Bob Dylan – Oh Mercy (Album Review)

Released in 1989, Bob Dylan’s twenty-sixth studio release, Oh Mercy is amongst his greatest records following a somewhat lacklustre series of albums throughout the 80s. As a significant return to form, Dylan, alongside renowned producer Daniel Lanois, delivered an album that is Dylan to the core while leaning into the layered and textured production Lanois is often associated with. The combination is profound and while Oh Mercy isn’t among Dylan’s best-selling albums, nor is it always at the forefront for consideration as one of his greatest releases, Oh Mercy delivers a tight and cohesive album experience.

There’s no doubt as to the musical prowess of a legendary artist like Dylan, but perhaps one of his greatest qualities throughout the decades has been allowing producers to guide him. Yes, at times, the combination of producer and artist may have been questioned as not all Dylan albums are created equally. In Oh Mercy, however, Lanois' knack for creating mood and atmosphere helps to elevate Dylan’s songwriting, providing a sonic backdrop that feels both timeless and contemporary. Perhaps this is why the record still appeals to many music lovers so many years after its release for the production infuses the album with a lush, ambient sound that complements Dylan’s gravelly voice and poetic lyrics.

As is often the case, I’m not always drawn to Dylan’s lyrical context as much as many of his fans are. Instead, I appreciate his vocal dexterity for its tone and delivery as an instrument within the mix. While I can’t deny his pronunciation is exquisite, I feel it further highlights his skill as a singer/songwriter in that his music can be appreciated from both literal and musical perspectives. That said, you’ll notice that I’ll offer cursory comments on the lyrical meaning for, as with most of Dylan’s music, his intent is often difficult to ignore.

Of course, enjoying the music also comes down to how well it was mastered and in this instance, Oh Mercy is impeccably presented. The Apple Music stream, a Hi-Res Lossless Apple Digital Master, is nothing short of amazing. I’ve no doubt fans of this album will point to the various vinyl editions and the SACD release from 2003, but I implore you to give the Apple Music stream a go as it’s a sonic masterpiece. The soundstage is wide and enveloping with every layered aspect floating in the air as it permeates from the speakers. It’s so surreal that there were moments when I could have sworn Dylan and the band were in the room with me. Of course, when music sounds this good via a stream, other than the ownership element, I don’t feel the need to seek out a better copy, from a sonic perspective. That, naturally, can’t be said about all streamed releases, as the Apple Digital Master for Billy Joel’s Storm Front is atrocious, but it’s certainly valid for Oh Mercy.

Political World opens the album with a slow build comprised of a gritty, driving rhythm with sharp and observational lyrics. While it isn’t the smoothest tune, it’s Dylan 101 and with a mix that focuses on his vocal delivery, you’ll find yourself sitting up and taking notice.

Where Teardrops Fall shifts the tone to that of a more mellow presentation. It’s a soulful tune with a bluesy undertone that sees Dylan’s voice, again, rise above the mix but not detract from the musical bed that is in a similar style to what one would expect from a Santo & Johnny recording.

Everything Is Broken is a brilliant song that addresses the chaos and disintegration Dylan sees in the world around him. With a catchy, upbeat rhythm, the song’s groove and infectious melody contrast, interestingly, with the lyrical direction of the music. Regardless of how you appreciate Everything Is Broken, either from a lyrical or musical standpoint, this is one of the highlights from Oh Mercy and is anything but broken.

Ring Them Bells, again, shifts the tempo of the album, but the song’s gentle piano blends beautifully with the choral musical backing and Dylan’s tender and gruff vocal presentation, making this one of the record’s most moving tracks.

Man In The Long Black Coat is a musical marvel and I dare say one of the greatest songs Dylan has ever recorded; most certainly from a musical perspective. The moody haunting quality of the song rings out as Dylan’s eerie narrative adds to the foreboding atmosphere. It has a gothic folk tale feel to it, one that is thoroughly enjoyable. Man In The Long Black Coat is, most certainly, a hidden gem.

Most Of The Time is a beautiful ballad-focused tune with an arrangement that is subtle and doesn’t detract from Dylan’s vocals. Yet, if you listen to the musical bed alone, you’ll be amazed at just how multi-layered Most Of The Time is.

What Good Am I? is one of my all-time favourite Dylan compositions, yet it is Tom Jones’ interpretation that I think of most when I listen to this classic tune as his weathered vocal adds a little more character to the song than Dylan’s vocal does. That said, had I never heard Jones’ rendition, I’d be smitten with Dylan’s original as it is truly magnificent.

Disease Of Conceit flows seamlessly from What Good Am I? and the song’s slow, dirge-like pace enhances its contemplative nature, especially if you’re following along to the lyrical interpretation, that is. If not, you’ll still be blessed with a sonically beautiful song that adds to the overall album experience of Oh Mercy.

What Was It You Wanted has a most interesting musical composition, particularly during the early stages of the song; an aspect that can make it challenging for the mind to attach itself to a single element. That, however, dissipates as the song progresses and the focus within the mix is placed on Dylan’s magnificent vocal and harmonica performance. As the song comes into its own, What Was It You Wanted will talk to every music lover for when a song deals with communication breakdowns in relationships, we’ve all been there and what better way to deal with the associated frustration and confusion than via this song.

