Dire Straits – Love Over Gold (Album Review)

While some may question if five songs can be considered an album, there is no doubt that Love Over Gold, Dire Straits’ fourth studio album from 1982, is a quintessential album experience. While each of the five songs stand out on their own, when you listen actively, to the intended album structure, you’ll encounter a rich and rewarding experience that will have you coming back to this incredible release. 

Exploring longer and more intricate compositions than ever before, Love Over Gold was arguably less commercial in its intent than their previous releases. While that could be seen as a missed opportunity, the artistic depth and musical sophistication of the album ensures that it’s timeless and remains an essential element in Dire Straits’ back catalogue. With complex arrangements, extended instrumental passages, and a greater emphasis on atmospheric elements, Love Over Gold is every bit a Dire Straits record but more importantly, it is an experience that has to be heard firsthand in order to be fully appreciated. While the music scene in 1982 was the launching pad for some of the greatest 80s releases, it’s fair to say that Love Over Gold was somewhat lost in the crowd for it truly is one of the greatest albums ever recorded; particularly within the progressive and art rock genres. Yes, it charted and sold respectfully, but it never quite reached the heights that an album of this calibre should have. 

Nevertheless, when looking at masterpiece releases, it isn’t uncommon to note that the artist had a guiding hand from an experienced producer to achieve the very best possible outcome. While that had previously been the case with Dire Straits’ earlier releases, Mark Knopfler showcased his vision by not only writing all the songs but also acting as the sole producer for Love Over Gold. Quite frankly, the man is a musical marvel and while I don’t find his post-Straits output to be as compelling, albums with the spit and polish of Love Over Gold usually only come once in a career. Yet, Dire Straits’ catalogue is remarkably impressive from their self-titled debut in 1978 to their final studio release in 1991. 

Speaking of the impeccable production quality, the lossless Apple Music stream is derived from the core 1996 CD remaster and while I’ve heard some declare these remastered editions to be somewhat lifeless, I thoroughly enjoy them. Granted, when it comes to this album I haven’t compared this mastering to any other, but perhaps that is a good thing. At some stage, even the most ardent of fans need to just rock out and thoroughly enjoy the version of the album that they have access to rather than continually trying to seek out a better copy. Yes, the stream could be a little smoother, in places, but I wouldn’t call it shrill; not by any stretch of the imagination. It just needs a little more fluidity to take it a few percent closer to absolute perfection. 

Nevertheless, I couldn’t be happier with the stream for every musical element is given room to breathe in an expansive soundstage that has plenty of headroom available to pump the volume while also adjusting the EQ without adding degradation to the album’s overall presentation. While I tend to enjoy Love Over Gold, when listened to with no added EQ, the aforementioned smoothness could be achieved with minor manual adjustments to the EQ settings. It’s just a shame that modern EQ options, particularly in the case of Apple Music, apply an all-or-nothing approach and unless you’re on a Mac, you’ll find there are no manual EQ settings available to adjust; a major oversight, certainly! That all said, join me as we explore the music that makes up this essential album from Dire Straits’ illustrious career.  

Telegraph Road is an epic 14-minute musical wonder that serves as the perfect opener for Love Over Gold as it sets the tone for that which we’re about to hear. If you haven’t already, you’ll want to turn the volume up for the initial moments, before the building of the song, are simply magical and the increased volume will only enhance the experience as the song unfolds gradually. It really is a musical journey that showcases Knopfler's storytelling capabilities and the band's ability to build tension and release it with masterful precision.  

Private Investigations is akin to a broody, noir-like tune with elements of classical and folk music that further highlights Knopfler’s virtuosity as a songwriter and musician. It’s a beautiful song that has a cinematic quality that will leave you in awe every time you listen to what can only be described as a masterpiece. Plus, that bass-driven rhythm is hypnotic.

Industrial Disease is a departure from the album's overall intensity, yet don’t let that aspect deter you for it flows seamlessly when listening via the album structure. Featuring witty lyrics and a more upbeat musical arrangement, Industrial Disease is classic Dire Straits as it’s a commentary on modern society backed by some addictively good rock and roll licks. 

Love Over Gold is a magnificent title track that can be best described as Jazz rock; albeit with a slightly bolder rock edge. While the entire album is an incredible audible journey, the mix of this particular song is stunning. The stereo imaging alone is so expansive you’d swear it was a surround mix, yet it is just stereo done right. 

It Never Rains with its more upbeat, rock-oriented sound, serves as the perfect closing bookend to an album that is not only one of the greatest ever recorded by Dire Straits but is amongst the greatest albums ever released. It Never Rains, however, is the weakest song on the album but given the quality of the music that preceded it, it is more than acceptable and is, arguably, more closely aligned with the overall style of Dire Straits’ prior releases. Either way, as an album-only tune, It Never Rains is thoroughly enjoyable.

Love Over Gold stands as a bold and ambitious statement in Dire Straits' discography. It's an album that rewards attentive listening, offering a rich tapestry of sound and thought-provoking lyrics. While it may not have been as well received, commercially, as some of their other works, its artistic depth and musical sophistication make it a timeless and essential part of the Dire Straits catalogue as well as the 80s music scene.

