tracking, overall rhythm, and Neeson’s vocals, easily ensure No Exit is one of the best songs from Face To Face. 

While the correlations between The Angels and AC/DC are unavoidable, in a large way due to similarities within the production team, The Angels offer music that not only pays homage to the original trendsetters but offers significantly more diversity, thereby resulting in a stunningly fresh rock and roll album that you’ll want to play time and time again.

Check out more reviews by Subjective Sounds

Bob Dylan – Street-Legal (Album Review)

Released in 1978, Street-Legal moved the needle of Bob Dylan’s creative output from a folk-based acoustic style to a pop-rock driven form that blends with his poetic singer/songwriter versatility, thereby ensuring that Street-Legal, and future releases, would be more accessible while simultaneously building upon his previous styles. Naturally, not everyone saw the brilliance in this move, and as exceptional as Dylan’s 60s-era works are, it’s his late 70s releases that intrigue me the most. 

As Dylan’s 18th studio album, it, therefore, becomes understandable that longtime fans would have been less than impressed with the stylistic changes, but what isn’t in question is the fact that the music featured on this release hasn’t aged. Sure, there are recording choices that can be linked back to the era, such as a focus on backing singers, but as you listen to Street-Legal, or any of his other albums, other than the topic of discussion within his lyrics, the musicality is as fresh today as the day it was recorded. It’s an incredible feat and one that while not alien to the music industry is an anomaly nonetheless. 

Sonically, Street-Legal has a full-bodied sound and while it would be nicer if the soundstage had a little more width and depth, the shallowness adds to the sonic presentation. While a broader soundstage sounds good in theory, it would likely dramatically shift the album, most likely resulting in a less-than-stellar sonic presentation. 

Interestingly, Don DeVito, the album’s producer, would remix Street-Legal in 1999 in order to offer a slightly different mix that would result in a richer presentation. As far as I can ascertain, the version available on Apple Music, which is the focus of this review, is the remaster of the original 1978 mix. I’ve reached this conclusion as the remixed version of Changing Of The Gods has a runtime of 7:04 whereas the original runs slightly shorter at 6:37.

While the lossless Apple Music stream isn’t an Apple Digital Master, unlike Slow Train Coming, it doesn’t suffer from this omission. It sounds as one would assume the remastered CD would have sounded and is thoroughly enjoyable. The only advantage of an Apple Digital Master, and Hi-Res Lossless presentation, would be a little more refinement in the minutia of the recording.   

For those who aren’t streaming-first music lovers, Street-Legal continues to be reissued on both the black and silver discs of yesteryear and I, for one, am thoroughly pleased with that knowledge for I see streaming as a perfect counterpart to a tightly curated vinyl and CD collection. 

Regardless of how you choose to enjoy Street-Legal, it’s an underrated gem in Bob Dylan’s back catalogue. No, it will never be his greatest record, but as an album, rather than merely a collection of songs, it’s spectacular in its own right and is among his greatest releases. While many will analyse every lyric, I much prefer to consider Dylan’s vocal as an instrument rather than a storytelling device and subsequently won’t delve into lyrical interpretations.

Changing Of The Guards has a slow build. It’s as if someone has turned up the volume after the song had already begun. Let’s be honest, it’s far better than an abrupt opening and is perfectly suited to the overarching style of the album. Coming from Dylan’s 1976 release, Desire, the first thing you’ll notice is the backing singers. While I’m a fan of backing vocals, they can make or break a song and I remain on the fence as to how well they are implemented here, and throughout the entire album, as it has the potential to detract from Dylan’s vocals while also becoming a little repetitive. Yet, after repeat listens, it doesn’t bother you as much as you would think it does and given I thoroughly enjoy Changing Of The Guards in every other way, it’s one aspect that I’m willing to look past in order to enjoy this solid Dylan tune.

New Pony is a moody blues-styled tune with a slow tempo that will see you toe-tapping and head-bopping to the rhythm. It’s a brilliant song that is not only worthy of inclusion on Street-Legal but is essential to Dylan’s back catalogue. Plus, that mid-song guitar solo is what air guitar dreams are made of. It’s just a shame it isn’t longer and more prominent in the mix.

No Time To Think has a lovely slow waltz to it and if you remove the stylistic elements, No Time To Think is more aligned to Dylan’s 60s works than you may otherwise think as the core elements that made Dylan so successful have remained present on this song and throughout the entire album. 

