Dokken – Under Lock and Key (Album Review)

Released in 1985, Dokken’s Under Lock And Key is a glam metal classic and a defining moment in the band’s career. Featuring the classic lineup of Don Dokken (vocals), George Lynch (guitar), Jeff Pilson (bass), and Mick Brown (drums), the album blends melodic hooks and killer rock licks with technical prowess. While there is no shortage of exceptional 80s glam metal releases, Under Lock And Key is one of the most impressive and timeless examples available to rock and rollers.

Turning our attention to the album artwork, it’s adequate. It’s far from the worst 80s album covers but it’s a little bland. Thankfully, the sonic prowess of this release steps things up and is thoroughly enjoyable. Yes, the Apple Music stream delivers the record as a CD-quality lossless stream, but that’s not necessarily a bad thing as it sounds exactly like one would expect. There’s no indication if this is a remaster. Still, based on the sonic cues, I would say that it’s likely that it’s the original CD mastering and, as such, turning the volume up will have you rocking out, rather than feeling fatigued by an overly hot master.

It may not be to everyone’s taste, but this is another prime example of how important tone controls are to music lovers. Some will lament their use, but I don’t share that perspective as I’d much rather tweak the sonic qualities of a record to suit my subjective taste. Regardless, the overall production quality strikes a perfect balance between polished sheen and raw power, ensuring a timeless appeal that will make any music lover happy. With that in mind, let’s take a look at the songs that make up this classic release.

Unchain The Night opens the album with a brooding, atmospheric guitar intro that sets the tone for the entire record. Following the exceptional introduction, the track transitions into a mid-tempo rocker with soaring vocals and intricate guitar work to accompany the killer rhythmic base of the song.

The Hunter was the first single released from the album and is a fantastic rocker, but as strong as it is, I’m not sure it was the best choice for a single release as Unchain The Night has that earworm quality that may have resulted in greater charts success. Nevertheless, The Hunter is a standout that balances intensity with an accessible rhythm.

In My Dreams is a melodic masterpiece. The infectious chorus, tight harmonies, and Lynch's flashy yet tasteful solo make it one of Dokken’s most memorable songs. Yes, it has an 80s sheen, but those of us who live with a nostalgic mindset will find it highly compelling and it’s amongst the greatest rock songs released in the era.

Slippin' Away slows the pace slightly with this reflective ballad that provides a lovely contrast amidst the harder-edged tracks. Don Dokken’s vocals are magnificent and are complemented perfectly by the understated instrumentation that is ideally mixed, thereby allowing the vocals, and guitar solo, to soar above the musical bed.

Lightnin' Strikes Again brings back the energy with this high-tempo number that showcases Lynch’s blistering guitar skills. The aggressive riffing and thunderous rhythm section drive the song, embodying the band’s heavier side, but it’s Don Dokken’s vocals that are the standout here, showcasing just how exceptional his vocal range is.

It's Not Love, with its groove-oriented riff, stands out as one of the album’s most distinctive tracks. Despite the song’s raw energy and gritty guitar work, It’s Not Love is a melodic pleasure to listen to.

Jaded Heart is another incredible ballad showcasing Don Dokken’s ability to convey deep emotion. While some reject ballads, I extoll their inclusion for it showcases just how exceptional the vocalists of our favourite metal bands are as it’s not always about driving the vocal to the very end of a vocalist’s capabilities. Add to that the lush arrangement and Jaded Heart becomes not only a standout on the record, but it’s one of the best songs Dokken ever recorded.

Don't Lie To Me is a catchy mid-tempo rocker with a driving rhythm that will see you head-bopping and toe-tapping along. It’s 80s glam rock at its very best!

Will The Sun Rise has an incredible interplay between the rhythm section while Lynch’s guitar textures create a rich sonic palette on this story-focused tune. The chorus is most certainly a highlight, as is the guitar solo, and as far as album-only tunes go, this is an absolute masterpiece.

Til The Livin' End closes the album out with a bang, delivering an all-out rocker. It is, however, sequenced poorly in that it sounds out of place following the melodic nature of Will The Sun Rise. Yes, the relentless guitar riffs and pounding drums make it a solid conclusion to Under Lock And Key, but it also sounds a little less produced than the other songs on the record. Nevertheless, Til The Livin' End will compel you to play the record again for Dokken can seldom be listened to once.

Under Lock And Key, ultimately, captures Dokken at their peak, blending hard rock grit with melodic finesse. George Lynch’s guitar work is a masterclass in 1980s metal, while Don Dokken’s vocal performances bring the songs’ emotional core to life. Under Lock And Key is, subsequently, not just another album; it’s a testament to an era blessed by glam metal’s dominance. As such, if you’re a fan of the band, era, or genre, Under Lock And Key is a must-listen for it showcased Dokken as a powerhouse amongst many glam metal acts.

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Dire Straits – Brothers In Arms (Album Review)

Released in 1985, Dire Straits’ Brothers In Arms was not only a defining moment in the band’s career, but it was a landmark release. With its blend of poignant songwriting, intricate guitar work, and state-of-the-art production, the album resonates as a timeless masterpiece with an equally compelling piece of cover art that blends perfectly with the music.

While the fanfare surrounding this record is absolutely justified, it’s an album that has long divided music lovers and audiophiles for there are so many different versions (masterings) that one needs to question if it is the sonic quality, or the music itself, that should be at the forefront when listening to Brothers In Arms.

