Midnight Oil – Diesel And Dust (Album Review)

Ian McFarlane's Encyclopedia of Australian Rock And Pop references Diesel And Dust as “groundbreaking and one of the greatest Australian albums of all time”. I dare anyone to challenge that claim as Diesel And Dust is the quintessential album Midnight Oil should be remembered for.

John O'Donnell, Toby Creswell, and Craig Mathieson also thought so highly of Diesel And Dust that it was awarded the No.1 Australian album in their book, The 100 Best Australian Albums. They go on to say “in the process of reinventing themselves, Midnight Oil has crafted an album of brilliant, passionate, and intelligent songs that carry a message”.

Following these greats with any additional commentary on Diesel And Dust would be seemingly superfluous, but bear with me as I take a look at the music that makes up Diesel And Dust.

Beds Are Burning is iconic! With its catchy guitar riffs and anthemic chorus there’s little doubt as to why it has remained as revered as it has over the years. Addressing the plight of Australia's Indigenous people and their stolen lands also adds to the emotive element of the tune and while politically-charged lyrics are not everyone’s cup of tea, few would gripe about Midnight Oil’s lyrical direction as the music is off-the-charts good.

Put Down That Weapon is sonically gorgeous. In fact, while the lossless Apple Music stream is from the 2008 remastering sessions, you won’t be disappointed for Put Down That Weapon, in particular, is mastered with kid gloves meaning that the pounding drums and infectious guitar hooks give the song a rebellious edge, while Garrett's vocals convey a sense of urgency and conviction.

Dreamworld shifts the tempo and tone but the driving rhythm section and memorable melodies ensure that Dreamworld remains a captivating listen. That said, Dreamworld is one song that can be a little jarring on the senses, especially when listening repeatedly as it isn’t quite as smooth, from a sonic perspective, as the other songs featured on Diesel And Dust.

Arctic World is an atmospheric marvel and while some may dislike the styling of the song, the evocative nature of Arctic World ensures the listener sits up and takes notice of a song that addresses climate change; an issue that is still plaguing modern society.

Warakurna flows seamlessly from Arctic World with rhythmic perfection. It’s one of my all-time favourite Midnight Oil songs as it blends traditional rock elements with indigenous influences to deliver a song with a poignant message.

The Dead Heart is another sonic standout from an album that defines Midnight Oil. The combination of all musical elements and Garrett's passionate vocals creates an emotionally charged atmosphere that is both captivating and deeply moving from both literal and musical perspectives.

Whoah is sonically beautiful. Close your eyes, relax, and enjoy.

Bullroarer picks up the pace with driving guitar riffs and a rhythmic and infectious chorus that ensure Diesel And Dust is remembered for its high-energy sound as much as it is for its sociopolitical messaging. With a tip of the hat to Midnight Oil’s Punk roots, Bullroarer is a musical masterpiece and one of the best songs they have ever written and recorded. If you haven’t already, turn the volume up to 11.

Sell My Soul is a hidden gem with introspective vocals and a melodic arrangement. While it was never destined to be a standout hit, Diesel And Dust is all the better for Sell My Soul’s inclusion.

Sometimes showcases Midnight Oil’s Punk roots and while there’s absolutely nothing wrong with that, it isn’t the strongest song on the album, particularly with regards to the verses. The chorus, however, is another issue entirely for it’s thoroughly enjoyable and captivating.

Gunbarrel Highway, while not featured on the vinyl and cassette releases of Diesel And Dust, made it to many of the CD editions as a bonus track. While I’m normally dismissive of bonus tracks, Gunbarrel Highway is one exception as it is a perfect closing tune to the album; one that encourages me to play it again.

Midnight Oil’s Diesel And Dust is timeless from both the perspective of sociopolitical issues and musicality. This is one album whereby each track stands on its own but the collective nature of the album experience further amplifies a cohesive musical statement. While some will turn to it for literal meaning, others such as myself will prefer to enjoy the album for its masterful musicality. No matter how you choose to appreciate Diesel And Dust, one thing is for certain, this is one album that you need to have in your collection.