Baby, Stop Crying is a great tune, although I’m not too fond of the opening as I feel it doesn’t get to the crux of the song quickly enough. The backing vocals here are great, and perfectly positioned in the song structure, but I would have loved for them to be turned down a decibel or two as I feel the subtleness would have made the song even stronger by allowing Dylan’s vocal to be more prominent. Regardless, I love this tune! 

Is Your Love In Vain? is musically stunning, with a perfect mix, and is one of my all-time favourite songs from Dylan. 

Señor (Tales of Yankee Power) is a masterpiece!

True Love Tends To Forget segues seamlessly from Señor (Tales of Yankee Power), although, you’ve likely never heard this tune before unless you’ve listened to Street-Legal for it’s another of those hidden gems with a solid mix and overall presentation. 

We Better Talk This Over picks up the tempo a little; a great tune! While you’ll likely never seek it out on its own, as an album track it’s thoroughly enjoyable and it’s important to remember that every song doesn’t need to be a knockout or a hit to have merit. 

Where Are You Tonight? (Journey Through The Dark Heat) is another hidden gem and a lovely closing tune that encourages me to play the album again. 

Overall, while I find Slow Train Coming to be the better of Dylan’s late 70s releases, Street-Legal is compelling and if you give it a chance, without necessarily comparing it to his landmark 60s works, I’ve no doubt you’ll come to a similar conclusion. Sometimes we can be too judgemental in our comparisons and we tend to forget that the aim is to simply enjoy the music. I don’t know about you, dear reader, but I’ll take an album that grooves with my soul over one that is critically and commercially acclaimed but fails to do so. As a result, Street-Legal is subjectively one of Dylan’s greatest releases. 

Check out more Bob Dylan reviews by Subjective Sounds

Måneskin – RUSH! (Album Review)

If Gene Simmons was right and rock is dead, nobody told Måneskin for RUSH! is a modern rock masterpiece. 

Released worldwide on the 20th of January 2023, RUSH! is the Italian rockers’ third studio album and while the previous releases, particularly their debut Chosen, have been exceptional in their own right, RUSH! takes their musicality to another level entirely and, certainly at this point, I don’t know how they’ll top this album; yes, it is that good and even though the year is still young, it most certainly has the potential to be not only the best album released in 2023 but to become a classic rock album for generations to come.    

Perhaps one of the most compelling aspects of RUSH! is Måneskin’s continued homage to their heritage by intermingling Italian-based lyrical tunes with English ones. Some may lament this fact, but as someone who appreciates the human vocal as an instrument far more than a storytelling device, I love this amalgamation and sincerely hope that they never change the formula for it works perfectly. It also doesn’t hurt that Damiano David’s vocal prowess, and natural charisma, is one of the greatest and most unique to enter the music scene in decades.  

Sonically, the band and the entire production team need to be congratulated for this is one exceptional release. The soundstage is as wide as it is deep and is utterly immersive and I’m just talking about the stereo mix for we’ll get to the Dolby Atmos mix in a moment. There’s no audible clipping or loudness atrocities to note and this is one album that you’ll never experience fatigue when listening to it. Yet, it’s loud and has a full-bodied sound; it simply rocks. 

While I’ve yet to pick up a vinyl edition, my only hope is that the physical counterpart will live up to the Lossless Apple Music stream. It may not be an Apple Digital Master, but it doesn’t need to be as it has been mastered so well, to begin with. That said, given how much I appreciate the stream, I subsequently question the need to pick up the vinyl release; although the larger artwork is compelling. 

As it pertains to the Dolby Atmos mix, it doesn’t knock my socks off. Look, surround mixes are great, when they’re done with discrete channels in mind, but the modern simulated surround options don’t always offer the greatest reproduction for music; films are another matter entirely. Nevertheless, while there will be many who will enjoy the Atmos mix, I found that it tried to place the listener in the middle of the band too much, thereby reducing the impact of each instrument within the mix. Rock music needs to be felt and the surround mix reduced that thumping rock sound we all know and love. There’s just more emotion to be heard and felt from the wall of sound style that is associated with the stereo mix. 

OWN MY MIND is a great album opener with a killer drum and bass rhythm throughout. OWN MY MIND sets the tone for the entire album and gets your body moving involuntarily from the very first note.  