Shooting Star is a wistful ballad that’s straight out of Dylan’s wheelhouse. It’s, subsequently, the perfect closer, one that will see you contemplating the music you’ve just heard, whilst simultaneously feeling compelled to play the record again.

No matter which way you look at it, Oh Mercy is one of Bob Dylan’s greatest releases. Each song contributes to the album’s overarching themes and musical cohesion, thereby making it a compelling work that not only showcases Dylan’s enduring artistry but is a standout within his extensive and celebrated discography. Whether you’re a long-time Dylan fan or a new listener, Oh Mercy is an essential listen, offering a deep and rewarding musical experience.

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Billy Joel – Storm Front (Album Review)

Released in 1989, Storm Front marks a significant moment in Billy Joel’s career, one which brought about a transformation in both musical style and thematic exploration. As his eleventh studio album, Storm Front arrived at a period where Joel was keen to experiment and evolve from his earlier, more piano-driven compositions. Co-produced by Mick Jones of Foreigner, Storm Front integrates more rock elements than ever before with Joel's signature storytelling. The result is an album that feels both familiar and refreshingly new.

One of the most notable aspects of Storm Front is its robust production. The influence of Jones is palpable, with a heavier emphasis on electric guitars, synthesisers, and a polished, radio-friendly sound. Granted, it isn’t as though Joel hadn’t ventured into these techniques, and similar ones, in prior releases, but the tightness of Storm Front, as an album-focused experience, knows few peers. Its linear structure and song selection are amongst the greatest in Joel’s illustrious career, even if the style of the album has its detractors who may have preferred Joel’s more subdued, piano-centric, compositions. Don’t worry, they’re there, but songs such as the lead single, We Didn’t Start The Fire, were always going to be divisive amongst fans.

While I’m generally not a music lover focused on lyrical meaning and subsequent interpretation, instead appreciating the human vocal as another instrument in the mix, one can’t ignore the themes Storm Front brought to the social consciousness upon release. We Didn't Start the Fire, for instance, is a rapid-fire chronicle of historical events from 1949 (the year of Joel's birth) to 1989. Whereas, Leningrad offers a poignant narrative contrasting Joel's life with that of a Russian man, Viktor. It reflects on the Cold War and humanises political tensions through personal stories. This song, like much of the album, demonstrates Joel's knack for blending personal and political narratives and remains just as important today as when the album was released.

With worldwide sales exceeding 5,000,000, one would assume that Storm Front was not only extremely successful but was one of Joel’s most popular releases. Yet, statistics indicate that it sits somewhere in the middle of Joel’s discography with his 1993 follow-up, River Of Dreams, exceeding Storm Front’s sales by over 1.5 million units; a surprise considering it’s more of a hodgepodge album experience. Nevertheless, Storm Front remains, upon reflection, one of Joel’s greatest works and if you’re anything like me, this may be one of your most treasured records.

As alluded to earlier, the production of the album is top-notch with a thoroughly pleasing mix and overall sonic quality that presents itself via a well-developed soundstage accompanied by a punchy bass and drum rhythm. However, depending on which platform you choose to listen to the album on, you may find the experience to be a little underwhelming. While I can’t confirm the provenance of the Hi-Res Lossless Apple Music stream, there are numerous cases where the album sounds concealed and congested. Subsequently, when listening to the stream, I can’t help but notice a lack of dynamics for it simply fails to come alive, unlike the experience that I get from listening to the 1998 CD reissue.

While the stream may be labelled as an Apple Digital Master, the CD has a bolder presentation, one filled with energy and pizzazz. The stream, by comparison, sounds more akin to a high-quality radio broadcast of the album than it does a spectacular mastering direct from the studio. I’ve even downloaded the stream, to no avail, in the hope that the download would yield a different sonic presentation; one not reliant on variations due to network conditions. Granted, the CD is a little louder, but even when the volume is matched (by ear) the CD compels me to move my body to the rhythm whereas the stream leaves me wondering where the emotive element has gone.

While I’m a strong proponent of letting you decide how to best listen to and enjoy music, this is one example where I implore you to consider another option as the version submitted to music streaming platforms doesn’t offer the best sonic presentation for this exceptional release. Coincidentally, while I was unable to ascertain the provenance of the Apple Music stream, the edition available via Qobuz is shown to have quashed the album’s dynamic range to an average 7 out of 14 whereas the 1998 CD remaster is a 9 out of 14. This variance could account for the difference in presentation and, for those interested, both perform significantly worse than the album’s original release in 1989 when its average dynamic range was recorded as 13. As with many things, dear reader, more is not always a guarantee that it's better but it gives us a data point, that could be a contributing factor, when various releases of the same album sound different. Yes, it’s a mastering issue, but unless I’m mistaken, Ted Jensen is the sole mastering engineer for this album, including its various reissues. There should be little differences, certainly, but not substantial ones like that which I have experienced. Of course, your own experience may be different to my own and that is where music is ultimately subjective. With that in mind, join me as I take a look at the songs that make up this landmark release.