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Glenn Frey – No Fun Aloud (Album Review)

Released in 1982, No Fun Aloud is the debut solo studio album by Glenn Frey. As a founding member of the Eagles, Frey had already established himself as a prominent figure in the music industry, and this album followed that legacy; albeit with a different style and a selection of songs that are, at times, considerably different from his Eagles output. Spanning various musical styles, blending rock, pop, and elements of country, No Fun Aloud showcased Frey’s ability to stand on his own as a solo artist and as far as 80s debuts go, this is one thoroughly enjoyable release. 

What is a little lacklustre, however, is the album artwork. While it doesn’t qualify for inclusion in the The Worst (And Most Disturbing) Album Covers Of All Time list, it is indicative of the visually cringeworthy 80s. Seriously, take a look at the Eagles’ album artwork from the 70s, then compare them to No Fun Aloud. It’s almost comical and one can only wonder what Frey and his record label were thinking. 

Thankfully, the uninspired album artwork doesn’t represent the music within. The album’s production reflects the standards of the time. Yes, some may argue that it isn’t up to the same quality as that heard via the Eagles’ works, but given the Eagles didn’t release an album in the 80s, we won’t ever truly know if their production quality would have shifted with the increased adoption of synthetic elements and emerging digital recording techniques. Hence, such comparisons are trivial. Interesting, yes, but trivial nonetheless. 

While No Fun Aloud hasn’t been remastered and the edition available via Apple Music is the CD counterpart, you’ll be met with a dynamically audible presentation that has plenty of headroom thereby allowing you to turn the volume up and rock out. Modern music lovers may dislike this approach, however, as it isn’t loud and therefore can initially sound inferior by comparison, but when listening to the stream there are no digital artefacts to contend with, nor is it fatiguing. Yes, that quality can, in part, be attributed to the production of the album, but it also showcases that loudness, such as that associated with the loudness wars and modern recordings isn’t as desirable as some would make it out to be. Yes, we all love listening to music loud, but I want to control the volume and set the mood myself. Still, the result is an album that is polished, well-crafted, and perfectly complements Frey's musical styling.

I Found Somebody may not be the strongest opening track. But as a music lover who simply adores the saxophone, I get drawn in every time I listen to the album. Frey’s poetic delivery makes the song even more compelling and the infectious chorus certainly helps in that regard. However, it is Al Garth’s tenor saxophone that steals the show here and ensures that even though the song wasn’t a hit, it could have been a radio-friendly tune that could have done well had it been released in that capacity. 

The One You Love is simply magnificent and I’d argue that it should have been the album’s opener. Regardless, the intermingling of Jim Horn (tenor saxophone) and Ernie Watts (saxophone) is a musical masterstroke that makes The One You Love an even stronger song than it otherwise would have been. Yes, the smooth melody and emotional depth would have remained sans the horn element, but it enhances Frey’s soulful vocals and poignant lyrics thereby making The One You Love one of the greatest ballads ever recorded.

Partytown is a fantastic rock-infused number. Granted, it is a significant sonic shift from The One You Love, but after you’ve listened to the album a few times, you no longer notice the jolt but look forward to the upbeat vibe and some killer late 50s-inspired guitar and vocal work. 

I Volunteer, again, shifts the tone of the album and upon first listening you may feel it’s a distractive element, but the ebb and flow grows on you the more you listen to the album. I know, in the age of playlists, and short attention spans, we no longer focus on the album experience as we once did, but No Fun Aloud shines when you appreciate it as a single body of work, rather than a collection of tunes. That said, I Volunteer is a solid album-only song.

I've Been Born Again starts with a skit usually associated with the Hip-Hop industry and while it’s a little corny, it works rather well. Frey's vocals exude passion, via this bluesy soulful number, resulting in a compelling tune that you’ll find yourself toe-tapping and head-bopping along to. Fantastic! 

Sea Cruise continues the light-hearted approach with this cover of the Huey "Piano" Smith original and while it has been covered by a who’s who of the music industry at this point, Frey performs it masterfully and in many ways it can be seen as an introduction to the Great American Songbook that he’d adopt when recording the delightful After Hours album in 2011-12.

That Girl is a beautifully dynamic tune with some of the loveliest vocals Frey has ever recorded. 

All Those Lies has an Eric Clapton vibe; hence, I love it! Correlation aside, the mid-tempo groove, with some magical soft rock elements, and Frey’s smooth and introspective vocal, make this a hidden gem and a song that should have, in my opinion, been released as a single for it has hit written all over it.

She Can't Let Go is a twanging number. While some may appreciate the narrative-driven approach, and I don’t dislike it, it results in this song being an album-only tune that flows well within the album’s structure but was never  destined to be a standout in Frey’s back catalogue. 

Don't Give Up closes the album with a high-energy number that conveys a sense of hope. While it can be seen as a heartfelt longing for love tune, its driving rhythm and chorus vocal “Don’t Give Up” is so poignant that you’ll likely find yourself using it as inspiration for any number of life’s challenges. 