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Tom Jones - Praise And Blame (Album Review)

The legendary Welshman, known for his powerful voice and charismatic stage presence, took a bold and unexpected turn with his 38th studio release, Praise & Blame, from 2010. Departing from his usual mainstream sound, Jones embraces the genres of gospel, blues, and roots music to deliver a collection of soulful and introspective songs. With his gritty vocals and heartfelt delivery, Jones showcased that his artistic versatility knew no bounds.

Of course, Jones isn’t the only notable element here for Praise & Blame is a stunningly beautiful recording that has been mixed and mastered with respect. The entire production team and players on this release deserve acknowledgement for all aspects complement Jones' vocals perfectly by adding layers of richness to his captivating vocal performance.

While the music is extraordinarily good, however, the artwork is absolutely horrid. I get it, it shows a place of worship, but the chosen design elements and the photograph itself, aren’t exactly compelling. Seriously, if you saw that on display at your local record store, you’d give it a miss, wouldn’t you?

In my mind, all Tom Jones albums should feature Jones on the cover and while Jones may have wanted the songs to speak for themselves, I feel the artwork on this particular album takes away from the incredible musical experience you’ll have when listening to the record. Nevertheless, we listen with our ears and not our eyes so join me as I take a look at the selection of songs that make up Praise & Blame.

Please note that the shared Apple Music stream below is a playlist I created as the Apple Music edition features the bonus track Burning Hell (Ethan John's Wood Room Version). Regular readers will note my penchant for the original sequencing of albums and as such that is why I’ve chosen to present the album in this manner.

What Good Am I? opens the album with a haunting and introspective track. Jones’ weathered vocals add a layer of vulnerability to the song that works exceptionally well with the monotone rhythm thereby making it a standout tune.

Lord Help picks up the tempo with a blues-meets-gospel song that leaves a lasting impression. I do, however, feel that Jones’ vocals are a little too concealed in the mix but that need not be a detrimental factor as Lord Help is quite the toe-tapper.

Did Trouble Me focuses on Jones’ soulful delivery for the sparse instrumentation, on this song, is a feature that ensures Did Trouble Me remains a poignant and thought-provoking tune.

Strange Things is lively with an upbeat tempo set to the background of a roots musical style. It isn’t, however, the greatest song on the album and part of that conclusion is due to Jones’ vocal delivery as he’s over-performing on this track.

Burning Hell is raw and gritty blues-based rock and roll. Needless to say, I love it! Jones' passionate vocals ensure Burning Hell is an emotionally charged and memorable song and is, without a doubt, one of Jones' greatest recordings.

If I Give My Soul is another exceptional example of the rather stripped-down style of Praise & Blame. It’s this musical technique that ensures Jones’ vocal remains central in the mix while simultaneously intensifying the emotional impact of the songs’ lyrics.

Don’t Knock is a lively and infectious gospel-influenced track. Jones' spirited vocals, and the energetic instrumentation, create an atmosphere that’s hard to resist.

Nobody’s Fault But Mine is incredible! This bluesy rendition showcases Jones' vocal prowess and ability to infuse a song with soulful intensity for few vocalists have such control over their octave range.

Didn’t It Rain with its lively gospel-infused sound, is a toe-tapping track that exudes joy and celebration. Jones' energetic vocals and the vibrant instrumentation create a lively and infectious atmosphere, leaving listeners wanting more.

Ain’t No Grave embraces a rootsy and spiritual vibe that is thoroughly enjoyable. Jones' powerful vocal once again shines through ensuring that Ain’t No Grave is one of the best songs from Praise & Blame.

Run On creates a rousing conclusion to the album that embodies the spirit of traditional gospel music, featuring an energetic and foot-stomping rhythm, with a touch of blues-based rock. Listeners are left with a lasting impression that is both energised and uplifting and Ride On, by default, becomes the quintessential closing track that encourages repeat listens of the album.

While some longtime fans of Jones' earlier hits may find Praise & Blame to be a departure from his familiar style, it is a testament to his evolution as an artist as this album is a standout in his discography, proving that even after decades in the music industry, he can still captivate and surprise his audience. Whether it's the introspective and haunting tracks or the uplifting and celebratory ones, Jones' expressive vocals and the rawness of the arrangements make for a captivating and emotionally charged listening experience from start to finish.