That's Not Her Style is a slick opening track driven by a strong rock arrangement, yet I consider it to be one of Joel’s weakest recordings, from a vocal perspective, as it sounds as though he didn't find the correct vocal style for the song. The musical elements, however, are incredible and while it may not be my favourite song from the album, having heard it so many times over the years, I can appreciate it as part of the album experience.

We Didn't Start The Fire is a rapid-fire anthemic number and while it divides many of Joel’s fans, it’s a song I’ve thoroughly appreciated ever since I was first exposed to it upon release. The arrangement is straightforward, allowing the lyrics to take centre stage, and as a historical retrospective, detailing significant milestones between 1949 and 1989, it’s superb.

The Downeaster “Alexa” shifts the tempo somewhat to that reminiscent of a haunting folk-rock tune. While one would expect the sonic shift between We Didn't Start The Fire and The Downeaster “Alexa” to cause a jolt to the senses, the truth is that The Downeaster “Alexa” has such a bold composition that it flows seamlessly. Joel sings from the perspective of a Long Island fisherman, detailing the hardships and economic difficulties faced by those in the fishing industry. It's a poignant narrative about survival and resilience and while focused on one industry, during a very specific period, songs such as this could easily be applied to anyone’s profession and any era. Even if you don’t follow the song for its lyrical context, the layers of masterful musical composition make this one of Joel’s greatest recordings.

I Go To Extremes returns the album to an upbeat tempo with this high-energy rocker that has a catchy hook and driving rhythm. While the piano is more prominent on this tune, and it blends well with the guitar-driven arrangement, the stream is so congested that the cymbals crunch horribly and the piano elements are effectively lost in the mix. It's as if Joel is playing in another studio entirely. It isn’t that way on the CD, I assure you, but it’s disappointing to note that core elements are missing from the stream. I honestly don’t know what they’ve done in the mastering of this Apple Digital Master, as they’re normally quite respectable, but this is one example of where relying on new technologies just doesn’t compare to decades-old technology.

Shameless is a lush soulful bluesy ballad that will captivate you from the very first note with its rich and vibrant arrangement. The guitar solo is what air guitar dreams are made of and when combined with Joel’s passionate lyrical delivery, there’s little doubt as to why this is one of my favourite songs from the album.

Storm Front is another tune that features a strong rock arrangement but despite the prominent guitar riffs and powerful rhythm, the style of the song could have perfectly suited 52nd Street, for it instantly fits alongside a song such as Stiletto. Nevertheless, it’s an ideal title track, one that is not only memorable but one that also suits Joel’s style perfectly.

Leningrad is simply magnificent. It isn’t difficult to suggest that it’s one of Joel’s greatest musical accomplishments for despite the sombre tone, this ballad is reflective with a lush orchestral arrangement that will touch your soul from both interpretive and musical perspectives.

State Of Grace shifts the tone to that of a smooth, melodic rock feel. The mix is superb, ensuring that the driving rhythm, killer guitar riff, and Joel’s explosive vocal, as well as his impeccable piano solo, are delivered perfectly (on the CD, that is). It may not have been released as a single, but when album-only tunes are this good, there is little wonder as to why Storm Front is so compelling.

When In Rome features a jazzy, upbeat arrangement, that stands out for its swing influences and playful energy. It’s another song that could have been well-suited for inclusion on 52nd Street as Joel has a knack for these types of lively numbers that are directly influenced by the sounds of the 50s.

And So It Goes closes the album with a stripped-down, piano-driven ballad. Its simplicity and emotional depth make it a powerful and intimate finale to the album that permits reflection and also compels one to play the record again.

Storm Front stands as a pivotal release in Billy Joel's illustrious career, reaffirming his prowess as a songwriter and storyteller. Each track on the album offers a unique blend of musical innovation and lyrical depth, reflecting Joel's ability to tackle both personal and universal themes with equal finesse. From the historical sweep of We Didn't Start The Fire to the intimate reflections of And So It Goes, the album captures the complexities of the human experience against a backdrop of social and political change. Storm Front is, subsequently, an album that solidifies Joel’s legacy as one of the most compelling artists in music history.

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Queen – A Night At The Opera (Album Review)

Queen's fourth studio album, A Night At The Opera, is a masterpiece that solidified the band's place in rock history. Released in 1975, it's a tour de force of genre-blending innovation and extravagant theatricality. With an eclectic style, ranging from hard rock anthems to operatic ballads, with Freddie Mercury's flamboyant vocals soaring above intricate instrumental arrangements, you’d be hard-pressed to find a more coherent album from these British rockers.

While there’s no shortage of amazing artwork designs for Queen’s illustrious back catalogue, A Night At The Opera is stunning and if you have a chance to pick it up on vinyl, you’ll be in awe holding the cover as the record spins for its captivating nature will draw you in immediately. However, fans of this album are spoilt for choice as there is no shortage of reissues (almost 600 different editions); each of which proclaims to offer fans a far more complete musical experience than the reissue before it. I, myself, have been fortunate to have owned several different versions and what I can say is that while the core of the album is maintained throughout, each version offers a unique perspective; but I’ve yet to come across an edition that I didn’t thoroughly enjoy.