Here at Subjective Sounds, you’ll get both perspectives, but I do lean towards the music rather than sonic prowess alone. Let’s start with the formats, and then discuss the music, shall we?

With over 500 versions of Brothers In Arms listed on Discogs, one would rightfully find selecting a definitive edition to be tricky, if not impossible. While I obviously can’t review every release, I’ll give you my thoughts based on the versions I’ve been fortunate to have listened to.

The releases include:

• The Mobile Fidelity Sound Lab 2015 release (MFSL 2-441)

• The 20th Anniversary Vertigo (9871498) Hybrid SACD edition

• The Apple Music 16-bit/44.1kHz ALAC lossless stream

What’s most interesting, however, is that the Hybrid SACD contains not only the CD version of the album but also the HDCD, SACD Stereo 2.0 mix, and the SACD 5.1 Surround Sound Mix. That single disc has so many different versions on it that it really showcases just how well the Hybrid SACD format could be utilised for a mass market release; a release that could appeal to all music lovers, rather than just audiophiles.

While multiple options are (usually) a good thing, sometimes there can be too much of a good thing and in this instance, less is more. Yes, dear reader, I drove myself to the point of insanity, listening to every version and the truth is that I couldn’t pick a winner for each exhibited their own uniqueness and none were what I would consider to be flawed. Certainly, I had my preferences, but I could never quite lock one in; until now.

So, which version did I prefer and why?

I chose to go with the lossless Apple Music stream. Blasphemy, I hear you say. The problem was I was listening for faults and minute elements rather than simply enjoying the music. Plus, when all else fails, sometimes good enough is…good enough.

Nevertheless, I’ll give a brief rundown on my experiences with the two physical versions, for those of you who may, or may not, wish to go through the torturous process of deciding which version you’d subjectively feel is better. And, yes, if you’ve put more money into your turntable setup than your SACD et al gear, that will be the one to go for, and vice versa.

Let’s start with the Mobile Fidelity Sound Lab (MOFI) edition; for it is magnificent. While I don’t condone MOFI’s deceit regarding the master tape sources they used, along with using a digital intermediary, the sonic reproduction, of this release, speaks for itself as you will be enveloped in the soundstage from the very first note to the last. Every musical element is positioned exactly where it should be and regardless of the volume you choose to play the album at, it’s going to sound incredible. While it isn’t necessarily affordable, although what is these days, if you’re after a record that will make your turntable sing, this is one you should certainly consider. You do have to deal with flipping the record over after two songs, however; a by-product of the album being pressed at 45rpm. Of course, original releases truncate some of the album’s greatest songs in order to have had it fit comfortably on a regular 33.3rpm release, so there will always be a tradeoff when it comes to vinyl editions.

As with all MOFI releases, the outer sleeve is thick, so much so that one would need to be determined to damage it before the sleeve would fall apart. It’s a lovely reproduction, even if the gatefold inner artwork is a little on the blander side.

Shifting our attention to the Hybrid SACD, the following summarises my thoughts on this all-inclusive release:

• 20th Anniversary CD is clean, perhaps a little too clean. By that, I mean that the bass response, while present, lacks a sense of emotive energy that is present in all other versions. It’s dynamic, yet a cohesion of musical elements is missing, thereby resulting in a lack of body and tonal warmth. Of course, many will point to the origins of the recording, being that it was one of the first albums to be recorded digitally, but it isn’t that; it simply lacks presence.

• 20th Anniversary HDCD sounds fantastic, especially compared to the CD version found on the Hybrid SACD; but it’s getting increasingly difficult to obtain players that can decode the HDCD layer. Nevertheless, the entire soundstage, bass elements, and treble range of the HDCD sparkles without being fatiguing and while it’s, arguably, not as smooth as the SACD Stereo Mix, it sounds right.

• 20th Anniversary SACD Stereo Mix is smoother than the HDCD version but arguably lacks detail as the treble range is rolled off considerably. While smoothness can also translate to warmth, the SACD Stereo Mix fails to impress me as much as the vinyl counterpart does as turning the volume up showcases its limitations in comparison to the aforementioned vinyl release. At higher volumes, it simply becomes less pleasurable to listen to. It’s my opinion that the 20th Anniversary SACD Stereo Mix is mastered a little too hot.

• 20th Anniversary SACD 5.1 Surround Sound Mix is a different beast entirely and if you’ve been listening to the stereo mix of Brothers In Arms for decades, the surround mix can take a little getting used to. While I appreciate the spectacle of it, with discrete sounds moving about my listening space, I still found myself preferring the stereo mix. It’s important to note, however, that I’m not a surround sound enthusiast, so I would recommend that you check out Mike’s Life In Surround YouTube channel and QuadraphonicQuad where the general consensus is highly positive.

If you’ve got this far I applaud your dedication as the testing and comparing, then writing and/or reading about it, can be about as interesting as watching grass grow. Nevertheless, as it pertains to the lossless Apple Music stream, derived from the 1996 CD remaster, I find myself at ease with its flexibility and convenience. Yes, I went there. Convenience is a must and if you have to flip a record too often, or find yourself constantly trying to decide which of the many versions on the SACD to listen to, then just like me you’ll find a breath of fresh air as it relates to the streamed edition. While it is not as resonant as the vinyl counterpart, nor as feature-rich as the Hybrid SACD, it is the simplicity that I appreciate.