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Foreigner – 4 (Album Review)

Few albums are quite as cohesive and memorable as Foreigner’s 1981 release 4. With its collection of iconic tracks, 4 propelled Foreigner to even greater heights of success, solidifying their status as one of the most prominent rock acts of the era. Packed with infectious melodies, powerful vocals, and expertly crafted songs, 4 showcases the band's ability to create timeless anthems that continue to resonate with audiences to this day.

As for the titling of albums, more often than not they’re associated with an individual song, but with 4, Foreigner is not only referencing the fact that it was their fourth studio album but it also marked a reduced musician lineup where the band only consisted of Lou Gramm, Mick Jones, Rick Wills, and Dennis Elliot. Sometimes less is more!

While the music is beyond reproach, let’s be honest and say that the album artwork is a little underwhelming; although coming on the heels of Head Games, a quite controversial piece of cover art, one can understand the need for a more subdued piece of visual art. That said, the Apple Music animated artwork adds a level of detail that couldn’t be achieved outside of the digital domain, but it still doesn’t match the mastery of the music, does it?

Turning our attention to the sonic qualities of the recording, streamed via Apple Music, it’s perplexing! As with all of Foreigner’s albums on Apple Music, they’re presented in CD Quality lossless and 4 is derived from the 2002 remaster. Now, there’s nothing fundamentally wrong with that until you realise that this classic album has been reissued and remastered various times with a focus on Hi-Res Lossless presentations, via SACD and DVD-Audio as well as associated surround sound mixes found on those formats. With Apple’s expansion into Hi-Res Lossless and Spacial Audio mixes, it’s surprising that we’re still only given access to the CD equivalent from 2002, especially considering the SACD/DVD-A is well-regarded. Plus, why update the album artwork but not the available versions? I have no answer, clearly, but it’s an aberration that is mildly irritating. Of course, Hi-Res Lossless sources aren’t always a guarantee of quality, but the CD Quality stream sounds a little anaemic. A boost to the bass in the EQ settings somewhat helps, but that tends to muddy the sound presentation more than improve it. Hopefully, fans of Foreigner, and specifically 4, won’t have to wait too long before a higher-quality stream is made available, but until then we can still enjoy this timeless classic for it’s a solid facsimile to the CD counterpart.

While the stream offers the Expanded Version and regular readers will note my penchant for listening to an album in its original sequencing, sans bonus material, the Apple Music stream that I’ll share with you will be in the form of a Playlist as that allows me to share just the core songs of this landmark release.

Night Life kicks things off with a burst of energy that sets the tone for the entire album. The catchy hooks, and killer power chords, combined with Lou Gramm’s sensational vocals are what rock and roll dreams are made of.

Juke Box Hero with its instantly recognisable guitar riff is not only a fan favourite but is one of Foreigner’s most well-known songs outside of their core fan base. For me, at least, it’s that bass-driven introduction with Gramm’s vocal being a little more distant in the mix, before exploding, that is truly remarkable. There’s little doubt in my mind that Juke Box Hero is a textbook-perfect song; one that creates a powerful listening experience that will leave you craving more.

Break It Up slows the tempo initially but it quickly builds to a rocking melodic tune with ballad-styled intentions that’s captivating.

Waiting For A Girl Like You is, arguably, the most romantic power ballad of all time. If the atmospheric musical bed doesn’t grab you, the silky smooth vocals will. Absolutely stunning!

Luanne injects a dose of energy into the album and perfectly embodies the spirit of 80s rock. The upbeat tempo, infectious guitar riffs, and Gramm's electrifying vocals create an irresistible party anthem; even though it has achieved little fanfare outside of the album structure.

Urgent is a masterpiece! If you haven’t already, turn the volume up. The interplay between Mick Jones' guitar and the saxophone solos adds a layer of intrigue, making Urgent a standout on 4 and one of the very best songs that Foreigner ever recorded. Gramm’s vocal is superb here, as it is throughout the entire album, but it’s this presentation, in particular, that makes me think Urgent would have been the perfect song for John Farnham to cover as their vocal styles are complementary to each other.

I’m Gonna Win is a motivating listen that exudes confidence and determination. With its driving rhythm and powerful vocals, Foreigner's ability to infuse positivity and strength into their music shines through, making this track a perfect addition to any playlist that requires a little attitude-driven motivation.