The consistent quality is a testament to not only the songwriting and performances, but the mix, mastering, and overall production of the album; all of which are second to none. While I adored the 2015 vinyl reissue from the Studio Collection, the 2013 High Fidelity Pure Audio (HFPA) Blu-ray release also included the magnificent surround sound mix that immerses you in what is best described as an experience. The 2011 CD remaster was similarly spectacular, even if it was the runt of the litter in comparison to the aforementioned releases.

As for streaming, Apple Music delivers the album as a lossless Apple Digital Master and I find it positions itself as a worthy counterpart to the physical releases. It’s sonically smooth, with adequate definition and separation between all elements, but it lacks weight and subsequently reminds me a little of the 2011 CD reissue. That isn’t bad, not by any stretch of the imagination, but if you are looking for recommendations as to which version will give you the best bang for your buck, some of the physical reissues are hard to beat, even if the streaming version is an ideal counterpart.

Death On Two Legs (Dedicated To…) is a song of hatred, for Queen’s original manager Norman Sheffield. While I don’t generally appreciate music for its literal intent, one thing is for certain, lyricism is a perfect creative outlet for one’s pent-up frustrations. Aside from that, however, the song is an explosive opener that’s perfectly suited to the album’s overall style with its piano introduction, biting lyrics, and intense guitar riffs. While it may be controversial, Mercury's venomous delivery and the band's dynamic arrangement make Death On Two Legs (Dedicated To…) a standout track.

Lazing On A Sunday Afternoon is a whimsical tune, that despite being brief, is charming. It showcases Queen's playful side, drawing on vaudeville influences with a jaunty piano and a distinctive "megaphone" vocal effect that gives it a nostalgic, old-time feel.

I'm In Love With My Car is a quirky Roger Taylor composition that adds a playful touch to the album's overall grandiose style and flows seamlessly from Lazing On A Sunday Afternoon. The song's heavy guitar riffs and powerful drumming underscore Taylor's gritty vocals and will appeal to those infatuated with their automobiles. More importantly, however, it’s just a solid rock tune and one that any rocker will thoroughly enjoy.

You're My Best Friend is a catchy pop-rock anthem penned by bassist John Deacon. It also happens to be one of the album's most accessible and radio-friendly tracks and Mercury's warm vocal delivery, along with the song's lush harmonies, highlight Queen's ability to craft timeless, feel-good hits.

’39 is a folk-inspired song written and sung by Brian May and is one of the greatest songs released by Queen throughout their illustrious career. It won’t be to everyone’s liking, but the musical bed, overall rhythm, and May’s unique vocal style make it a standout.

Sweet Lady with its heavy guitar riffs and driving rhythm showcases Queen’s heavier side; an aspect of their musicality that was much more prominent early in their career. Still, the raw sound of Sweet Lady takes a little getting used to and as often as I have listened to this masterpiece of an album, over the years, Sweet Lady would still be the one track, other than God Save The Queen, that I don’t often connect with. It isn’t fundamentally bad, it just isn’t as spectacular as the other songs from A Night At The Opera.

Seaside Rendezvous is another playful, vaudeville-inspired number that is nothing short of a pleasure to listen to. Its lighthearted lyrics and theatrical presentation make it a delightfully entertaining piece that will bring a smile to even the most anhedonic amongst us.

The Prophet's Song, composed by Brian May is a progressive rock masterpiece with intricate vocal harmonies and soaring guitar solos. While everyone points to Bohemian Rhapsody as being Queen’s greatest song from the album, those of us who listen to albums, rather than songs and playlists, will likely point to The Prophet's Song as Queen’s most underrated masterpiece for it is, creatively, every bit Bohemian Rhapsody’s counterpart.

Love Of My Life is a heartfelt ballad that, if you had any doubts, further showcases Freddie Mercury’s exceptional vocal prowess. Flowing seamlessly from The Prophet's Song, this tender ballad, with the emotive piano playing and Brian May’s delicate guitar arrangement, is another of Queen’s most beautiful tunes that will leave you speechless for the composition is simply stunning.

Good Company is a jaunty, Dixieland jazz-inspired number. It’s a great song but is often overshadowed by Bohemian Rhapsody as when Good Company comes on, you’re reminded that Bohemian Rhapsody is the very next song. It is, perhaps, wrong to suggest that Good Company is a pallet cleanser, but that is how I experience the song when playing the album in its intended linear structure.

Bohemian Rhapsody defies categorisation for it is more than a mini-opera, with operatic and hard rock sections, along with a tender balladry that has made it not only a groundbreaking and iconic tune but one of Queen’s most popular songs. While one could harp on about this tune, it is best recommended to simply play the song, turn the volume up, and personally experience one of the most celebrated songs in all of rock music history.