As I mentioned earlier, sometimes less is more and, truthfully, I don’t feel as if I’m missing out on much, compared to the physical releases. The Apple Music stream is thoroughly enjoyable, and not at all fatiguing, ensuring that the core musical experience is maintained. Look, it won’t be for everyone, but as I subscribe to John Darko’s music-first audiophile mantra, it’s more than enough and listening to it, anywhere and everywhere, gives me immense joy without the constant nagging that comes along with comparing multiple editions.   

Hence, with all that in mind, let’s take a look at the music that makes up this legendary release.

So Far Away opens the album with a clean and steady rhythm that is largely unassuming but equally compelling. Setting the tone for the music to come, So Far Away is not only an enduring classic but its relaxed groove will appeal to just about any music lover as it sounds deceptively simple, yet its melodic sophistication ensures that it’s timeless.

Money For Nothing is, without a doubt, the most iconic track from the album with one of the most recognisable guitar riffs in rock history. This is pop-rock at its finest and despite being released in the mid-80s, no element pigeonholes it to that era. Much could be said about this landmark tune, including the often criticised controversial lyrics, but it’s in the listening that will determine one’s interest in Money For Nothing. So, take a listen and rock out for Dire Straits doesn’t get much better than this.

Walk Of Life lifts the tone of the album with its upbeat organ tuning and the song’s infectious rhythm. Providing a lighter, more playful counterpoint to much of the album’s introspective tone, Walk Of Life is a joyous track that has long been a fan favourite and a staple in Dire Straits’ live performances.

Your Latest Trick immediately sets itself apart from Walk Of Life, yet it doesn’t sound out-of-place in the album’s linear structure. Your Latest Trick is very much jazz meets soft rock, with lush instrumental arrangements and an intricate interplay between all musical elements. While it may not have set the charts on fire, when released as the final single from the album, it’s amongst Dire Straits’ greatest recordings and harkens back to their earlier releases, just with a tad more production and layered musicality.

Why Worry? is tender, meditative, and despite clocking in at eight minutes, I never tire of it and could listen to this song on repeat indefinitely. The soothing melody, combined with Knopfler’s gentle guitar work and delicate arrangement, makes this beautiful song a hidden gem.

Ride Across The River paints a vivid sonic landscape, one built on a foundation of Latin-inspired percussion and atmospheric synthesisers. The song is so immersive that it creates a cinematic listening experience and, despite being an album-only tune, is a core reason why Brothers In Arms is so respected.

The Man's Too Strong has a stark acoustic arrangement before delving into a more dramatic dynamic that will draw you in instantly. As it pertains to the various editions of this album, it’s songs such as this that can either make or break the record as the crescendo tends to be ear-piercing and shrill. In fairness, the Apple Music stream doesn’t deliver the low-end boldness that is heard on the vinyl release, but at the very least it doesn’t grind my senses.

One World injects a funky upbeat groove into the album. Its lively tempo and rhythmic interplay make it a refreshing change of pace; one that will find you toe-tapping and head-bopping along to this incredible tune.

Brothers In Arms is a hauntingly beautiful ballad that features one of Knopfler’s most emotive guitar performances and serves as a poignant closer to one of the greatest albums ever recorded.

Ultimately, Brothers In Arms is more than just a collection of songs, it’s an artistic statement that has stood the test of time; one that has sold more than 30 million copies worldwide. With its seamless blend of rock, jazz, and blues influences, there’s little doubt as to why this landmark release was not only so well received, but is amongst the greatest albums released in 1985.

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Bob Dylan – Empire Burlesque (Album Review)

Released in 1985, Bob Dylan’s Empire Burlesque is a fascinating entry in Dylan’s celebrated and extensive discography, yet it, much like Street-Legal and Slow Train Coming has its detractors; especially those who favour Dylan’s early to mid-70s output. While not quite the album that Oh Mercy would become four years later, Empire Burlesque showcases Dylan’s eagerness to experiment with evolving contemporary production styles. Produced by Dylan himself, the album features a polished, modern sound with an unmistakable 80s sheen; one that isn’t, however, dated to the era.

While the music may not be dated, the album artwork most certainly is. Granted, it isn’t as kitch as some of the other albums, from the 80s, but it’s unlikely that you’ll display this album artwork with pride. Of course, if you’re like me, you may not have had the privilege to have attained this classic release on the larger vinyl canvas and while it would be lovely to acquire a copy, the Lossless Apple Music Stream, a CD-quality counterpart, is mastered respectfully; with one notable caveat. Following the album’s opening track, there’s a considerable sonic shift when Seeing The Real You At Last comes into play and this change, subsequently, is less treble-focused and, therefore, more concealed than the album’s opener. It isn’t necessarily detrimental, but it’s an aspect that may irritate some as album experiences are generally more uniform in their production styles.

Tight Connection To My Heart (Has Anyone Seen My Love?) opens the album with a catchy melody and glossy production that is perfectly suited to the era; even if it’s slightly different to Dylan’s traditional trademark style. Nevertheless, the polished arrangement, backing vocals, and overall musicality of the song make it a memorable opener.