Woman In Black is one of my all-time favourite Foreigner tunes. The guitar work is extraordinary but it’s the rhythm that gets so deep into your soul that you’ll quickly find yourself immersed in one of the greatest songs ever recorded.

Girl On The Moon has a hypnotic and relaxed feel to it. It’s a perfect album-only tune with tight musical elements and beautiful vocals. 4 really is one album that plays like a greatest hits release for there isn’t a bad song to be heard and it’s Foreigner at their very best.

Don’t Let Go closes the album on a high note with an infectious chorus and melodic hooks that will encourage you to spin this exceptional record again.

From the moment you tap play, 4 takes listeners on a captivating journey, blending powerful rock anthems with heartfelt ballads and infectious pop sensibilities. With chart-topping hits like Juke Box Hero and Waiting for a Girl Like You, Foreigner has solidified their place in music history with one of the greatest albums ever recorded. A true masterpiece in every sense of the word.

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Rick Price - Heaven Knows (Album Review)

When I think of the very best that the Australian music industry has to offer, Rick Price and his debut album, Heaven Knows, are always at the top of my list. In a time when Australian music was flourishing with artists like John Farnham, Jimmy Barnes, and Diesel, Rick Price held his own and carved a niche for himself with this highly acclaimed debut from 1992.

With its heartfelt lyrics, soaring melodies, and polished production, Heaven Knows remains a timeless, and somewhat hidden, classic. Unfortunately, it has been out of print for decades and as much as I’d love to see it reissued on a physical format, it’s unlikely to happen. Never say never, of course, but this is yet another example whereby streaming and digital download stores reign supreme with regard to out-of-print music being readily available for new audiences to enjoy.

Speaking of the digital offerings, Heaven Knows is presented in lossless CD Quality on Apple Music and I really couldn’t be happier for it’s a superbly recorded, mixed, and mastered album. While The Essential Rick Price contains many of the landmark tunes from Heaven Knows, the mastering is too hot meaning that while there’s greater punch and forwardness to the songs you know and love, it becomes fatiguing to listen to. Yes, some albums sound better when the dynamic range is compressed, but that is not the case here.

What’s Wrong With That Girl? has an addictive rhythm with stunningly beautiful guitar work. Add Price's incredible vocal and you’ll be captivated from the very first note.

Not A Day Goes By continues to enthral with its poignant lyrics and Price's heartfelt delivery. The soaring chorus and infectious hooks make it an instant earworm; although, I would have liked the chorus to be sung in a lower register as it can become a little jarring on the senses. Regardless, Not A Day Goes By is a trademark Rick Price tune and is one that is thoroughly enjoyable.

A House Divided picks up the tempo with an excellent pop-rock tune that will see you singing along throughout the chorus. It’s perfectly suited to Price's style but I’d also love to see a country music artist reimagine A House Divided for there’s a touch of country within the song that I feel could be explored further.

Walk Away Renee is a fantastic cover of The Left Banke's original 1966 recording. With Price's knack for crafting catchy melodies, backed by rich arrangements that perfectly complement his soulful vocals, Walk Away Renee has never sounded better.

Heaven Knows is simply magnificent. Price's smooth vocals effortlessly glide over a lush musical arrangement, blending elements of pop, rock, and soul that create an instant connection with the listener.

Church On Fire is the first track on the album that doesn't immediately excite me and is a poor follow-up to Heaven Knows. It does, however, become more palatable as the song builds towards the chorus, but it isn’t likely to be anyone’s favourite song. Yes, it is sequenced poorly within the album structure, but I really don’t feel Church On Fire would have fit anywhere else on the album and I’d go as far as saying that it should have been omitted.

Life Without You is an enjoyable song with a touch of country, folk, and pop that fits perfectly with the overall style of the album and Price’s vocal presentation. It’s an album-only tune, for sure, but it’s songs such as Life Without You that make the album experience all that much more cohesive.

Foolin’ Myself has a killer guitar intro and is a solid pop-rock tune with a catchy chorus that will keep you on the hook.

Forever Me And You is a beautifully crafted ballad that showcases Price's ability to tug at the heartstrings. Price's impeccable vocal control knows few limits meaning that Forever Me And You, much like the rest of the album, is exceptional!