God Save The Queen is an instrumental rendition of the British national anthem, serving as a fitting finale to this opulent musical journey. While it works well within the album’s context, and it would be sorely missed if it were to be removed, I dare say that I’m not alone in my love/hate relationship for this tune as it’s corny and cliché.

A Night At The Opera, ultimately, is more than just an album; it's a testament to Queen's artistic vision and musical prowess. Its blend of rock, opera, pop, and vaudeville influences showcases the band's willingness to push boundaries and defy conventions. From its elaborate arrangements to its thought-provoking lyrics, every aspect of the album exudes creativity and passion. The result is an album that is a timeless classic and one that continues to captivate listeners decades after its release.

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Neil Young & Crazy Horse – Zuma (Album Review)

Released in 1975, Zuma stands as a monumental achievement in Neil Young's prolific career, showcasing his raw musical prowess alongside his legendary backing band Crazy Horse. Emerging as a sonic journey that encapsulates the essence of Young's distinctive songwriting and the electrifying energy of Crazy Horse's musical synergy, this album is amongst the greatest releases in the mid-70s for Young & Crazy Horse’s ability to blend elements of folk, rock, and grunge into a cohesive and captivating sonic tapestry is unparalleled.

As with several of Young’s albums, one could point to the rawer sonic qualities as a critical element, but it’s this true-to-life approach that sets Young, and Crazy Horse, apart from their peers. It adds a live and intimate feel to their compositions, thereby garnering a greater connection with the fans. What isn’t raw, however, is the sonic prowess of the Hi-Res Lossless stream on Apple Music, an Apple Digital Master. As you listen, you’ll find yourself immersed in the soundstage and while it could be said that it isn’t the greatest-sounding Neil Young record, it is flawless in that there isn’t any aspect missing from the stream, nor are there any glaring issues from a sound quality perspective. Is it the final word in sonic quality, however? Well, that is naturally subjective but I do find myself longing to hear the album on vinyl as the limitations of the format add a patina, of sorts, to the sonic presentation of music and such an addition seems as if it would be well suited to the style of music heard on Zuma.

What isn’t quite as well suited to the music is the album’s artwork. I don’t dislike it, I just feel indifferent towards it. It neither enhances the album nor compels me to play it. Undoubtedly, there will be some of you who adamantly disagree, and that’s okay, as we all appreciate and interpret art differently. Before we take a look at the songs that make up this incredible album, it’s interesting to note that many of the songs that would end up on the sensational Rust Never Sleeps album were also recorded during the Zuma sessions. Imagine, for a moment, if some of those songs had landed on this album. Not only would it have changed both records, but I wonder if Rust Never Sleeps would still be my all-time favourite Neil Young & Crazy Horse album if it didn’t include the classics, such as Ride My Llama, Pocahontas, and Sedan Delivery as they could have easily made it to Zuma. Yes, the songs themselves are magnificent and would have resonated with me regardless, but Rust Never Sleeps is such a phenomenal record largely because of the album’s linear structure. That alternative reality aside, join me as I explore the songs that make up Zuma for there’s some incredible music to be heard.

Don't Cry No Tears opens with a hypnotic riff that sets the tone for the gritty, guitar-driven soundscapes that define much of the record. While it isn’t necessarily a standout, it’s a perfect album opener that grabs your attention from the very first note.

Danger Bird furthers the hypnotic aspect as the song takes you on a sonic journey, with its brooding atmosphere, and exceptional instrumental bed. Young’s vocal prowess, combined with the backing overlay, produces a somewhat haunting perspective that works perfectly with the song, particularly in relation to the tuning of the lead guitar.

Pardon My Heart is a lovely ballad that showcases Young's emotive vocal delivery and poetic lyricism.

Lookin' For A Love has an infectious groove and catchy chorus in this mid-tempo number. While it’s most certainly an album-only tune, Young’s vocal presentation and gritty guitar work add a layer of raw, and authentic, intensity that is extremely compelling.

Barstool Blues delivers a punchy blend of rock and blues, driven by its infectious rhythm and searing guitar riffs, yet Young's impassioned vocals, on this song, have never appealed to me. It’s as if he is reaching too far and it simply doesn’t work.

Stupid Girl, a rollicking rock anthem, channels the spirit of garage rock with its gritty guitar riffs and driving rhythm. The dual vocal mix is also intriguing and works extremely well as it provides an alternate perspective to the core lyrical presentation.

Drive Back is a high-energy rocker fuelled by its propulsive rhythm, blistering guitar solos, and a killer lyrical delivery from Young. It’s also amongst Young & Crazy Horse’s greatest recordings and is a hidden gem for those not familiar with Zuma.

Cortez The Killer is a masterpiece with an anthemic fervour that unfolds during its seven-minute runtime. With a mesmerising guitar-driven odyssey, Cortez The Killer stands as a testament to Young's unparalleled skill as a songwriter and guitarist, cementing its status as one of his, and Crazy Horse’s, most enduring compositions.