No Fun Aloud is a thoroughly enjoyable debut solo album from Glenn Frey. It showcases his broader musical skill, both as a songwriter and performer, with each track offering a different sonic experience and standing as a testament to his enduring influence in the world of rock and pop music. While No Fun Aloud may not be as widely remembered as some of Frey's other works, it remains an important milestone in his solo career and a noteworthy release in the broader landscape of the 80s music scene.

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Meat Loaf – Bat Out Of Hell II: Back Into Hell (Album Review)

Released in 1993, Meat Loaf's Bat Out of Hell II: Back Into Hell is a monumental rock album that not only pays homage to its iconic predecessor but also manages to carve out its own unique space in the annals of rock music history. Expanding on Bat Out Of Hell, this second outing furthers the rock opera approach, taking listeners on an epic journey filled with larger-than-life characters, dramatic storytelling, and soaring melodies. In this review, we’ll explore the various aspects that make Bat Out Of Hell II: Back Into Hell a timeless classic for it’s more than just a cash grab follow-up.

Maintaining the operatic storytelling style that Jim Steinman and Meat Loaf are renowned for, Bat Out Of Hell II continues the story arc of the original Bat Out of Hell album, with recurring themes of love, rebellion, and the timeless battle between good and evil. The narrative elements make the album feel like a rock and roll Broadway show, immersing listeners in a world of passion and drama. While Steinman’s songwriting has been pivotal to Meat Loaf’s success, it is the vocalist’s powerful and emotive vocals that are at the heart of this album's success. Yes, others have recorded Steinman’s songs, to much fanfare, but nobody has outperformed Meat Loaf’s vocal prowess on his classic tunes.

Part of the appeal had always been Meat Loaf’s larger-than-life persona; a style that perfectly complements the operatic and grandiose nature of Steinman's storytelling. Tracks like I'd Do Anything For Love (But I Won't Do That) showcase Meat Loaf’s incredible vocal range and passion and his delivery consistently adds a layer of depth and emotion to the lyrics, making them feel more like character monologues than typical rock songs.

While these two incredibly talented individuals are the core reason for the success of each other, and the Bat Out Of Hell series, the production of Bat Out Of Hell II: Back Into Hell is second to none as the arrangements are orchestral and theatrical, featuring elements of rock, pop, and even a touch of classical music influence. Add to that the use of choirs, pianos, and guitars and you get an incredibly rich sonic landscape that perfectly complements the narrative. Yes, the album benefited from a big-budget approach, that wasn’t quite present with the original 1977 release of Bat Out Of Hell, but a level of rawness remains ever-present despite this album’s polished and epic sound.

Purists, particularly those who are attached to the original Bat Out Of Hell will likely view this second instalment as a detractive element but it would be amiss to consider it this way as Bat Out Of Hell II not only lived up to the legacy of the original, but also managed to become a classic in its own right. That statement certainly can’t be applied to the third instalment, Bat Out Of Hell III: The Monster Is Loose; an album that is solid on its own, but is certainly not worthy of its legacy. 

While the music may be paramount, and one should never judge an album by its cover, Michael Whelan created a captivating piece of imaginative realism when designing the Bat Out Of Hell: Back Into Hell cover art. It screams to be seen on the larger vinyl canvas, and while it was released on vinyl in 1993, the CD was commanding everyone’s attention by that stage and the smaller canvas, while adequate, failed to truly captivate the essence of the scene. Thankfully, in 2019, the album was reissued on vinyl for the 25th anniversary and I’m fortunate to have that edition in my collection for it not only sounds incredible, but it looks magnificent.

As enamoured as I often am with Apple Music’s quality, the lossless Apple Music stream is a direct CD counterpart that is more than acceptable, but it’s the fullness of sound, mixed with nuanced clarity, that enables you to turn the volume up and rock out like never before to the aforementioned vinyl reissue. That isn’t to say that the stream is substandard, but if you have the option and you enjoy vinyl, it presents the album in a manner that is incomparable to any other delivery method for the smoothness and fullness of the analogue counterpart really makes this album shine. That all said, grab whichever copy you have access to, turn the volume up, and let’s check out the songs that make up this exceptional release.   

I'd Do Anything For Love (But I Won't Do That) is an epic ballad and the album's most iconic track. Featuring a soaring melody, a powerful choir element, and Meat Loaf's passionate vocals, I’d Do Anything For Love (But I Won’t Do That) was destined to be a standout. Some may lament that this song has been played ad nauseam throughout the years, but as a contender for the greatest power ballad of all time, it is to be expected that it would be controversial.

Credit, however, must be given to Lorraine Crosby for the incredible vocal prowess she delivered on this track. Meat Loaf is good, there’s no doubt about that, but Crosby’s vocal inclusion takes the song to another level entirely; much the same as Ellen Foley’s inclusion on Paradise By The Dashboard Light did.

Life Is A Lemon And I Want My Money Back is an incredible, yet pessimistic, reflection on life's disappointments and unfulfilled promises. It is one of Meat Loaf’s greatest tunes and with its catchy chorus and introspective lyrics, it's memorable and relatable. Add to that some killer guitar work and you’ve got a theatrical rock number with just the right amount of aggression to give the song an attitude all of its own.