Fragile is a beautiful closing track that permits reflection while also encouraging listeners to play the album again.

Price’s ability to seamlessly blend different genres and deliver heartfelt performances has always set him apart from his contemporaries. The album's production is polished and timeless, allowing it to transcend the era it was released in. Hence, if you're a fan of heartfelt ballads, infectious melodies, and soulful performances, this album is an absolute must-listen; not just for fans of the Australian music scene but for music lovers worldwide.

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The 69 Eyes – Death Of Darkness (Album Review)

Death Of Darkness, the thirteenth studio album from The 69 Eyes is a stunning addition to the band's legacy and showcases their signature sound of melodic, haunting, and catchy gothic rock music. Add a touch of country, a little metal, and a dash of punk and The 69 Eyes is just about as compelling as any hard rock band ever could be. Oh, and I forgot to mention the vocal influences of Jim Morison, Johnny Cash, Nick Cave and Billy Idol. While Jyrki 69 incorporates all these legends and is legendary in his own right, Death Of Darkness is a musical masterstroke that incorporates all band members beautifully and will go down in history as one of their greatest musical achievements.

Visually, Death Of Darkness offers one of their greatest album covers and is only comparable to X in that regard. As is the case, often with the presentation of modern album artwork, the full impact isn’t truly appreciated on the smaller canvas of one’s smartphone. Subsequently, may I suggest that if you love Death Of Darkness as much as I do, then consider picking up a physical copy for they look sensational.

Sonically, the lossless Apple Music stream, an Apple Digital Master, is superb. Yes, there is a little cymbal crunching in a couple of areas and while it is mastered to modern loudness standards, it’s mastered exceptionally well for the style of music. The soundstage is as wide as it is deep, resulting in separation between each and every musical element. It’s so good that I’m going to go out on a limb and declare that it is their best-sounding record to date.

Death Of Darkness sets the tone for the entire album with its heavy guitar riffs and dark and brooding atmosphere. It’s a great opener!

Drive has a killer riff and rhythmic introduction. If you haven’t turned the volume up by now, stop reading and do so for Drive is simply magnificent and instantly reminds me of Billy Idol’s overall style. Even though Jyrki 69’s vocal is a little recessed in the mix, thereby allowing the musicality to take centre stage, I’m so glad that the mixing engineer chose this approach as the vocal subtlety works wonders here.

Gotta Rock is one of the greatest rock tunes of 2023 and one of the best in all of recorded music history. Without a doubt, it’s the best song The 69 Eyes have ever recorded. It’s a stadium filler, for sure, and stops me in my tracks every time it comes on. You’ll find yourself singing along to the addictively good chorus and, additionally, I simply love the synth elements throughout as it harks back to the 80s without necessarily intending to do so.

This Murder Takes Two (feat. Kat Von D) shifts the tempo of the album and while it could initially be seen as a jolt to the senses, the country-based Johnny Cash style is spectacular. Although, while I’m not convinced of Kat Von D’s inclusion, the more I listen to This Murder Takes Two, the more I come to appreciate her contribution. I would say, however, that I prefer their collaboration on the 2013 song Rosary Blue for that is one beautiful song from the get-go.

California kicks things up a notch and is a killer rock and roll tune.

Call Me Snake is a monster of a song and reminds me, again, of Billy Idol, but Jyrki 69 takes that influence, makes it his own, and adds a little demonic touch to it. Magnificent!

Dying In The Night has a great bass introduction that continues throughout thereby setting a rhythm that, again, is somewhat planted in the 80s but with a modern twist. While it may be unintentional, Dying In The Night is a magnificently mellow tune that has a David Bowie vibe to it. A fantastic song!

Something Real is a solid tune but it isn’t a standout. I simply don’t feel it’s perfectly suited to the album as it sounds as if it were recorded at another time, with a different album in mind.

Sundown, similarly to Something Real, isn’t exceptional but it has one thing that the aforementioned track doesn’t; it sounds perfectly aligned with the other music on Death Of Darkness. Additionally, for those of you who love a guitar solo, there’s an incredible one to be heard here.