Seeing The Real You At Last is a solid rock-driven number but as alluded to before, the sonic shift when listening to the album's sequencing is interesting as one would assume a bold and rocking sound to emanate from one’s speakers. It’s as if the song has been reduced by several decibels, but has also been muddied as it pertains to the mix. It doesn’t diminish the song, a killer rock number in its own right, but the shift may irk those of us who listen to albums in their intended sequencing, rather than random songs or playlists. That all said, Seeing The Real You At Last balances raw energy with the era’s typical propulsion of sharp guitar riffs and a driving rhythm. The result is that Seeing The Real You At Last is one of the best songs from Empire Burlesque.

I'll Remember You is a beautifully tender ballad that showcases Dylan’s ability to convey deep emotion through lyrics. Add to that the gentle arrangement, featuring understated instrumentation, that highlights Dylan’s vocals, and what you’ve got is one of the greatest ballads Dylan ever recorded.

Clean Cut Kid has a killer rhythm with a brisk tempo that’s addictively good. As usual, Dylan’s biting sarcasm and criticism of modern life come through loud and clear for this satirical number contrasts perfectly with the blues rock edge heard throughout.

Never Gonna Be The Same Again is a smooth, mid-tempo number that maintains the album’s polished production with backing vocals that add to the song’s lush texture. Interestingly, when you listen to Never Gonna Be The Same Again, the lyrical delivery from the backing vocalists is somewhat offset to Dylan’s vocal delivery and while that would normally take away from the song itself, it works perfectly and the combination makes it one of the best tunes from the record.

Trust Yourself is a motivating and empowering anthem of self-reliance. The track’s dynamic instrumentation, with its jangly guitars and keyboards, adds depth without overshadowing Dylan’s lyrics thereby making it ideal for both those who appreciate music from a purely musical perspective, as well as those who listen for literal interpretation. Ultimately, Trust Yourself is a standout and is one of Dylan’s greatest recordings.

Emotionally Yours is a masterful tune, for this soulful ballad, with its beautiful arrangement, complements Dylan’s tender and delicate vocal style. It’s so impressive that I’d place it amongst Dylan’s greatest ballads and it would be fair to say that it could very well be the most remarkable ballad he’s ever recorded.

When The Night Comes Falling From The Sky is Dylan meets rock with a touch of dance. Yes, Dylan purists will likely dislike the slick production, and while it’s far from his greatest tune, it works exceedingly well for not only Dylan’s overall style but within the context and the flow of Empire Burlesque.

Something's Burning, Baby is driven by an ominous melody that works well with Dylan’s vocal delivery. The sparse yet atmospheric arrangement enhances the song, but it’s the culmination of all musical elements that set this song apart from the rest of the tunes on the record.

Dark Eyes closes the album on a stark and poetic note. It’s this kind of stripped-down simplicity that truly highlights Dylan’s exceptional vocal skill for his folk origins shine through and allows a level of intimacy that simply isn’t present throughout the rest of the record. Dark Eyes is, subsequently, a quintessential closing track as it allows time for reflection whilst also encouraging the listener to play the record again.

Overall, Empire Burlesque captures Dylan at a crossroads, blending his timeless songwriting with the contemporary production trends of the 1980s. While some fans may be critical of this further shift within Dylan’s legacy, the album offers a compelling mix of heartfelt ballads, biting social commentary, and his trademark poetic musings. Empire Burlesque is, subsequently, a compelling chapter in Dylan’s discography for it offers a unique blend of old and new and is subsequently one of his best albums from the 80s and one of the greatest albums released in 1985.

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Skyhooks – Living In The 70’s (Album Review)

A debut like no other; an Australian masterpiece!

That is, perhaps, the best way to describe Skyhooks’ Living In The 70’s, for they may not have known it at the time, but Living In The 70’s would go on to become one of the greatest albums ever recorded.

Beloved in Australia, Skyhooks never really made inroads into the international music scene. Subsequently, many international readers may be unaware of their music and the influence they’d have over generations of Australian rock bands to come. Thankfully, streaming allows you, dear reader, to listen to Living In The 70’s, wherever you are and there is no time like the present to check out one of the most controversial, yet praised, debut releases ever by an Australian band.

Living In The 70’s was controversial in that the Federation of Australian Commercial Broadcasters decided to ban six of the songs from the album, from national airplay, citing sex and drug references. Of course, the counter-culture teenage population, at the time, wasn’t going to be told what they could and couldn’t listen to and Living In The 70’s quickly rose to #1 on the charts, selling 226,000 copies in its first year; a feat never before seen within the Australian music industry.

Not only was their sardonic view of the zeitgeist in Australia in the 70s a pivotal element for Skyhooks, but they had a hook and they caught us hook, line and sinker, with their catchy blues-based groove rock and combined glam rock style. To say Skyhooks was multifaceted would be a borderline understatement, for their musical style defies adequate explanation. Living In The 70’s is, subsequently, an album that needs to be heard in order to be fully understood and appreciated. Exceptionally written, recorded, mixed, and mastered, you’ll be in pure musical bliss for the entire duration.

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The edition of Living In The 70’s that I’m fortunate to own is the remastered CD from 2004 with the additional B-side, Broken Gin Bottle; a perfect addition to an already flawless album. The CD, however, isn’t quite as perfect as I’d like it to be as the booklet has a printing error whereby several pages of the liner notes are missing, replaced by liner notes from a Linda Ronstadt compilation. Now, I have nothing against Ronstadt; a phenomenal musician in her own right, but this is a Skyhooks album and I’m missing all the lyrics except for the title track and Broken Gin Bottle. It’s a frustration, to say the least, but the sound quality is so good that I haven’t bothered with a replacement.