Rock And Roll Dreams Come Through is a soft rock anthem but as catchy as it is, it’s one song that has dated far more than it ideally should have. Perhaps that is because it was originally released in 1981 on Steinman’s Bad For Good. That edition features the vocals of Rory Dodd and while he doesn’t have the vocal chops Meat Loaf had, I thoroughly enjoy the original and consider it to be a published demo. Still, neither is exceptional and I dare say that Rock And Roll Dreams Come Through has yet to be fully realised. While it is unlikely, I do hope that another artist will cover this tune, and make it their own, while ensuring that it has a harder rock edge that I feel is deserving of the song. 

It Just Won't Quit shifts the flow of the album somewhat. Yes, it may be sonically compelling, but as much as I consider Bat Out Of Hell II to be largely perfect, It Just Won’t Quit does adversely affect the flow of the album. While rock operas demand melodrama, I can’t help but wonder if a shortening, and simplification, of the song wouldn’t have been better suited to the track.

It Just Won’t Quit is another cover for Meat Loaf as it was originally recorded and released by Pandora’s Box on their 1989 release, Original Sin. The Pandora’s Box original isn’t bad, but I do prefer this interpretation.

Out Of The Frying Pan (And Into The Fire) is a high-energy, rock-infused anthem driven by a sense of urgency and a killer guitar performance. Yes, dear reader, get your air guitar ready as you’re going to need it for it’s one of the best songs in Meat Loaf’s back catalogue.

Jim Steinman originally released Out Of The Frying Pan (And Into The Fire) on Bad For Good and while it’s somewhat lacklustre, it showcases the origins of the song and allows fans to see the evolution of the tune.

Objects In The Rear View Mirror May Appear Closer Than They Are is a beautiful song from start to finish. While I enjoy Meat Loaf’s louder, more rock-driven songs, he had such incredible control over his vocals that he could sing almost any style thrown at him and this is no exception. 

Wasted Youth captures the feeling of youthful rebellion and the idea that life is fleeting. That said, I’m not sure I would call it a song and while Jim Steinman’s spoken word lyrics offer a momentary respite from Meat Loaf, it really doesn't add substance to the overall album experience. Nevertheless, if viewed in a similar style to Lou Reed’s body of work, then it most certainly can be classed as a song. Still, it makes for a very compelling entry into Everything Louder Than Everything Else.

Everything Louder Than Everything Else has a driving rock rhythm and powerful vocal performance that contribute to its anthemic quality. While it was never going to be a standout tune, I couldn’t imagine the album without this song as it’s a solid riff-driven number that is thoroughly enjoyable every time I hear it. 

Good Girls Go To Heaven (Bad Girls Go Everywhere) is a jazzy rock song with a catchy, upbeat melody and a playful attitude and is without a doubt one of the standout tunes from Bat Out Of Hell II: Back Into Hell. 

As with It Just Won’t Quit, Good Girls Go To Heaven (Bad Girls Go Everywhere) is another Pandora’s Box cover. The original is solid, reminding me of many Bonnie Tyler songs. Yes, Meat Loaf’s version is the one to beat, but Pandora’s Box recorded an exceptional original.

Back Into Hell serves as an instrumental interlude that works well on its own, but does it work well in the album format? Over the last couple of decades I’ve become familiar with it, so removing it now would not be an option. However, as with Wasted Youth, one can’t deny that it shifts the flow of the album.

Lost Boys And Golden Girls is pure Meat Loaf. His vocal tracking on Lost Boys And Golden Girls is superb and the song is a perfect classical-styled rock tune that compels me to listen to the album again.

Lost Boys And Golden Girls was also originally recorded and released on Steinman’s Bad For Good and as much as I adore Meat Loaf’s interpretation, Steinman's performance is masterful.

The impact of Bat Out Of Hell II: Back Into Hell on the rock opera genre and its influence on subsequent generations of rock musicians cannot be overstated. While it may not have been quite as successful as its predecessor, it remains a timeless rock masterpiece that captures the essence of operatic storytelling within the realm of rock music. Meat Loaf's powerful vocals, intertwined with Jim Steinman's poetic songwriting, and grandiose arrangements, result in an epic musical experience that continues to resonate with music lovers even decades after its release. 

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Roxy Music – Avalon (Album Review)

Released in 1982, Avalon is a timeless classic that represents the culmination of Roxy Music's musical journey and is, arguably, their magnum opus. Unbeknown to fans at the time, it would also be their final record; an incredible album to close their illustrious career with. As you listen to Avalon you’ll notice how it effortlessly weaves together elements of art rock, pop, and a synth-driven new wave sound to create a sonic presentation that is nostalgic, when considered via a modern lens, but was ultimately forward-thinking when released in the early 80s. 

Naturally, by this stage, Roxy Music had already cemented their legacy, in the annals of music history, with albums such as Country Life, For Your Pleasure, and their self-titled Roxy Music. Shifting to a more mature and smoother presentation than their earlier releases, Roxy Music not only reinvented themselves but released an album that is nothing short of spectacular and easily accessible to all music lovers; an aspect which has been proven with the continued popularity of this classic album.   