Outlaws is the perfect closing track for it’s got all the killer rock elements we expect from a 69 Eyes recording but most importantly it closes out the album with a mellow, yet energetic, feel that ensures that I’ll be spinning the album again.

Overall, Death of Darkness is a fantastic addition to The 69 Eyes' discography, and it's clear that the band has not lost their touch when it comes to creating dark and melodic gothic rock music. They simply keep getting better and better. Death Of Darkness may have a more melodic feel to it than their other albums, which may result in some questioning if The 69 Eyes have mellowed as they’ve aged, but I’d say they sound better on this 2023 release than they ever have. Death Of Darkness, subsequently, is a must-listen for fans of the band, the genre, and is a great starting point for those new to the music of The 69 Eyes.

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The Rolling Stones – Aftermath (UK) [Album Review]

Released in 1966, the UK edition of Aftermath, was the fourth studio album from The Rolling Stones and the first to contain all-original compositions as the covers of yesteryear were no longer applicable to a band as well-versed in their sound as The Rolling Stones were at that time. Aftermath (UK), subsequently, flows perfectly within the release structure of their back catalogue as it simultaneously showcases their evolving songwriting abilities and experimentation with emerging musical genres, such as folk and psychedelia.

Newcomers to The Stones may be a little confused as to the UK designation but it’s a little less complicated than you may otherwise expect. The US edition of the album includes several additional tracks not found on the UK release, notably the hit single Paint It Black, and is also the sixth studio release from the English rock band. Aftermath was, after all, released during an era whereby a consistent worldwide release was not routine within the music industry. Each regional arm of a record label would subsequently decide on which songs would be included via their local release, as well as the associated artwork and design. The theory was that they could target a release specifically for their market. In this case, a more succinct runtime was appreciated by US audiences and as a result would have, theoretically, generated additional sales over the UK release.

One must remember that the world was far less connected in the past than it is today and there is certainly logic in that line of thinking. For instance, the cultural differences between the US and the UK, in the 60s, were quite noticeable. The UK was focused more on the counterculture movement, with an emphasis on music and fashion, while the US was focused on civil rights and family-friendly entertainment.

Despite these differences, both editions of Aftermath are worth adding to any respectable record collection but my preferred edition is the UK release, despite the omission of Paint It Black, as I feel the selected songs and sequencing are stronger, even though it has a longer runtime. I also find myself preferring the UK album artwork as the blurred cover art on the US release just isn’t appealing.

Of course, it’s the music that is paramount here and the stereo mix, delivered as a Hi-Res Lossless Apple Music stream, an Apple Digital Master, is thoroughly enjoyable. Yes, it’s a 60s recording and The Rolling Stones have always had a raw sound signature, but the stream is sonically smooth with detail across the entire soundstage that will simply fill you with joy every time you listen to the album. That is, of course, until you listen to the Mono mix via the In Mono collection. Simply take everything I just mentioned and amplify it by a factor of 10 for the Mono mix of Aftermath (UK) is simply magnificent.

I have so much admiration for the mono mix that rather than share with you the stereo version, I’ve created a dedicated playlist of the mono mix recordings, from the aforementioned collection, as it helps to target the specific album as it is otherwise buried in the 10-hour, 186-song, collection as the mono mixes aren’t available as separate albums. It’s a little frustrating, yes, but it prevents several similar, yet different, copies from clogging up the Rolling Stones album listings on Apple Music et al.

Mother’s Little Helper is one of The Stones’ most controversial songs, despite it being a catchy folk-rock tune, the lyrics address the topic of prescription drug abuse. An issue specifically of the 60s, yes, but one that is still applicable, if not moreso, in modern society. Regardless, it’s a great little tune.

Stupid Girl is an excellent song that perfectly highlights the 60s era, from a musical perspective, for it too is controversial. Stupid Girl is largely compelling due to its simple composition but it’s also highly addictive with its driving beat and bluesy guitar riffs, along with Mick Jagger's snarling vocals.

Lady Jane is a gorgeous tune and a standout from Aftermath (UK). Jagger certainly knows how to perform a ballad for it’s one of The Rolling Stones’ greatest recordings with a musical backing that is as stunning as Jagger’s vocal delivery.