GOSSIP (feat. Tom Morello) continues with the upbeat rocking rhythm and is one of my favourite songs on the album. It’s a fun listen and if you have a chance, check out the music video for it amplifies the song. Additionally, Tom Morello nails his solo and perfectly complements Måneskin’s style while staying true to his own recognisable sonic signature; such a great musician!

The music video is brilliant. It’s been quite some time since I’ve seen such a well-produced music video and it plays to the band’s persona as well as highlights the song. Morello as the security guard is priceless. I’ve never seen a better introduction for a guitar solo, ever. Yes, the non-musical elements, throughout, detract somewhat from the song itself, but they never feel out-of-place; although the ending is a little slow in direct contrast to the energy of GOSSIP. 

TIMEZONE dials the tempo down a little, but the shift doesn’t shock the senses as can often occur when albums shift direction. While TIMEZONE is unlikely to be a fan favourite, or stadium-filling song, it’s a solid album tune; sometimes that is all that’s needed. 

BLA BLA BLA is FUN! 

BABY SAID continues with the upbeat rock meets pop meets dance floor vibe. It’s so addictive as the rhythm intertwines with your soul; an aspect present in all good music. 

GASOLINE opens with the most overdriven, yet perfect, bass tracking I think I’ve ever heard; Victoria de Angelis, you’re a rock goddess! GASOLINE, without a doubt, is a stadium-filling tune if there ever was one and fans should expect to see it performed live for decades to come.

FEEL opens with David’s incredible vocal and, on this particular song, reminds me of Freddie Mercury. While the vocal is of particular note here, that would be dismissing all other aspects of FEEL for if you haven’t already, you’ll want to turn this rock and roll tune up to 11; exceptional!

DON’T WANNA SLEEP again features some incredibly talented vocal licks that are a highlight and in this case, are the specific reason why DON’T WANNA SLEEP works so well.  

KOOL KIDS has a punk-rock Iggy Pop feel. What’s not to like? 

IF NOT FOR YOU shifts the style of the album, but the tracking has been done so well that, again, there is no jolt to the senses. Regardless, IF NOT FOR YOU is a simply beautiful song and only bested, from a ballad perspective, by THE LONELIEST. 

READ YOUR DIARY is a thoroughly enjoyable album-based rock tune; but other than a deep cuts playlist, READ YOUR DIARY is unlikely to receive much attention outside of this album as, when compared to all other songs on RUSH!, it simply isn’t as strong. 

MARK CHAPMAN is a song you need to listen to for the chorus alone; brilliant! The verses and musicality throughout, while adequate, are filler by comparison. 

LA FINE is so good. As one of the Italian-based tunes, I don’t even care what the song is about for every musical layer, including the lyrical delivery, permeates my soul to become an experience that has to be heard and felt. Exceptional!

IL DONO DELLA VITA in a similar vein to LA FINE will still appeal to those of us who don’t speak or understand the Italian language for it is so beautifully crafted that it can be appreciated from a musical perspective alone.

MAMMAMIA ain’t ABBA’s Mamma Mia but one can’t listen to MAMMAMIA without correlating the whimsical catchy aspects of both tunes. Released as the lead single, the punk meets rock with a touch of dance styling ensures MAMMAMIA will be a fan-favourite. 

The music video, while artistic, does little to amplify the song.

SUPERMODEL has a bit of a Red Hot Chilli Peppers vibe to it. It’s a solid pop-rock tune but isn’t going to be as timeless as some of the other songs featured on RUSH!.

The music video simply exists. It isn’t great.

THE LONELIEST is the perfect closer and one of Måneskin’s greatest musical achievements to date. It’s contemplative with a slower tempo, meaning that you can either finish listening to the album and ponder in appreciation or spin it again for RUSH! is an album you can’t listen to only once. 

The music video, for THE LONELIEST, is cinematic and well-produced, but it’s not as memorable as the song itself.

Overall, RUSH! is tight with a perfect runtime and linear tracking. It is most certainly an album experience and one that should be enjoyed in that context. Naturally, you’ll find individual songs that will stand out from the crowd as each has its own story to tell. THE LONELIEST is one such song, but I find it becomes even more special waiting in anticipation for it to appear in the chosen tracking, than placing that single song on repeat or in a playlist. That said, it really doesn’t matter how you choose to enjoy RUSH! as it’s an outstanding example of modern rock at its very best.  