Before even hearing the record, one would have been drawn to the album artwork which is simply stunning. Roxy Music is renowned for eye-catching cover art designs, but I consider Avalon to be their greatest. Not only would it have looked stunning on the larger vinyl canvas, the primary music format in 1982, but one can’t help but get lost in the atmosphere for it is very much a piece of album artwork that is both from this world and simultaneously otherworldly. In that way, it matches the music contained within.

Due to Avalon’s success, it has been reissued ad nauseam, which ultimately causes anxiety for fans of the album who wish to seek out the very best reproduction possible. While I’m not suggesting that you throw your arms in the air, in frustration, there are over 200 editions to take into account; a mammoth undertaking for any fan. No, dear reader, you don’t need to track down and listen to every copy, but the amount of research required to find out which edition best suits you is exhausting. It is with that in mind that I must admit the Lossless Apple Music stream sounds incredible. It’s derived from the readily available 1999 CD remastering and while some ardent fans will point to either the SACD edition from 2003 or the vinyl reissue from 2022, when a stream sounds this good it’s a tough sell. Let’s put it this way, when music is recorded, mixed, and mastered as well as Avalon has been, it's bound to sound fantastic, regardless of the delivery method or format. 

More Than This opens the album with a dreamy atmosphere that sets the tone for what is to come. Bryan Ferry’s emotive vocals, combined with the rhythm and shimmering synthesiser-driven soundstage arguably date the song, yet it still sounds fresh and is, subsequently, a timeless classic. It’s classic rock at its very best!

The Space Between flows perfectly from More Than This as the gap between the songs is enough that the style differences don't present as a jolt to the senses. The Space Between adds further musical intrigue to Avalon and while it is an album-only track, it’s one of the best songs Roxy Music ever recorded. Every musical aspect was carefully considered and Andy Mackay’s saxophone playing takes the song to another level entirely and is the real highlight here, that is until you factor in Ferry’s spectacular vocal.

Avalon is the album’s crown jewel and rightful title track for its sensuous and lush, perfectly blending beauty and sophistication. The backing vocals, performed by Fonzi Thornton and Yanick Etienne (in particular) are simply stunning and a key reason why Avalon continues to be enjoyed to this day. 

India is another song that flows seamlessly and to be honest, the entire album is so well-sequenced that as much as you may gravitate to the individual songs we all know and love, Avalon is an album experience first and foremost. No truer is that than when listening to India and appreciating how this beautiful musical interlude segues Avalon to While My Heart Is Still Beating.

While My Heart Is Still Beating is bold and dynamic. It’s a musical journey that is somewhat ethereal as Ferry’s vocals are sung in a manner whereby every lyric is not necessarily well defined, but is present in the mix if you take the time to not only check out the lyrics but listen intently. Songs such as this are a core reason why I consider the human vocal as another instrument in the mix, rather than a storytelling device, for Ferry creates an audible atmosphere that is utterly captivating. 

The Main Thing has an undeniable 80s pop style with its danceable groove and shimmering synths. In many respects, it’s a shame that The Main Thing was never released as a single for the hook draws you in and is, subsequently, not only a highlight of the album but would have been perfect for radio broadcasting during the era in which the album was released. 

Take A Chance With Me is a slow burn. The musical introduction is incredible and you’ll likely hear different elements upon each subsequent listen. Hence, Take A Chance With Me only improves the more you listen to the album. That said, it could also be proposed that the introduction to this song is too long, and unnecessary, as it pertains to the song itself, but given the album feels as if it’s a singular musical experience, I wouldn’t want to change a thing. 

To Turn You On has a pulsating bassline that accompanies this rhythmically engaging song. If there is a low point to be heard on Avalon, however, this is it. Yet, in saying that, To Turn You On does suit the overall style of the album even if it sounds somewhat foreign.  

True To Life is a hidden gem in every sense of the word. The upbeat tempo is addictively good and every musical aspect was carefully considered and perfectly positioned in the mix. Nothing short of a masterpiece would be the perfect way to describe this tune and while I could highlight every band member’s contribution, for they’re all excellent, it would be best if you just listened for yourself for Roxy Music doesn’t get much better than this.

Tara closes the album with a beautifully reflective instrumental piece that maintains the album’s overall aura. The result is that Tara compels me to listen to the album again, for Avalon is one album that I can never listen to just once.  

Subsequently, it doesn’t matter how many times I’ve listened to Avalon, throughout the years, for it continues to impress as a masterful piece of art-rock that isn’t limited by the era it was conceived in. Yet, at the same time, nostalgia plays a role in the modern appreciation of this creative endeavour. Each track on Avalon contributes to its overall excellence, and it remains a must-listen for anyone appreciative of the artistry and allure of Roxy Music and the early 80s rock vibe. 

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Billy Joel – The Stranger (Album Review)

Billy Joel's 1977 studio album, The Stranger, is a true masterpiece of the singer-songwriter genre, showcasing Joel’s exceptional talent as both a lyricist and a musician. This iconic album is not only a significant milestone in Joel's career but is a timeless classic in the history of popular music and one of the best albums released in the 70s.