Yes, Living In The 70’s is a remaster and while I’ve been critical of remasters over the years, this one is done nicely, with respect for the source material. It sounds right, unlike the remaster of Cold Chisel’s Circus Animals. The soundstage is wide and enveloping and every instrument can be heard with incredible clarity. The Lossless Apple Music stream, by comparison, is a solid CD facsimile but isn’t quite as live-sounding as the remastered CD. As usual, if you don’t compare the editions, you’re unlikely to notice anything is lacking, but the CD offers a more enjoyable listening experience as the music has a fluidity that is missing from the streaming counterpart despite being derived from the same mastering sessions.

Additionally, a vinyl reissue is on its way, scheduled for an early 2025 release, along with a CD edition that celebrates the 50th Anniversary of the album. One problematic aspect, however, is that it’s said to be a new 2024 remaster. Let’s just hope that it has been handled with respect for the source material for I still declare the 2009 remaster to be perfectly fine. Nevertheless, it seems somewhat fitting that one of the greatest Australian albums of the 70s finds its way back to the format that it was originally presented on; if for no other reason than to display that incredible album artwork.

Living In The 70’s is a killer, rhythmically charged, opener that will have you singing along as you grooving to the music. It has some exceptional guitar and percussion work that showcases the polish and musical skill Skyhooks had right out of the gate, but it’s the song’s references, and sharp critique, to counterculture and societal expectations, that strike a perfect balance between humour and reflection. The result is that Living In The 70’s is one of the greatest debut album openers of all time.

Whatever Happened To The Revolution continues with the upbeat tempo and in many respects, Skyhooks has a similar style to The B-52’s, in that it becomes a fun listen that’s unique when compared to much of the music of the era. Even by modern standards, Whatever Happened To The Revolution sounds fresh with its crunchy guitar riffs and high-energy rhythm.

Balwyn Calling is packed with vivid imagery, a funky bassline, and melodic guitar hooks that give this song its playful edge and ensure that it’s one of the most memorable tunes from the album.

Horror Movie is, without a doubt, my all-time favourite song from Skyhooks. It’s also, arguably, Skyhook’s most iconic tune for its an unforgettable anthem and Graham “Shirley” Strachan’s powerful vocals bring Greg Macainsh’s satirical lyrics to life. However, it’s the overall vibe that takes this song to another level for it is most certainly positioned in the 70s style but has remained timeless and still resonates with rockers the world over.

You Just Like Me ‘Cos I’m Good In Bed says it all, doesn’t it? It’s a fun tune that will bring a smile to anyone's face. While I can understand why the Federation of Australian Commercial Broadcasters banned this tune and five others, I’d call it overkill as we really can take ourselves a little too seriously at times. Nevertheless, it’s a great song; one that flows beautifully within the album’s linear structure and, again, showcases just how proficient Skyhooks were from the get-go.

Carlton (Lygon Street Limbo) incorporates the energy and musicality of Australian music in the 70s, despite the mid-tempo styling. While it isn’t a standout, it’s a quintessential album-only tune that ensures the album is structurally sound and the sum of its parts, rather than being appealing because of one or two songs. 

Toorak Cowboy is a toe-tapping, head-bopping, good time with a country meets glam rock style that is highly appealing.

Smut, true to its name, pushes the lyrical boundaries with its tongue-in-cheek wordplay atop a compelling musical backdrop. It’s a fun song that showcases the band’s irreverence as they challenged societal norms with their bold take on taboo topics.

Hey What’s The Matter is groovy; try sitting still through this one. As with much of the album, it’s impossible to not groove along to the music. The result is that Living In The 70’s can very easily become the ideal soundtrack to an energetic life.

Motorcycle Bitch is gritty riff-driven heaven and Strachan’s vocals on Motorcycle Bitch, in particular, are magnificent. There’s little doubt in my mind that he was one of the greatest vocalists to ever record a tune. Bon Scott is usually held up as the poster child for Australian rock and roll vocals and while this doesn’t take anything away from his vocal prowess, Strachan was on par, if not slightly more capable as a vocalist, particularly concerning pronunciation. I mention this as I don’t feel Strachan has ever received the recognition he deserved.

Broken Gin Bottle was not part of the original tracking of Living In The 70’s, having been released as the B-side to the Living In The 70’s single. However, I couldn’t imagine the album without it as it fits the overall styling so well. Again, and I know that I’m repeating myself, the gritty blues-infused guitar work is extraordinary and will compel you to listen to the album again.

Living in the 70's is a bold, unapologetic, and groundbreaking album. Skyhooks' ability to combine biting social commentary with infectious melodies and a uniquely Australian identity made it a cultural touchstone but this debut isn’t just an album, it’s a cornerstone of Australian music history and one of the greatest albums ever recorded.