Under My Thumb is a song with a catchy and unforgettable melody. Perhaps controversial, due to misogynistic interpretations, Under My Thumb remains a fan favourite because the musicality is strong. Of course, long-time readers will note that I’m a music lover who appreciates the human vocal as an instrument in the mix, rather than a storytelling device, so it isn’t uncommon for the more controversial tunes to go unnoticed in my mind. Hence, I just groove along and thoroughly enjoy the music that I’m hearing. I consider that a gift as I dare say should I acknowledge all song meanings, I likely wouldn’t be as in awe as I am with the music I listen to.

Doncha Bother Me is rough around the edges and sounds more like a demo than a completed recording. Yes, I acknowledge the album was recorded in the 60s, but it is reminiscent of The Stones' earlier works along with the lower production standards. Of course, that sound has become somewhat of a trademark for them and a core sound signature that sets them apart from any other rock band.

Going Home is an epically long song for an era when songs were not expected to exceed the approximate 3-minute length; due to radio playback expectations. Yet, here we are with a song that is thoroughly enjoyable despite its repetitive nature. Of course, Going Home could have been a stellar 3-minute tune, but the 11-minute epic is reminiscent of an impromptu jam session; a good one at that!

Flight 505 is a fast-paced rocker with a catchy chorus, yet it has never truly appealed to me. Yes, Aftermath wouldn’t be the same without it, but it’s one of the poorer songs from this celebrated album.

High And Dry is similar to Flight 505 in that it isn’t overly appealing. Again, it sounds like a demo rather than a fully-fledged recording, but it has too much of a country twang for my liking and simply isn’t strong enough to be a standout tune.

Out Of Time (Version 1) is a melancholic ballad with a memorable melody and introspective lyrics. It’s an interesting contrast. While this is the original mix of the song, an alternative mix was also released on the Flowers album in 1967. I enjoy both renditions of Out Of Time and I subsequently find that I can listen to them interchangeably. There’s also the excellent strings version of the song that appears on their compilation Metamorphosis. However, as much as I enjoy that interpretation, I don’t feel it’s as solid as the earlier mixes.

It’s Not Easy is a thoroughly enjoyable blues-based rock and roll song. Its styling makes me consider it a precursor to just about any punk rock tune.

I Am Waiting is somewhat of an enigma as my mind struggles to determine which musical element it should be connecting with. Is it the guitar strum, the maracas, or the hypnotic vocal track? Things get even more complicated when the drum track kicks in and it’s as if all elements are fighting to be heard but none are specifically driving the direction of the song. Interestingly, that’s part of the strength of the song and while it bemuses me, I Am Waiting is not only one of my favourite tunes from Aftermath, but it’s one of the best The Stones ever recorded.

Take It Or Leave It has a slow melody that will see you toe tapping and head bopping to the rhythm. While it’s unlikely to be anyone’s favourite tune, Take It Or Leave It is musically compelling and I thoroughly enjoy its placement within the sequencing of Aftermath (UK).

Think has an incredibly engaging rhythm and compels me to turn the volume up; what a great tune!

What To Do isn’t a bad song and it encourages me to listen to the album again, but it isn’t a standout. Still, Jagger’s vocal presentation is the highlight here and the musical backing does exactly what it’s supposed to. Interestingly, I’m not sure how I feel about the backing vocals. They work, and sound fantastic, but the barbershop quartet feel is a little too US for a UK band; an interesting aspect considering What To Do was not included on the US release of Aftermath.

Overall, Aftermath (UK) represents a significant milestone in The Rolling Stones' career, showcasing the band's evolution as songwriters and their willingness to experiment with new sounds and genres. While some of the lyrics may be controversial by today's standards, the album remains a classic of the 1960s rock and roll zeitgeist and is a must-listen for any fans of the band or the genre.

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Billy Squier – Don’t Say No (Album Review)

Released in 1981, Don’t Say No features ten tracks of hard-hitting rock music with catchy riffs and powerful vocals that ultimately became Squier's breakout success, following his solid solo debut The Tale Of Tape. Spawning several hit singles and earning him critical acclaim, Don’t Say No is a quintessential example of the 80s hard rock sound, featuring heavy guitar riffs, synthesizers, and anthemic choruses. It’s 80s to the core, but the high production values ensure that it not only remains a highlight of the era, but still holds up today.