The Stranger is so impressive that it could be seen as Joel’s magnum opus; although, there are so many of his albums that could fall into that category that to categorically make that statement, without further reflection, would be obtuse. Nevertheless, as you listen to The Stranger, Joel’s fifth studio album with nine distinctive tracks, you’ll experience a multifaceted journey through a wide range of emotions and storytelling. It’s, subsequently, a difficult album to fault for every track is worthy of inclusion and the combination contributes to the album's overall brilliance. 

Also impressive is the sonic reproduction of the Hi-Res Lossless Apple Music stream; an Apple Digital Master. While there are countless releases of The Stranger, the Apple Music stream does offer a reproduction that I consider to be perfect. Having listened to these songs for decades, I can attest that while there may be a better mastering to be heard, the Apple Music stream is so good that I see no reason to explore over 200 editions to find the one that best suits my subjective tastes. It is one of those moments when I’m reminded that the greatest enjoyment in the appreciation of listening to music is the music itself. Hence, if this version excites you as much as it does me, then that is all we will ever really need. 

Movin' Out (Anthony's Song) launches the album with a bang, but it’s also a jolt if you’re not expecting the sudden introduction. Nevertheless, Movin' Out (Anthony's Song) is a catchy tune that is perfectly suited to Joel’s overall style and is a fantastic way to open The Stranger. 

The Stranger has an opening that would suggest it's a softer tune, but as enchanting as that introduction is, The Stranger melds into an incredible pop-rock number that is not only a standout but is also the perfect title track. Additionally, while some may dislike the shifting styles, I adore the reprise towards the end of the song for it is the perfect bookmark to an incredible tune. 

Just The Way You Are is a smooth ballad that has become a timeless classic. Yes, it is a little dated but the patina of another time is part of its appeal for as it continues to age, it becomes even more impressive.

Scenes From An Italian Restaurant is an epic tune and is one of Joel’s greatest hits. It really is a masterpiece and while I acknowledge that term is overused, I can’t think of a better way to describe this wondrous piece of music.

Vienna is a beautiful song that highlights Joel’s vocal and piano performance. If only all B-sides could be this impressive as it's one of Joel’s many hidden gems.

Only The Good Die Young picks up the tempo with an energetic rock ’n’ roll vibe. While one of the more popular tunes from The Stranger, it is far from Joel’s strongest song. Yes, I do enjoy it when playing this album, but I also don’t seek it out on its own. It isn’t the controversial aspect concerning the lyrical interpretation, for I rarely pay attention to lyrical meaning and depth, instead choosing to enjoy the human vocal as another instrument in the mix. It’s just that I consider it to be an album-only tune; a thoroughly enjoyable one, but not one worthy of its reputation. 

She's Always A Woman is the greatest song Joel has ever written and recorded. I could listen to this tune on repeat indefinitely for it is, arguably, the most tender and delicate love song in all of recorded music history. Music, truly, doesn’t get any better than this. 

Get It Right The First Time was always going to be overshadowed by She's Always A Woman and while I would have preferred a different sequencing, whereby this tune appeared before She’s Always A Woman, Get It Right The First Time is a solid album-only song that further enhances The Stranger and ensures that it’s my favourite album from 1977. 

Everybody Has A Dream is a beautiful gospel-inspired closer that leaves a lasting impression and further showcases Joel’s songwriting and musical abilities. While Everybody Has A Dream is largely lost to those who haven’t listened to the album in its entirety, it’s their loss because it not only encourages me to spin the album again but it allows me to sit and contemplate the music I’ve just heard; an aspect that all music lovers should be able to experience every time they play music. It’s even more paramount as Joel’s masterful whistling, from The Stranger, is once again reprised and closes the album out perfectly. 

The Stranger is an album that presents a wide range of musical styles and lyrical themes, showcasing Joel's versatility. Its diversity is a probable factor in The Stranger being an enduring classic that has not only stood the test of time but will remain relevant to music lovers for as long as humanity continues to exist. The Stranger is, subsequently, a must-listen for anyone interested in the singer-songwriter genre or the history of rock and pop music, for they really don’t make music like this anymore.

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Fleetwood Mac – Rumours (Album Review)

Some albums stand as towering achievements, timeless in their appeal and enduring in their impact. Fleetwood Mac's 1977 release, Rumours, is undoubtedly one of those albums. It's an iconic record that transcends the boundaries of time, genre, and taste, weaving a tale of love, heartbreak, and resilience that resonates with listeners across generations. This incredible release showcases the collective genius of Fleetwood Mac, a band that has left an indelible mark on the music industry while continuing to captivate audiences with their irresistible blend of rock, pop, and folk influences.