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Ringo Starr – Goodnight Vienna (Album Review)

Released in 1974, Goodnight Vienna is the follow-up to Ringo Starr’s commercially successful and critically acclaimed album Ringo, yet despite the fanfare, this is the stronger album. That may rub some people the wrong way but it is my subjective truth. As with many of Starr’s solo works, Goodnight Vienna is somewhat whimsical, but it perfectly encapsulates his unique charisma via an appealing blend of rock, pop, and ballad-styled tunes. The result is that Goodnight Vienna is a dynamic album that is severely underrated; much like his hidden gem Old Wave.

Goodnight Vienna is also notable for featuring one of Ringo’s most star-studded lineups with collaborations coming from John Lennon, Elton John, Bernie Taupin, Harry Nilsson, David Foster, Gary Wright, and Dr. John, to name a few of the incredible musicians that contributed to this sensational album. However, it is Jim Keltner’s recordings with Starr that I find most interesting for Keltner is a master drummer in his own right, but to drum for the drummer of The Beatles; that would, at the very least, have been intimidating. Still, given the extensive nature of Keltner’s session recordings, it would be fair to say that as much as Ringo was crucial to the success of The Beatles, Keltner is much more diverse and while not a household name, is an ardent student of the art of drumming.

Speaking of art, if we look beyond the music, the album artwork for Goodnight Vienna is captivating. Inspired by the 1951 film, The Day The Earth Stood Still, Goodnight Vienna has one of the most recognisable covers from the era; a time when a record’s visual presentation was of paramount importance in not only making it stand out in record stores but in providing a complete visual counterpart to the music. Admittedly, the artwork has little, if anything, to do with the music contained within, but its somewhat quizzical nature melds perfectly with Starr’s overall style.

While I have yet to be fortunate enough to attain a copy of this classic album on the larger vinyl canvas, the Lossless Apple Music stream, an Apple Digital Master, is nothing short of exceptional. Every musical element is given room to breathe and while that’s primarily a testament to the recording and mixing of the album, the soundstage is both enveloping and captivating, thereby ensuring that it’s not only a pleasure to listen to but so appealing that other than the tactility of a vinyl record, and that warmer analogue sound, there really is little reason to seek out a physical release.

Goodnight Vienna (It's All Down To) has an incredibly catchy rhythm and is one song that is perfect for Starr’s vocal style. Written by John Lennon, it’s also one of his greatest songs that he never recorded himself, but it has the Beatle-esque styling that many fans will find appealing as you can imagine just how the Fab Four would have approached this recording. I’d suggest it would be largely the same, perhaps with a few more musical elements thrown in for good measure, but it’s a sensational fun upbeat song to start the album with. The only disappointing aspect is that the song’s a little short and despite flowing well into Occapella, another 30 seconds to a minute would have been ideal.

Occapella brings Starr’s whimsical personality front and centre with this funky Allen Toussaint composition. Driven by a bouncy musical bed, and an infectious rhythm, Starr’s vocal presentation adds to the overall appeal of the song, thereby ensuring that Occapella is one of the greatest songs he’s ever recorded.

Oo-Wee is a straightforward rocker with a touch of Starr’s carefree attitude. While not necessarily groundbreaking, Oo-Wee offers listeners a fun moment that reflects Ringo’s penchant for simple, feel-good tunes.

Husbands And Wives, a cover of Roger Miller’s 1966 original recording from Words And Music, is simply magnificent. Starr takes the original, and adds a touch of tenderness and sincerity to his usual vocal flare, thereby ensuring that this interpretation was in every way as appealing as the original was.

Snookeroo is a lively tune that stands out as one of the album’s highlights; particularly when it comes to the addictively good chorus. Written by Bernie Taupin and Elton John, Snookeroo offers a semi-autobiographical tale on Ringo’s working-class roots, but it’s the electrifying musical bed that ensures Snookeroo is memorable.   

All By Myself is a moody blues-inspired track that sees Ringo delve into more sombre territory than is usual for his musical output. Despite lacking the energy of the other songs on Goodnight Vienna, the chosen arrangement and Starr’s vocal performance add depth to the album’s overall tone, thereby making it a perfect album-only number.

Call Me, with its mellow melody and catchy chorus, makes for an enjoyable listen, especially following on from All By Myself, and is another quintessential album-only tune that while not a standout, ensures the record is the sum of its parts, rather than appealing due to a few standout tunes.

No-No Song has a reggae-tinged rhythm and lighthearted feel that make it an undeniable earworm. Combining humour and an anti-drug message, No-No Song is charming and is one of the most memorable tracks from the album.

Only You (And You Alone) is a cover of the legendary Platters’ 1955 hit and while it has been recorded by a who’s who of the music industry throughout the decades, Starr interprets the song considerably differently thereby ensuring that this classic tune has a warm radiance that is somewhat missing from the original recording. Musically, it’s a little more uplifting whereas the original has a haunting quality that, despite being a style of the era, can also make the song a little less romantic and despondent when compared to Starr’s recording.

Easy For Me offers a melancholic orchestral arrangement that allows Ringo to convey an emotional vulnerability via his lyrical delivery. While the song’s pacing may feel slow, compared to the more vibrant tracks on the album, it’s also one of Starr’s greatest vocal performances.

Goodnight Vienna (It's All Down To) [Reprise] brings the album full circle and closes this experience perfectly with this brief and celebratory conclusion that will encourage you to spin the record again.

Ultimately, Goodnight Vienna is a delightful album that successfully blends humour, charm, and musical variety. Add to that the collaborations and contributions by some of the era’s most legendary musicians and what you’ve got is a timeless record that is not only one of the best Starr ever recorded, but it’s amongst the greatest records released in the 70s; certainly in 1974.