Through My Sails is a magnificent closing tune that features David Crosby and Graham Nash on backing vocals with Stephen Stills on bass (as well as backing vocals). Russ Kunkel rounds out the special appearances on the conga and while it may be somewhat controversial, I’d declare that Through My Sails is one of the greatest songs recorded, but not released by, Crosby, Stills, Nash & Young (CSNY) as the song's gentle melody and ethereal atmosphere evoke a sense of reflection that is ideal for an album’s closer.

Overall, Zuma stands as a towering achievement in Neil Young's illustrious career, showcasing his unparalleled songwriting talent and the dynamic chemistry of his collaboration with Crazy Horse. The raw emotional power and musical innovation, featured on this record, is so compelling that it positions Zuma as a timeless masterpiece that continues to captivate listeners and will for as long as music lovers roam the earth.

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Nazareth – Hair Of The Dog (Album Review)

Released in 1975, Nazareth’s Hair Of The Dog encapsulates the essence of the era’s hard rock genre with its gritty vocals, powerful guitar riffs, and infectious melodies. Not only is this album exceptional but it has stood the test of time with notable tunes such as Hair Of The Dog and Love Hurts, both of which continue to be relevant in the modern zeitgeist.

While Hair Of The Dog is Nazareth’s sixth studio release, the album's raw production gives it an authentic feel that, in many respects, captures the core energy of the band. That, however, isn’t to suggest that Hair Of The Dog suffers from a lack of production, anything but, but the rawness enhances their music far greater on this release than any others. Also enhancing the album is the 2010 remaster as delivered via Apple Music. This CD-quality counterpart is superb with a well-defined soundstage that allows for ample separation between all musical elements. It also has plenty of headroom, thereby allowing you to crank the volume and rock out; just like it should be! That all said, perhaps the greatest compliment I can give the stream is that it sounds so good that I don’t feel compelled to seek out a physical release; even if I do long for one of the various vinyl reissues as the cover art is magnificent.

Of course, Hair Of The Dog is all about the music-listening experience. The album’s linear structure is flawless and if you have the time to, take a listen to the album and join me as I look at the eight songs that make up this landmark release. Yes, the Apple Music stream offers a series of bonus material, just as the CD releases did, but for this review, I’ll be focusing on the album’s linear structure that concludes with Love Hurts for I feel it is the strongest tracking available. It is important to note, however, that if you are seeking a physical reissue, on vinyl, not all re-releases contain this classic tune. It may be frustrating but it’s a by-product from an era when different linear structures were released in different regions.

Hair Of The Dog will immediately grab your attention with its memorable riff and swaggering attitude. Dan McCafferty's raspy vocal perfectly complements the heavy, bluesy instrumentation, that sets the tone for the rest of the album. Plus, who doesn’t love their famous refrain "Now you're messin' with a son of a bitch,” for it’s a masterstroke of lyricism and ensures Hair Of The Dog is a quintessential hard rock anthem.

Guns N’ Roses would cover Hair Of The Dog on their 1993 covers album, The Spaghetti Incident? and as much as I love the original, I’ve got to say that I prefer the slightly more rhythmic presentation that Guns N’ Roses were able to bring to the tune as it further emphasises the undertone of aggression that is present within the song.

Miss Misery launches with a killer riff before McCafferty’s soaring vocal enters the mix with the rest of the band launching into an incredibly rhythmic thunderous performance. Filled with passion and intensity, that is highly addictive, Miss Misery is a monster of a song that will have you coming back for more as it’s a flawless hard rock tune.

Guilty slows down the pace with its bluesy groove and soulful vocals. Featuring a memorable guitar riff and a laid-back vibe, Guilty will appeal to those of us who appreciate a diverse styling throughout our hard rock albums. Some may dislike it because it is considerably different to the songs that have come before it, but McCafferty's raw and emotive vocal delivery is simply magnificent and the sign of an exceptional hard rock vocalist is often found in slower-styled ballad recordings such as Guilty.

Changin' Times sets the pace back to that of a driving rhythm featuring a catchy melody and infectious rhythm. As solid as Changin' Times is, the most notable aspect is McCafferty’s vocal prowess as the man could certainly belt out a tune, with clarity and finesse, like few others within the hard rock and metal genres can.

Beggars Day/Rose In The Heather is a hard-hitting rocker with a driving rhythm and infectious energy. McCafferty's vocals are, as is the case throughout the entire album, full of attitude and swagger, while the band's tight musicianship keeps the song charging forward with unstoppable momentum.

Whiskey Drinkin' Woman is a blues-infused track featuring a gritty vibe. The song's laid-back groove and soulful instrumentation make it a standout on the album, but as you listen to the song you’ll soon come to realise that it would be perfectly played in any drinking establishment, anywhere in the world.

Please Don't Judas Me features a stripped-down haunting atmospheric presentation that blends some incredible musicality with McCafferty's emotive vocal presentation. As McCafferty pleads, "Please Don't Judas Me," the song builds to a powerful climax, leaving a lasting impression long after the music fades away. Masterpiece, while often overused, is the only way to describe this sensational song.

Love Hurts (Single Edit) is one of my all-time favourite Nazareth tunes and while there will be some that dislike ballads, I love them. This one, in particular, showcases McCafferty's vocal prowess with its poignant lyrics and haunting melody that will strike a chord with music lovers and is a core reason why this version has become a timeless classic.