Check out more reviews by Subjective Sounds

Bob Seger & The Silver Bullet Band – Stranger In Town (Album Review)

There are classic albums and then there is Stranger In Town; an album that was monstrously successful in the United States but flew well under the radar worldwide. While releases were different and often region-restricted, back in 1978 when Stranger In Town was released, our modern interconnected world breaks down those barriers allowing us to all appreciate the masterpiece that is Stranger In Town; Bob Seger’s greatest musical achievement.

One aspect that isn’t so good, especially in the era of streaming, is the lack of acknowledgement of The Muscle Shoals Rhythm Section. Seger obviously had his own band, The Silver Bullet Band, but they would only play on four of the nine tracks heard on Stranger In Town, whereas The Muscle Shoals Rhythm Section played on the other five. Granted, Bob Seger & The Silver Bullet Band, at that time, was sold as more of a band than a solo project for Seger, but while The Muscle Shoals Rhythm Section were respectfully highlighted in liner notes on all physical mediums, streaming offers music-lovers no such acknowledgement which is a shame considering their input to Seger’s creative output. 

Perhaps it shouldn’t bother me as much as it does, but The Muscle Shoals Rhythm Section was an exceptional group of session musicians that recorded hundreds of songs, many of which you’d know immediately by hearing their trademark R&B meets soul with a touch of country; a hallmark sound of the southern United States. One such song, and their most successful hit, was Respect. Yes, Aretha Franklin’s Respect! 

Naturally, this is one aspect of streaming that leaves me cold towards the flexible format, despite its convenience, for it generally lacks information for those of us who deem such knowledge to be imperative. Most music listeners wouldn’t consider this a point of contention, but when you listen to Stranger In Town, you can most certainly hear the different styles between The Silver Bullet Band and The Muscle Shoals Rhythm Section. Hence, Stranger In Town would not be the album it is without the involvement of The Muscle Shoals Rhythm Section. 

While I’m lamenting the absence of liner notes from digital counterparts, I also have to note that Stranger In Town hasn’t seen a physical media release since the 2001 CD remaster; most likely the source of the Lossless Stream on Apple Music for it isn’t an Apple Digital Master and is only delivered in 16-bit 44.1 kHz CD-quality sound. Truth be told, there’s nothing fundamentally wrong with the stream that a little EQ or tone control manipulation can't fix.

Dialling up the mid to low-end bass gets the album rocking a little more as it’s a rather clinical reproduction without this boost to the signal path. Purists, however, will likely point to the clarity and soundstage which is most certainly present, but it doesn’t allow for turning the volume up as the overall sound becomes even more brittle when doing so. A shame considering Stranger In Town is an exceptional, timeless, album that deserves to be played loud. 

Hollywood Nights is a great high-energy opening track that sets the tone for the entire album. Bill Payne’s piano and organ elements are perfectly suited to the song, but I can’t help but wish that they had been more prominent in the mix as I feel it would have taken Hollywood Nights to another level. 

Still The Same is a simply gorgeous soft rock ballad that flows perfectly from Hollywood Nights despite the tempo change. While I don’t know about you, dear reader, Still The Same is one of Seger’s greatest tunes, if not his greatest, as I never tire of listening to it. The inclusion of backing vocals by Venetta Fields, Clyde King, and Sherrie Matthews gives this song an additional, and much appreciated, soul element for it simply wouldn’t be the same song, sans these master vocalists. 

Old Time Rock & Roll is one of Seger’s most memorable recordings and every time it comes on, I can’t help but smile from ear to ear before rocking out. Before even knowing who Bob Seger was, I recall experiencing the song on the 80s television series, Alf. As I aged and began to explore music further, it was with great pleasure that I came across the original recording and subsequent album. While many will take issue with the way music can be appropriated into other mediums, the silver lining is that had I not had that childhood experience, I may not now be so enthralled, or have come across this song at all, for that was an era well before we had almost every album ever recorded at our fingertips. 

Back to the music, however, while we’re rocking out to this upbeat tune, it’s imperative to acknowledge Howie McDonald’s guitar solo and Alto Reed’s saxophone solo for both make Old Time Rock & Roll the timeless classic it is.   

Till It Shines maintains the tempo from Old Time Rock & Roll with a little southern rock influence. The result is a thoroughly enjoyable tune. However, Glenn Frey’s guitar solo should be a highlight, but the tuning sounds off, in relation to the rest of the song, that is. Don’t get me wrong, the riff throughout is great, it’s the mid-song solo that I’m suggesting has a problem. 