Of course, Fleetwood Mac has undergone several facets throughout their illustrious career. Some may be surprised to know that Rumours is, in fact, their twelfth studio release. Yet, talk to anyone about Fleetwood Mac and all you’ll likely hear is a discussion relating to how incredible Rumours is. While it is, and I acknowledge that it’s my favourite Fleetwood Mac album, I also appreciate that it wasn’t Peter Green’s Fleetwood Mac by this stage. Fleetwood Mac’s lineup would also change, throughout the following decades, so as much as the band is synonymous with Rumours, it is but one studio album from a diverse selection of 18 album releases. None of this should be seen as casting judgement on any of Fleetwood Mac's lineups, but you may find something subjectively wondrous should you take the time to listen to their entire discography. 

As has already been established, Rumours is one of the greatest albums ever recorded, but it has been remastered too many times. When albums achieve the level of success that Rumours has, it’s not uncommon for the music industry to reissue and remaster the release ad nauseam, for it isn’t good enough to let the original masterpiece sit untouched. It can be a blessing or a curse, depending on your perspective, but one thing is certain, there are too many editions of Rumours. Seriously, Discogs, at the time of this publication, has some 694 different versions. Which one does one get? It’s a simple question, with a complicated answer that is so highly subjective that you’ll come across varying perspectives should you delve into further research online. 

The truth is, I’ve heard multiple versions of this landmark release, over the years, that range from terrible to mind-blowing. Due to a series of circumstances, that I won’t bore you with, I’m currently without a physical release of this masterpiece and it pains me to say that the lossless Apple Music streamed edition just isn’t up to the highest standards. Frustratingly, Rumours was available as an Apple Digital Master, derived from the 2001 remastering, and while memory is fallible, as it pertains to sonic recollection, I do seem to recall it sounded fantastic. Perhaps not as good as other audiophile-based releases, but lovely nonetheless. 

Disappointingly, it has been removed from Apple Music and while the version that remains is adequate, it isn’t quite as spectacular as one would hope. There is, of course, no point in complaining about this, but it is a real-world example of the risks associated with relying on a streaming service for one’s music collection. That said, if you’re still interested, as I am, in the Apple Digital Master, you can still purchase the 2001 remaster on iTunes. If you still prefer streaming and no longer wish to own the music you love, the 2001 remaster is still streaming on Qobuz; but for how much longer, nobody knows. Although, it appears that the removal of the 2001 remaster, from Apple Music, was more about adding the Dolby Atmos mix, which is based on the 2004 remaster (a non-Apple Digital Master). 

At this stage, I’d just love for a singular version to exist that is the definitive release; one that matches the original artistic intent. We won’t get it, of course, as that is not how the music industry is run, but fans shouldn’t have to tolerate average-quality releases, nor should they have to spend their time, energy, and money, trying to figure out which of the over 600 editions would yield the greatest level of enjoyment. 

Second Hand News isn’t the greatest song on the album, nor is it amongst Fleetwood Mac’s greatest recordings, yet something is compelling about Second Hand News, that I can’t quite put my finger on. Despite that, Rumours wouldn’t be the same album without it.

Dreams has an incredible introduction and likely would have been a stronger opener for the album. That aside, Stevie Nick’s haunting vocal is beyond reproach and perfectly suited to the style of the song, thereby ensuring her harmonious vocal intertwines well with the backing vocals. Dreams, also, is amongst my favourite songs from a drum perspective. Mick Fleetwood is a master musician and while his precision timing here may be akin to a click track for many, his delivery is the definition of perfection from my perspective. John McVie’s bass tracking is similarly masterful and, in many ways, Dreams is the enduring classic we all know and love because of the collaborative efforts of all band members. 

Never Going Back Again is an acoustic gem with Lindsey Buckingham not only providing an incredible vocal performance, but his fingerpicking is taut and amongst some of the greatest guitar work I’ve ever had the pleasure of hearing.

Don’t Stop is a piece of sensational writing from Christine McVie. I’ve never been convinced, however, with Buckingham’s vocal on this tune. It’s not that it’s bad, and his guitar work is sensational, it’s just that the mix isn’t particularly solid. Buckingham’s vocal, subsequently, sounds as if he’s recording his vocals from another building, aside from the studio the song was recorded in. That said, Don’t Stop is a solid pop-rock tune.

Go Your Own Way needs no introduction, for you’ve been living under a rock if you’ve never heard this song. It’s sensational, one of Lindsay Buckingham’s best, and is a perfect tune to accompany life’s ups and downs. 

Songbird is a tender ballad that showcases Christine McVie's extraordinary vocal talents. It's a moment of vulnerability on an otherwise emotionally charged album; a true masterpiece in every sense of the word.

The Chain is a killer tune that mixes rock and pop elements with a touch of country and is somewhat reminiscent of the sound the Eagles’ achieved on Desperado. However, The Chain is more than that correlation for its unmistakable bassline, harmonies, and anthemic chorus have made it a rock staple; one of the greatest ever recorded. 

You Make Loving Fun is a great toe-tapping head-bopper and one that you should most certainly play as loud as you can. Rhythmically magical with a gorgeous vocal, and a killer guitar solo, You Make Loving Fun is one of the best songs off Rumours and another by McVie; arguably Fleetwood Mac’s greatest songwriter and songstress.