It is, however, a cover that first appeared on the Everly Brothers’ 1960 release, A Date With The Everly Brothers. Their original is lovely but as with other renditions, I feel that Nazareth took the song, added their unique styling to it, and made it their own. Granted, there isn’t a bad interpretation to be heard, but Love Hurts is an ideal closing tune for the album; even if it wasn’t the closer for the record in all regions.

Hair Of The Dog, subsequently, is a must-have for any hard rock music fan. Its combination of hard-hitting rockers and heartfelt ballads makes it a timeless classic that continues to resonate with audiences decades after its release and Nazareth's signature sound and powerful performances ensure that this album remains a standout in their discography and a cornerstone of 1970s rock music.

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Moxy – Moxy (Self-Titled) [Album Review]

Released in 1975, Moxy’s self-titled debut is a classic recording, offering a raw and energetic display of classic hard rock elements. It’s one of those albums that is best heard in its intended linear structure for as powerful as the individual songs are, the musicianship, throughout, is top-notch, thereby creating a tight, cohesive sound that propels the album forward with relentless energy. There certainly isn’t a bad song to be heard on Moxy, nor is there a B-side. Perhaps it is the concise (sub-40 minute) runtime of the album, but if you put the time aside to appreciate this record, from start to finish, you won’t be disappointed.

Part of the appeal is the fluidity throughout as each song is perfectly positioned within the album’s overall structure. The result is that you really shouldn’t judge an album by its cover for the stark design, while striking, doesn’t detract from the album listening experience. In many respects, one could suggest that Moxy put all their creativity into the music, rather than the artwork; an aspect that has been repeated numerously with black cover art designs adorning exceptional albums throughout the years. Regardless of intent, one thing is for certain, Moxy would have looked magnificent on the shelf at a local record store and, thankfully, this classic album has once again been reissued on vinyl. While I don’t have a copy of that 2022 reissue, mainly because it costs AUD$94, the Lossless Apple Music Stream is stunning.

As for the provenance of the streamed version, Apple and the record label haven’t provided that information, but it’s reasonable to assume the stream is derived from one of the CD reissues as it isn’t an Apple Digital Master and is delivered at the CD equivalent 16-bit 44.1 kHz. While that may be a deterrent to some, ignoring the stream would be ridiculous for it’s superbly mastered with plenty of headroom that allows you to pump the volume and rock out. This is one example where there would be little benefit to having a remastered edition for it’s already, sonically, impressive. The soundstage is well developed, with clarity and depth that allows each musical element space to breathe, whilst also ensuring the entire record is presented as a rock powerhouse. Of course, you don’t have to take my word for it, take a listen to the stream below, as you peruse my thoughts on each of the eight songs, and I’ve no doubt you’ll be impressed by the music emanating from your sound system.

Fantasy is a musical masterpiece and is the perfect song to boldly open this exceptional release. Whether it’s the overall rhythm, Buzz Shearman’s extraordinary vocals, or the catchy guitar riffs, Fantasy is, without a doubt, one of their all-time greatest tunes.

Sail On Sail Away shifts the tone to a bluesy-country twang, before launching into a killer rock number that further showcases Moxy’s musical diversity and skill. I know I use this term too often, as do so many others, but when you listen to Sail On Sail Away, you can’t help but note that they don’t make music like this anymore. While I’m not suggesting that all modern music should replicate the music that came before it, imagine if we could have more music like this in the modern era. There are some notable examples, such as Rival Sons and The Cold Stares, but they’re the exception rather than the standard. My only criticism of Sail On Sail Away is that the fadeout is a little too abrupt, otherwise, it’s an incredible tune.

Can't You See I'm A Star is an anthemic rocker that exudes charisma and attitude. With its driving rhythm providing a solid foundation for the addictively good guitar riffs and Shearman's commanding vocals, even the most hardened of critics will be drawn in when listening to Can't You See I'm A Star.

Moon Rider kicks things up a notch with some of the very best guitar riffs you’re likely to hear from the 70s. It’s so compelling that I’d suggest it, and the entire album, offers some of the very best rock and roll of the 70s. Exceptional!

Time To Move On is lyrically catchy but as incredible as Shearman’s vocals are, they are the reason why this song will leave you speechless. It is the musical bed and overall performance of the band that truly shines and no more is that evident than during the spectacular mid-song jam session.

Still I Wonder, with its infectious groove and memorable hooks, will grab you from the very first moment. Yes, it’s a little more of a straightforward rock number, compared to the other songs on the album, but that isn’t a critical perspective for the song is magnificent. It just isn’t as multilayered as many of the other songs from the album. However, if all you’re after is a killer rock and roll tune, that you can play your air guitar along to, you’re going to love this hard rock number.

Train is a hard-hitting rocker with a relentless rhythm and gritty guitar riffs. Propelled by thunderous drumming and blisteringly determined guitar playing, amongst other musical aspects, Train is somewhat of a hidden gem and one that keeps getting better the more you listen to the album, especially as it pertains to the closing guitar solo and Shearman’s magnificent vocal delivery throughout the final moments of the tune.