The artwork, however, hasn’t aged so well and is arguably one of the most uninspiring pieces of album artwork that I’ve ever seen. While it doesn’t qualify for a position on The Worst (And Most Disturbing) Album Covers Of All Time, it equally doesn’t compel me to pick up the album from the visual standpoint alone. Let’s just say, at times like this, I’m glad we listen with our ears and not our eyes.

Listening to Don’t Say No, via Apple Music, is subsequently pleasing. There’s clarity, fullness, and a vibe that will keep you coming back for more. That said, at times I feel there is a veil over the recording and that it truly doesn’t come alive. Of course, that could just be an opinion based on wanting to pick up the extremely well-received vinyl reissue from Intervention Records but until I get a chance to pick up the vinyl version, this Hi-Res Lossless Apple Digital Master is the perfect counterpart; even if the aforementioned reissue is artist approved.

Unfortunately, one common limitation of streaming is that we don’t know if Squier signed off on the release or not. While that normally wouldn’t be an issue, Squier did approve the vinyl reissue and it would be interesting to know what involvement he had in the 2010 remastering from which I believe the stream on Apple Music is derived. Nevertheless, it’s the music we’re after, isn’t it? Please join me as we explore the incredible songs that make up this landmark 1981 release.

In The Dark starts off slowly but it isn’t long before it turns into a high-energy rocker with a driving beat and a blistering guitar solo that sets the tone for what's to come.

The Stroke is likely Squier's most well-known song, with its instantly recognisable riff and catchy chorus. Rock music doesn’t get much better than this, does it?

If you’re interested in the crossing of musical streams, Eminem sampled the tune on his 2013 song Berzerk. It isn’t the greatest Eminem tune, by any standards, but it’s great to hear Squier’s killer riff extended beyond his recording. In fact, it isn’t the only time Eminem was inspired by Squier for he also sampled the next song on the album, My Kind Of Lover, on his 2014 song Shady XV.

My Kinda Lover is a fantastic mid-tempo rocker with a chorus that will compel you to sing along.

You Know What I Like is the first non-standout album tune but its driving rhythm and Squier’s corresponding vocal delivery ensure that it is vital to the overall album experience.

Too Daze Gone is a mondegreen waiting to happen; I love it! Too Daze Gone is one of the greatest songs from Don’t Say No. You’ve likely never heard it outside of the album structure but it should have been a hit; if for no other reason than its wittiness. Of course, if you’re like me, you’ll also be drawn to the addictively good funky basslines, memorable guitar riffs, and piano playing.

Lonely Is The Night is simply magnificent. How this wasn’t released as a single is beyond me for it has that Led Zeppelin feel that just screams chart-topper. Of course, it sounds like Zeppelin because the styling is very similar to that of Nobody's Fault But Mine from their 1976 release, Presence.

Nobody's Fault But Mine wasn’t an original Led Zeppelin tune, however, just a re-arrangement and new interpretation for the core of the song was originally written and recorded by Blind Willie Johnson in 1927. The original was so compelling that it’s had numerous interpretations, with varying styles, throughout the years and while Lonely Is The Night wouldn’t be considered a direct descendent, the spirit of the original Blind Willie Johnson tune lives on through this tune as much as it does via the other recordings that have been made.

Whadda You Want From Me is a fast-paced rocker with a killer guitar riff and a catchy chorus. What more could a rock and roll lover ask for?

Nobody Knows slows the tempo down with an acoustic-styled number containing a beautiful guitar element and a stunning vocal presentation. Nobody Knows is also perfectly positioned within the album structure for it gives the senses a reflective break before leading into the final two tunes.

I Need You is a funky power ballad with a heartfelt melody and vocal presentation that will see you singing along. What a great tune!

Don’t Say No is a substandard closer as it doesn’t always compel me to listen to the album again or further explore Squier’s back catalogue of music. While I don’t feel that the song should have been omitted, I would suggest that a re-sequencing would have been best to ensure greater synergy.

From start to finish, Don’t Say No will interest those of you who adore infectious melodies and hard-hitting rock tunes that have stood the test of time. It’s a must-listen and even if you’re not a fan of Squier’s, yet, you’re bound to find something to enjoy on this 80s masterpiece.

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