I Don’t Want To Know is a short but sweet burst of energy. Its brisk tempo and catchy hooks ensure it’s perfectly suited to Rumours despite being an album-only tune.  

Oh Daddy is Fleetwood Mac 101. There is no other song that I identify more with the band than this one. It's career-defining and as much as I praise Christine McVie’s vocal contributions, Stevie Nicks’ vocal style was the correct choice for this classic track.

Gold Dust Woman is a haunting closing tune with Nicks’ ethereal vocal that leaves a lasting impression while simultaneously encouraging you to spin the album again.

Even Fleetwood Mac, themselves, could never replicate the success of Rumours and it’s highly unlikely that humanity, certainly in our lifetimes, will ever see such an era-defining album again. That isn’t to suggest it can’t be done, but Rumours was akin to lightning in a bottle and is not only one of the greatest albums ever recorded, but one that is a highlight of the 70s and will continue to stand the test of time as it is more than just an album; it’s a cultural remnant.  

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Billy Joel – An Innocent Man (Album Review)

Released in 1983, Billy Joel's An Innocent Man stands as a shining example of music that is timeless. With its catchy melodies, impressive vocal performances, and evocative songwriting, An Innocent Man is a masterclass in nostalgia that continues to captivate listeners for it plays akin to a greatest hits release.

While An Innocent Man, Joel’s ninth studio album, is one of the greatest records from the 80s, the launch window couldn’t have been more disappointing for Joel as Michael Jackson’s Thriller would ultimately win the Grammy for Album Of The Year over An Innocent Man. While Jackson's Thriller is a landmark release, one I thoroughly enjoy, I'd argue that An Innocent Man is a stronger album that has stood the test of time far better than Thriller which is starting to sound a little dated to the era. An Innocent Man likely avoided being stuck in the past as Joel formulated the tunes with a touch of the, arguably timeless, 50s and 60s musical styles. The continuous lighthearted Be-bop, Soul, and R&B styling is addictive, well suited to Joel, and ensures that the album sounds as fresh today as when it was initially released.

Of course, great songs are for nil if the production, mix, and mastering qualities are substandard. Thankfully, An Innocent Man, via the Apple Music stream, is quite enjoyable. The soundstage is well-defined and each element within the mix is given room to breathe. That said, there’s a nagging aspect about the stream, that is coincidentally an Apple Digital Master, in that it could be fuller for it sounds a little anaemic in places. It isn’t a major issue and a slight adjustment to EQ settings can rectify that shortcoming, but it’s something you should be aware of. That said, if you’re like me and don’t have a physical edition of this classic record, it will provide you with hours of pleasure until you can attain a subjectively better release.   

Easy Money has a sensational beat – thank you, Liberty DeVito! It’s a fun little tune to start the album with, but the chorus isn't compelling as I find the downbeat shift to be a distractive element.

An Innocent Man slows the tempo, but the transition from Easy Money never sounds out-of-place. When listening to this song, you begin to comprehend what an incredible vocalist Joel is. His vocal control is simply amazing as he takes every note right to the edge of his capabilities and never falters. The result is that An Innocent Man is one of the album’s standout tunes and is, subsequently, the perfect title track.

The Longest Time is a beloved A cappella gem and is one of the greatest sing-a-long songs of all time with its harmonious melodies, doo-wop styling, and charming lyrics. 

This Night really opens up throughout the chorus. Yes, the whole song is wonderful, but as a Ludwig van Beethoven fan, I appreciate how Joel merged his vision, and a touch of the 1950s, with that of Beethoven’s. The result is a true masterpiece in every sense of the word.

Tell Her About It is a catchy and energetic track with an upbeat tempo that will have you toe-tapping and head-bopping from the very first note in much the same way as one would when listening to the music from Motown’s golden era.

Uptown Girl is, undoubtedly, one of the album’s greatest hits for it’s infectious upbeat pop-rock rhythm, catchy melody, and playful lyrics, ooze charisma.

Careless Talk is a little out-of-place following Uptown Girl but as a song on it’s own, outside of the album’s sequencing, Careless Talk is a solid track. It’s your classic album-only tune, and was never going to set the charts on fire, but that doesn’t prevent Joel from delivering another soulful performance. 

Christie Lee is a fantastic rock song that places Joel’s piano playing front and centre, along with a compelling saxophone element that ensures Christie Lee is not only dynamic but a fun addition to the record. While not necessarily the strongest song on the album, if you’re like me you’ll be reaching for the volume knob for this is one tune that sounds best at rock and roll levels. 

Leave A Tender Moment Alone is a beautiful ballad showcasing Joel’s songwriting prowess and ability to create tender melodies that tug at the heartstrings. 

Keeping The Faith is an extraordinary tune to close the album on for it blends elements of pop and rock with a touch of gospel, resulting in a truly memorable musical experience. 

An Innocent Man is a testament to Billy Joel's musical genius and his ability to pay homage to the past while creating something modern and enduring. The album's diverse range of styles and heartfelt performances make it a timeless classic, in Joel's illustrious career. and is a must-listen for anyone who appreciates the magic of '50s and '60s pop music with an 80s twist that only Billy Joel could deliver.

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