Feel Like A Number has some soaring guitar elements and the band is on fire ensuring that they’re not just another number in the grand scheme of things. It’s intriguing to note that even in 1978, being treated like a number was an issue; one that we find ourselves still dealing with to this very day. Whether you identify with the lyrics, or not, this is one of the best songs in Seger’s extensive catalogue of music. 

Ain’t Got No Money is classic Seger with his guttural, yet smooth, vocal. While Seger is front and centre in the mix, Ain’t Got No Money will see you toe tapping and head bopping and it’s fair to say Don Felder’s guitar solo trumps that of Frey’s on Till It Shines. That said, neither is truly exceptional. Given the boys from the Eagles, by this stage, were at the peak of their creativity, I would have expected more. Subsequently, I can’t help but wonder what Joe Walsh would have come up with on a song like Ain’t Got No Money; likely a little more distortion and gruffness that would have better suited the song.

We’ve Got Tonight is simply magnificent and it’s songs such as this that remind me why I love music as much as I do. We’ve Got Tonight is a timeless soft rock ballad love song that is incomparable and fits with the overall style of Stranger In Town perfectly.

Brave Strangers isn’t the greatest song to follow We’ve Got Tonight, unfortunately, for the tempo is mismatched. Nevertheless, Brave Strangers is a solid album-only rock tune.

The Famous Final Scene is a magnificent closing tune, a hidden gem and one of Seger’s finest recordings. I do believe, however, that We’ve Got Tonight would have been a stronger closer for Stranger In Town but that is a minor quibble and should not be seen as a reflection on the song itself. 

As music lovers, we are so incredibly fortunate to have music that is this good. Stranger In Town is a must-listen classic rock album that contains some of Seger’s greatest hits. With its intentionally meaningful lyrics, and a blues-based rock sound signature, it is also Seger’s most accessible creative work and offers newcomers a wonderful introduction to the American singer/songwriter. 

Check out more reviews by Subjective Sounds

The Cars – The Cars (Self-Titled Album Review)

1978 was an exceptional year for music and no more is that true than when looking at The Cars’ self-titled debut. Recorded in February of the same year, The Cars would ultimately be released on June 6th and was an immediate success amongst critics and music lovers. While it lacked a Top 10 position on the charts, The Cars has continued to sell throughout the preceding decades; so well that it has exceeded 6 million shipped units. Granted, it has been reissued ad nauseam and that has contributed to its sales success, but when an album is this good, akin to a compilation release celebrating an artist’s legacy, on their first outing, it is a record that you really need to sit up and take notice of, for The Cars is the epitome of new wave, pop rock, and power pop genres. 

One recurring element keeps showing up when looking at successful debut bands. The majority of the time these bands have sharpened their skills as live performers well before entering the studio. The Cars are no exception, in this regard, and it shows when listening to this debut for they are a cohesive unit. I mention this more for posterity than any other reason as live performances prior to a recording contract, or the recording of an album, seems to be increasingly rare in the modern era and I can’t help but wonder if this is one reason why the music from the 60s to the 90s, from a band perspective, have remained so synonymous with classic album status.

Seriously, and maybe I’m living under a rock, but can you name a single debut release, from a band (particularly in the rock genre) that was released post-Millennium that is a landmark release? There has to be one, surely, just none come to mind as I write this. Regardless, when you look at the pre-Cars era, for all band members, combined with the live refinement of their sound, there is little doubt as to why The Cars has remained such a notable release. 

One of the most appealing aspects of The Cars is that the sound, while firmly planted in the 70s, is unique for the musicality is a culmination that extended beyond mere instruments and musicians. Yes, the synthetic aspects are as important to the compositions as the core unadulterated instrumentation is. Yet, despite the implementation of new techniques and associated technology, it wasn’t taken too far as to detract from the songs themselves. Roy Thomas Baker, in the production chair, certainly ensured this aspect remained in check but engineers, Geoff Workman and Nigel Walker, should similarly be acknowledged for contributing to a marvellous sonic experience that has neither dated nor feels contrived. 

Sonically, the (Hi-Res) Lossless Apple Music Stream, an Apple Digital Master, sounds respectable even if it’s a little concealed. It’s as if there’s a thin sheet that’s been placed over your speakers. Yes, early recordings can have this quality about them, and I admit to having no additional edition to compare to, but it just doesn’t sound as dynamic and bombastic as I believe it should. Don’t get me wrong, there are no major flaws to note, and it is enjoyable, but the way it sounds on Apple Music makes me want to seek out various well-regarded physical counterparts to compare to the stream. 