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Lynyrd Skynyrd – Second Helping (Album Review)

Released in 1974, Second Helping is Lynyrd Skynyrd’s sophomore album and a powerful follow-up to their debut, (Pronounced 'Lĕh-'nérd ‘Skin-'nérd). Having already made waves with the masterful Free Bird, amongst many other (now) classic songs, does this follow-up match the musicality from their first album?

Yes, but also no. It’s complicated. Let me explain.

As pioneers of the Southern Rock genre, Lynyrd Skynyrd had a unique sound that rooted them firmly within the blues while also seeing them incorporate elements of country, rock, and a touch of funk. That fundamental aspect doesn’t change with this second release, and this record strengthens the band’s position and standing within the genre, but it’s also more hard rock-focused than the southern bluesy soft rock of the debut. In addition to that aspect, Second Helping is considerably more polished and layered, by comparison, thereby making it my favourite of their career.

Some of you may naturally have an opposite opinion, as music is highly subjective. Still, I find the cohesive nature of Second Helping to be stronger than the song selection and linear structure of (Pronounced 'Lĕh-'nérd ‘Skin-‘nérd). That isn’t to say that Second Helping is perfect, for I question the decision to include the J.J. Cale cover, Call Me The Breeze; a solid addition, yes, but one that doesn’t always compel me to play the record again as it’s a somewhat weak closing tune.

Either way, when you combine the higher production values, exceptional songwriting and overall performance, Second Helping could only have been bested if Call Me The Breeze had been omitted and my beloved Free Bird was added to the backend of the album. Naturally, that cannot happen, nor should it, for it would forever change the artistic direction of the band, but with that in mind, it’s clear to suggest that Second Helping was a worthy follow-up.

Speaking of production values, while the recording and mix are second to none, I feel the mastering could be a little more refined. Additionally, Don't Ask Me No Questions is more demo-styled than any other song from the album; an aspect that takes you temporarily out of the album listening experience. Nevertheless, when listening to the Lossless Apple Music stream, an Apple Digital Master, it’s thoroughly enjoyable but I’d also suggest that it’s merely adequate, rather than being exceptional. There are no glaring issues to report, it just doesn’t sound as immersive or sonically fluid as I'd ideally like and that, I feel, would likely come across well with regards to the various audiophile-based releases of this classic album. Of course, having not heard those other releases, I cannot comment on their sonic prowess, but a slight adjustment to one’s EQ settings could likely adjust the album to perfectly reflect one’s tastes.

Sweet Home Alabama kicks the album off with one of the most iconic riffs in rock and roll history. It may be Lynyrd Skynyrd’s most well-known song, for it’s a masterpiece, but it is worthy of inclusion amongst the songs that are considered part of the Great American Songbook for it’s one of the greatest songs ever written and recorded.

I Need You presents itself as a slow-burning, bluesy ballad that demonstrates the band’s versatility and while I Need You was never destined to be a hit, it’s one of their most pleasing tunes for the soulful and haunting guitar interplay between Allen Collins and Gary Rossington is exceptional, as is Ronnie Van Zant’s raspy, pleading vocals. The highlight for this music lover, however, is Ed King’s bass tracking which is subtle, yet extraordinary. The culmination of all aspects makes I Need You a hidden gem; particularly for those who are not familiar with Second Helping.

Don't Ask Me No Questions has a killer riff, funky rhythm, and a raw production style that appeals to the song, but it’s somewhat out of sync with the production standards heard throughout the rest of the album. Nevertheless, this Southern rock number is a solid addition, even if Don’t Ask Me No Questions is more akin to a demo than a fully-fledged song.

Workin' For MCA has a vibe that will get you moving as it dives into the complex relationship between artists and the record industry. Perhaps most interestingly, however, is that MCA Records allowed the song to be published. That in itself takes courage, but what can’t be denied is the musical prowess of this song as lyrical interpretation is one thing, but the musical bed, and that guitar solo, are simply sensational.

The Ballad Of Curtis Loew is a thoroughly pleasing blues-based number that, while not a standout, is a quintessential album-only tune.

Swamp Music, with its lively swampy groove, lives up to its title by embracing the bayou feel that is both infectious and fun.

The Needle And The Spoon has an incredible hook that is emphasised by the gritty lyrical topic and issues relating to not only addiction but the dangers of drug use. It’s moments like this that I celebrate enjoying music sans lyrics, with the vocalist becoming another instrument within the mix, for I can tune out the meaning and groove along to what I consider to be one of Lynyrd Skynyrd’s greatest tunes.

Call Me The Breeze is a solid cover of J.J. Cale’s original, from his 1972 release Naturally, yet despite Skynyrd's livelier presentation, it isn’t an ideal closing track as it seldom encourages me to listen to the album again. I’d also argue that Lynyrd Skynyrd was, by this stage, so well-established that the need to include a cover was superfluous to the album’s requirements and it’s a shame they didn’t have another song ready to go for their own compositions are incredible and have stood the test of time.

If nothing else, Second Helping strengthens the band’s influence for with this 1974 release, Lynyrd Skynyrd’s Southern sound, merged with the album’s raw energy and blend of blues, rock, and country elements, solidified their place in American rock whilst simultaneously creating a series of timeless songs that would ultimately result in one of the greatest albums of the 70s.