Out Of The Darkness is an uplifting rocker with a driving beat and soaring melodies, featuring powerful vocals and an electrifying guitar performance. It’s so good that you’ll either feel compelled to play the album again or sit and contemplate the music you’ve just heard; the definition of a perfect album closer.

Moxy may have been a debut release but it’s also a classic slice of 70s hard rock that still holds up today as there isn’t a B-side to be heard. From its infectious hooks to its blistering guitar work, it's an album that should be played loud and enjoyed to the fullest. If you haven’t already, consider adding it to your music library for this is one release worth owning.

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Journey – Journey (Self-Titled) [Album Review]

Released in 1975, Journey’s eponymous debut marked the beginning of a musical journey that would contribute to the sound of arena rock in the late 70s and 80s, yet this album is somewhat different in that it is jazz meets progressive rock; a combination that gives the record a compelling uniqueness.

While the sonic presentation of the album has a greater focus on the instrumental aspects, than their later albums would, this release laid the groundwork for the band’s subsequent rise to fame and set the stage for their signature blend of melodic rock, soaring vocals, and intricate instrumentation. It wasn’t, however, a commercial success but is amongst their greatest recordings and is a top-tier release from the mid-70s.

From the first track to the last, the complex musical arrangements and extended instrumental sections have created an album experience that should be heard within that context. While we’ll delve into the individual songs shortly, this is one album that is best heard in its intended linear structure. Perhaps this was apparent at the time of release for the only song to be released as a single was To Play Some Music; a tune that is good, but not great and is, arguably a poor showcase of Journey’s ability to convey human emotion through audible art.

While there are few criticisms to note, it wouldn’t surprise me if some listeners don’t enjoy this release due to the extended song lengths that, admittedly, could have been shortened. Nevertheless, Journey is an experience in and of itself and the lossless Apple Music stream goes a long way to ensuring that you’ll thoroughly enjoy the music. Every aspect of the mix is clear and the soundstage is well-defined. Perhaps the strongest praise that can be made is that it just sounds right; a very technical declaration, naturally, but one that signifies just how well this album was recorded, mixed, and mastered. Apple Music doesn’t indicate the provenance of the album but it’s fair to say that this CD counterpart is about as good as the album is going to sound sans a remastered/reissue campaign. Additionally, the sonic presence of the album is so well delivered that I simultaneously don’t want a remaster as, again, it sounds just as it should; perfect!

With all that in mind, dear reader, join me as I explore the songs that make up this exceptional, yet underrated, release.

Of A Lifetime opens the album with an incredibly dynamic fusion of rock, jazz, and progressive elements that set the tone for the entire record. Gregg Rolie’s vocal is the perfect accompaniment to the musical bed, as is Neal Schon’s sensational lead guitar riff, but it’s the combination of all musicians that makes this song one of the very best that Journey has ever recorded.

In The Morning Day is a bluesy rock number that includes an infectious groove and catchy melody. Rolie’s vocal is perfectly suited to the song, and the era, but don’t get too comfortable because around the midway point, In The Morning Day turns into a high-spirited psychedelic number that, despite shifting the tone of the song, is thoroughly enjoyable.   

Kohoutek slows the tempo somewhat with an audible journey that is best heard firsthand for the atmospheric aspect, along with the multiple layers of the song, require significant unpacking that words alone cannot adequately convey. Kohoutek is also the most progressive jazz tune, bordering on jazz fusion, from the album and the shifts may, or may not, appeal to everyone. My only criticism is it makes the song a little long, but if we focus on the jazz aspect, and the associated jamming elements of the genre, then the length and complexity make perfect sense.

To Play Some Music is, as I eluded to earlier, a solid tune but one that I wouldn’t consider being single material. It isn’t bad, it’s just an album-only tune.

Topaz opens with a marvellous sonic presentation, the musical shifts, throughout, are a little rougher than I’d ideally like for if you allow yourself to listen in a relaxed manner, you’ll likely be shocked when the tempo shift occurs. Yes, you get used to it the more you listen to the album, but it’s still there and mildly bothers me each time I listen to this song.

In My Lonely Feeling / Conversations is a musical marvel and Aynsley Dunbar’s drumming on this tune is sensational. Of course, the whole band is on fire with Schon’s lightning guitar riffs and Rolie’s smooth vocals being amongst the highlights of what can only be referred to as another of Journey’s most underrated tracks.

Mystery Mountain is the perfect album closer, one that blends the elements of rock, jazz, and blues, thereby creating a song that is not only memorable but one that will encourage you to listen to this self-titled debut again, for Journey can never be listened to only once.

Overall, Journey's self-titled debut is a strong introduction to a band that would go on to become one of the most successful rock acts of the late 20th century. While it may not have achieved commercial success, it did lay the groundwork for the band's future success and remains a testament to their musical talent and creativity. With its blend of melodic rock, virtuosic instrumentation, and emotive vocals, Journey is a classic album that deserves a place in every music lover's collection.

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