One example that stands out the most is on I’m In Touch With Your World. It’s a sonic masterpiece but the separation between sonic elements, combined with a shallow soundstage, means that the atmospheric styling isn't as spectacular as I believe it should be. Naturally, one of the challenging aspects is that streaming services, such as Apple Music, rarely state the particular master that was used. This is particularly poor considering Apple touts its own Apple Digital Master program but, of course, this wouldn’t be an issue had the album never been remastered time and time again. 

Visually, while Nataliya Medvedeva is sadly no longer with us, her grace on the cover will forever ensconce her in the social consciousness and while it shouldn’t detract from her other creative endeavours, there is little doubt that this is her most notable. Plus, it’s just a great cover, released at a time when cover art, on the large vinyl canvas, reigned supreme. How I miss those days when the artwork was done so well that it would sell you on the music well before you had a chance to hear it. Yes, cover art still exists today, but as with the polish of their sound on this debut, compared to modern counterparts, I similarly can’t recall many album covers in the last few years that have truly stood out from the crowd.

Good Times Roll not only magnificently launched The Cars with its memorable rhythm and guitar licks, but it’s a killer tune with incredible layering techniques, particularly with regard to the vocal harmony. One must remember that this was pre-digital editing capabilities and was as much about skill as it was about pushing the limits of the available technology. Good Times Roll was also the third single that, despite charting, never rose to the top of the charts. A shame considering it’s such an addictive tune. Nevertheless, it has remained a fan favourite and a mainstay in the band’s back catalogue since its release. 

My Best Friend’s Girl, the second single from The Cars, failed to set the charts on fire, outside of the UK where it peaked at #3, but whoever was Ric Ocasek’s best friend must have been worried when the lead vocalist and guitarist penned this classic. Not only is this tune synonymous with The Cars, but it contains one of the greatest lyrics ever penned in the history of recorded music:

"She's my best friend's girl, but she used to be mine.” – Ric Ocasek, The Cars

My Best Friend’s Girl is perfectly suited to The Cars and this debut, but the sonic style has a 60s feel to it and you could subsequently be forgiven for assuming it was released earlier than 1978.  

Just What I Needed was the first single from this self-titled debut and is the first song to  feature bassist, Benjamin Orr, on vocals. While the multi-vocalist approach was extremely common within bands throughout the 60s and 70s, I couldn’t imagine Ocasek singing this tune even though he wrote it. This is an excellent example of where the chosen vocalist best suits the song and Orr’s vocal is the perfect driver along with the rhythm and those killer guitar licks. 

I’m In Touch With Your World is one of the most visual songs you can imagine as Greg Hawkes (keyboards and percussion) paints each and every sonic element into the mix. As mentioned earlier, however, this is one song where I feel the digital stream lets it down for it should be much more immersive than it is. Regardless, what an incredible piece of musical art! 

Don’t Cha Stop has a catchy rhythm and chorus and while it isn’t necessarily a standout, something is compelling about Don’t Cha Stop that makes it perfect for its placement in the album’s structure. All songs on an album don’t have to immediately standout and Don’t Cha Stop is one of those tunes that grow on you, particularly once the chorus kicks in. Plus, there’s a great guitar solo (albeit in the background) to be heard on this tune.

You’re All I’ve Got Tonight is moody; I love it! There’s most certainly a Skyhooks vibe going on here, particularly with the guitar tuning and associated licks. Intentional, or not, I simply adore this style of rock music as it is always uniquely fresh and doesn’t feel at all dated to the era. 

Bye Bye Love is a great tune that keeps the album flowing. It’s also one of the few songs in that I prefer the verse to the chorus. This is most likely due to the repetitive and simple nature of the chorus, but that is a subjective element and to be honest, the entire song is compelling. 

Moving In Stereo is the greatest tune on this self-titled debut and I can’t fathom why it wasn’t released as a single. It has the late 70s vibe written all over it and I don’t know about you, dear reader, but I believe it would have been a chart-topper. 

All Mixed Up segues beautifully from Moving In Stereo and, in some ways, can be seen as an extension of the previous song. All Mixed Up as a standalone track, however, is simply stunning. It’s a perfect bookend closer to a flawless album. 