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Lou Reed – Sally Can't Dance (Album Review)

Lou Reed's 1974 album Sally Can't Dance stands out in his discography with its blend of his traditional rock roots and experimental production choices that saw Reed, arguably, edging closer to mainstream success than at any other time in his career. Fuelled by Reed’s rock roots, an exceptional production, and his unique balance of thought-provoking gritty lyrics, Sally Can’t Dance is surprisingly accessible; especially to those who weren’t drawn to his earlier solo works or that of The Velvet Underground. That said, Sally Can’t Dance isn’t so far removed from his origins that it fundamentally would have alienated Reed’s fan base, yet some would vehemently disagree with that statement.

Hardened individuals aside, Sally Can’t Dance is broadly appealing because it not only has great songs, but the glam rock mixed with a touch of funk ensures that just about any music lover can get into this release. No, it’s no Transformer or Berlin, but it shouldn’t be compared to those classic releases. Instead, we should consider what an artist is and from my perspective, evolution and experimentation are just as important, if not more so, than giving the fans what they expect. Granted, the album’s high production values would likely be a turn-off for some, but Sally Can’t Dance is, without a doubt, one of Reed’s most underrated releases.

While Reed may have been less than enthusiastic regarding this release, I often appreciate the albums that artists may prefer to disown; think Alice Cooper’s DaDa. That is, thankfully, why music is so subjective and how one interprets the music will differ from person to person and even from the artist’s perspective. As such, if you’ve ignored this release for far too long, because that’s what the cool kids do, give it another chance, on its own, and I’ve no doubt you’ll look at it differently.

Speaking of looking at the album differently, the album artwork is amongst Reed’s greatest; only bested by Transformer. The boldness of the artwork and the use of white space is particularly appealing. Even if you’re a Lou Reed fan who isn’t enamoured with the music contained within, you’d still want a copy of Sally Can’t Dance on vinyl for the larger canvas would make for an exceptional piece of artwork amongst your record collection.

While I’m yet to pick up a physical release of this classic album, I will say that I’m thoroughly pleased with the Hi-Res Lossless Apple Music stream for this is another Apple Digital Master that simply sounds right with an immersive stereo presentation, one that ensures every musical element has room to breathe. Of course, it helps that the album was recorded and mixed with kid gloves. Naturally, without another edition to compare it to, I can’t declare the streamed edition as being the very best this album has ever sounded, but aside from the analogue sound signature of vinyl, that is different (rather than being better), I don’t feel the need to pick up a physical release for the stream fulfils all my musical requirements for this record.

Ride Sally Ride opens the album beautifully with a level of musicality that is poetic, well before Reed’s smooth, yet gritty vocal, enters the mix. Yes, it is different from much of Reed’s broader catalogue of music, but its somewhat laid-back feel is thoroughly enjoyable and sets the tone for the entire album. Ride Sally Ride is also one of my all-time favourite Lou Reed songs for his chosen vocal delivery style works incredibly well.

Animal Language picks up the tempo with a lively, almost vaudevillian, melody, but it's the included animal language that truly sets this tune apart and reminds me fondly of Bob Dylan’s Man Gave Names To All The Animals from Slow Train Coming; another album by a legendary artist that divided the fans. Ultimately, Animal Language is a fun, quirky, tune that is perfectly suited to the album.

Baby Face is a slower, more contemplative, track with a subtle yet lush instrumental bed. The mix is utterly perfect as every element, including Reed’s exceptional vocal, is given room to breathe while never overshadowing any other aspect of the recording.

N.Y. Stars, with its upbeat chugging rhythm and grating guitar riffs, is one of the songs, from the album, that harks back to Reed’s more traditional styles for the musical bed is intertwined, yet slightly off, with Reed’s poetic delivery. It’s a solid tune but is arguably not well-suited for this album.

Kill Your Sons has a sombre, darkly reflective, tone that is ideally suited to Reed. It is one song, however, that makes me glad that I appreciate the human vocal as another instrument in the mix, rather than a storytelling device, for this is one depressing tune; regardless of its context.

Ennui presents a slower tempo and somewhat muted instrumentation that matches the song’s title, creating a feeling of emotional exhaustion and disinterest. Add to that Reed’s weary vocal performance and you’ve got an appealing, yet melancholic, tune. It’s not, however, as depressive as Kill Your Sons is.

Sally Can't Dance is a killer title track set to a funky and danceable rhythm. However, the stark contrast here is that despite the upbeat groove, with its bass-heavy rhythm and infectious hook, the song has a grim narrative. Of course, that was always a core talent for Reed; combining dark humour with catchy songwriting.

Billy closes the album with a slower, more reflective, track full of nostalgic undertones that explores a sense of lost youth, friendships, and missed opportunities with an interesting twist. Yes, I don’t often listen to lyrics for their literal interpretation, but some artists, such as Reed, occasionally demand one’s attention.   

Overall, Sally Can't Dance captures Lou Reed at an intriguing point in his career, straddling mainstream appeal while holding on to the experimental, gritty edge he was known for. Each song on the album reflects Reed’s ability to deliver razor-sharp social commentary, but most importantly Sally Can’t Dance is a remarkable achievement and a standout within Reed’s diverse discography.

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