From start to finish, The Cars is an exceptional debut that has absolutely no filler. With a modest runtime of 35 minutes, there aren’t any superfluous recordings added to the album to simply fill up the available space on the record. The adage of sometimes less is more certainly rings true, with this release, and while The Cars would go on to unveil other exceptional albums, such as Candy-O and Heartbeat City, this self-titled debut can be seen as their most cohesive body of work. 

Check out more reviews by Subjective Sounds

Bruce Springsteen – Darkness On The Edge Of Town (Album Review)

Darkness On The Edge Of Town, for me at least, is where the Bruce Springsteen story begins. Those of you who adore his earlier releases, particularly Born To Run, will vigorously refute that suggestion, but I find those records to be mediocre as they pertain to the album experience. Yes, those albums have exceptional songs that have stood the test of time but they aren’t nearly as cohesive and fluid as Darkness On The Edge Of Town; Springsteen’s fourth studio release. 

While Born To Run and Born In The U.S.A. may be Springsteen’s most striking and memorable albums, from an artwork perspective, the low-profile cover art of Darkness On The Edge Of Town offers a superb insight into the man minus the stardom. It’s also indicative of the era and upon reflection from within the current zeitgeist, I can’t help but see a simpler time. Of course, as is the case with all of Springsteen’s music, his lyrical messages are not as straightforward and will appeal to those who thoroughly enjoy interpreting lyrics.

While I’ve yet to pick up a vinyl edition of Darkness On The Edge Of Town, the lossless Apple Music Stream, an Apple Digital Master, is smooth and there’s no harshness to be heard in the treble range. The downside is that some may lament the slight reduction in clarity. As I tend to prefer a warmer sound, which often comes as a result of reducing the treble and boosting the bass slightly, this isn’t an issue for me. That said, the overall recording and mastering of the album is nothing short of extraordinary as you’ll feel the music in your bones as well as your soul. It’s as if Springsteen and the E Street Band are in the room with you, giving you a private performance. 

Badlands has a killer drum introduction, but sounds a little compressed in the soundstage; an aspect that isn’t an issue on any other song on Darkness On The Edge Of Town. A shame considering it’s a killer tune.

Adam Raised A Cain is an amazing, brilliant, sensational, blues-inspired rhythmically-charged song that I simply adore. Springsteen doesn’t get much better than this, does he? How I would have loved to have been a fly on the wall when they were recording this masterpiece. It honestly amazes me that it wasn’t released as a single. 

Something In The Night is stunningly beautiful. It’s such a delicate composition and is perfectly positioned in the album’s sequencing. The musicality is off-the-charts good and Springsteen’s drawling vocal is so perfectly suited that I couldn’t imagine anyone covering Something In The Night; although I would like to have heard Billy Joel cover it. That drum beat, along with Springsteen’s vocals, is a piece of musical history that I’d argue will never be repeated to such effect and impact ever again. 

Candy’s Room changes the tempo and I love Max Weinberg’s drumming on this track, plus the band is on fire. It’s furious, yet restrained, but ultimately sets the tone for the song with Springsteen’s poetical off-beat lyric delivery being the perfect accompaniment. 

Racing In The Street is a magnificent song that leaves me speechless each time I listen to it. 

The Promised Land is a great song, but after Racing In The Street, the stylistic shift is a jolt to the senses. That said, Darkness On The Edge Of Town was originally released on vinyl and The Promised Land was subsequently the first song on Side B so there’s no doubt that this aspect would have been considered when the tracking order was discussed. With that in mind, The Promised Land would have been the perfect opener for the second half of the album. 

Factory is a solid toe-tapper; a thoroughly enjoyable song! 

Streets Of Fire flows nicely from Factory and while it isn’t the strongest song on the album, Streets Of Fire would have to be one of the greatest filler tracks Springsteen ever recorded. 

Prove It All Night is sensational with its jazz, blues and rock influences. I love it!

Darkness On The Edge Of Town highlights not only the musicality of The E Street Band but Springsteen’s poetic delivery; superb!  

Darkness On The Edge Of Town, with a runtime of 43 minutes, is the perfect length ensuring that I never tire of it and can listen to the album on repeat countless times before moving on to Springsteen’s other recordings. On this particular release, Springsteen and The E Street Band were at the top of their game. If you’re trying to introduce someone to Bruce Springsteen, I don’t believe there is a better album that fully showcases what The Boss is all about.

Check out more Bruce Springsteen reviews by Subjective Sounds