The Jacksons – Goin’ Places (Album Review)

Released in 1977, The Jacksons' Goin' Places is a vibrant and groove-filled album that showcases the group's evolving musical style through a significant transitional period for the Jackson brothers, as they continued to distance themselves from their Motown roots and explore new musical horizons. Featuring nine tracks that blend elements of disco, funk, and soul, Goin’ Places may not have achieved the iconic status of some of their earlier, or later works, but remains a testament to the Jacksons' versatility and growth as artists.

As with most of The Jacksons’ album artwork, Goin’ Places is iconic but as much as one can appreciate it on the smaller canvas of a digital screen, holding the album artwork, as I’m fortunate to, draws you deeper into the album from both a visual and audible perspective. 

Speaking of the latest vinyl reissue, from 2018, it is immaculate in every aspect imaginable. Yes, the Lossless Apple Music stream, an Apple Digital Master, is exquisite, but the additional smoothness of the vinyl counterpart makes it, along with the artwork, a value-added proposition for fans of The Jacksons. Regardless of this aspect, if you’re an avid streamer, you’ll be thoroughly pleased with the streaming counterpart as this is one album that was not only recorded and mixed well but has been mastered with kid gloves, thereby ensuring that it’s a fun listen from start to finish. 

Music's Takin' Over kicks the album off with an infectious disco groove and while indicative of The Jacksons’ overall vibe, if you listen to Michael's lead vocal on this opening track, you’ll hear the germination of his future solo recordings; particularly those heard on Off The Wall. 

Goin' Places is a funky upbeat number that is not only a catchy tune but has a memorable chorus that will connect with your soul and encourage you to move your body. 

Different Kind Of Lady is another disco-vibed standout from Goin’ Places. If you can sit still while Different Kind Of Lady is playing, you’ve got more self-control than I do for it’s an incredibly addictive tune; one written by the Jackson brothers themselves. 

Even Though You're Gone slows the tempo and is a poignant and heartfelt ballad. While Michael was always front and centre, as it pertains to the Jackson 5 and The Jacksons, this is another example from Goin’ Places that showcases just how proficient he had become as a vocalist for his vocals and associated harmonies are beautifully executed. While it isn’t the first song you’ll likely think of when reflecting on The Jacksons, it is one of their very best recordings. 

Jump For Joy returns us to the upbeat tempo with a touch of funk mixed into the dance rhythm that’s simply impossible to resist. It’s, subsequently, a pure feel-good tune that captures the spirit of the disco era. 

Heaven Knows I Love You is another slower track, yet it doesn’t feel out of place for it’s simply beautiful and Michael’s vocals are particularly moving on this classic tune. 

Man Of War is a lovely song that flows seamlessly within the sequencing of the album. While it was never destined to be more than an album-only track, Man Of War is one of those songs that is memorable and I don’t know about you, dear reader, but I often find that listening to it leads to an earworm; a thoroughly enjoyable one I might add. 

Do What You Wanna returns the album to a funkier groove that will encourage you to get on your feet, let loose, and dance along to this catchy tune. 

Find Me A Girl is a little corny. It isn’t that it’s fundamentally bad, as the smooth and melodic elements are sonically pleasing, but it’s the weakest song on an otherwise perfect album. Yes, it still encourages me to play the album again, but it is one of The Jacksons’ songs that I don’t look for outside of playing the record in its linear structure.

While Goin' Places may not be as groundbreaking or iconic as some of The Jacksons' earlier work, or as polished as their follow-up Destiny, there’s just something to appreciate about Goin’ Places for it captures the spirit of the time with a mix of danceable hits and heartfelt ballads. Whether you're a fan of their earlier Motown classics, or enjoy their disco-era sound, there's something on this album for everyone and is a reminder of the Jacksons' enduring talent and their ability to invoke emotion through music.

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Elton John – Blue Moves (Album Review)

Released in 1976, this double album is a hidden gem and showcases a departure from John’s more commercially-driven sound by delving into a more introspective and musically diverse style. While it may not have enjoyed the same level of commercial success as some of his earlier works, Blue Moves stands as a testament to Elton John's artistic growth and willingness to experiment with his music. It’s also a hidden gem in John’s extensive back catalogue and if you give it time, Blue Moves, John’s eleventh studio album, will grow on you like no other record will, for it is one of his greatest musical achievements. 

Yet, it wouldn’t be far-fetched to declare Blue Moves as one of John’s most disliked albums, but while the music is divisive it is also a pivotal moment in that it doesn’t just deliver hit after hit but asks the listener for their full attention to fully appreciate it. Other than, perhaps, Sorry Seems to Be the Hardest Word, Blue Moves is an album experience first and foremost. As it was released in the vinyl era, logic would subsequently suggest that one should sit down and listen to the album, taking in all its nuances. Of course, the speed of modern society rarely seems to permit sitting and doing nothing, thereby delegating music to be nothing more than the background soundtrack to our lives. However, if you have the time, sit down, relax, and enjoy Blue Moves as a cohesive piece of musical art; I’m certain you won’t regret it. 

Your Starter For… is a short, but pleasant, musical introduction to the album. It has a fantastic rhythm and it’s just a shame the song isn’t longer. That said, it’s the perfect length for an atmospheric introduction that will put you into a reflective and contemplative mood.

Tonight is one of John’s greatest recordings. His piano playing is exceptional and the lush orchestration takes Tonight to the next level. Add to that, John’s beautiful emotive vocal delivery and you’ve got nothing short of a perfect song; one that has been recorded, mixed, and mastered with kid gloves, thereby ensuring that you’ll be captivated from the very first note to the last. 

One Horse Town features a strong piano-driven melody but you’ll have to wait before the blues-based rhythm comes into the mix as there’s a considerably long intro to contend with; one that arguably could have been culled. Nevertheless, I thoroughly enjoy the upbeat pace of One Horse Town and John’s vocal performance on this tune is of particular note as he takes the notes right to the edge before backing off at the last minute, resulting in vocal perfection. 

Chameleon showcases John’s versatility and skill in blending rock and pop elements to create what can only be called a gorgeous song. 

Boogie Pilgrim is infused with a lively, rhythmically addictive energy, but it’s ultimately an album-only track that is largely forgettable as a song on its own. 

Cage The Songbird is a beautifully orchestrated ballad with John’s vocals ultimately driving the tune. While Cage The Songbird was never going to be a standout, it’s a lovely tune in the sequencing of Blue Moves. 

Crazy Water is dynamically funky with an upbeat tempo that initially won’t wow you, but as the song builds and the chorus comes into the mix, it's so catchy that you can’t help but be drawn into what will quickly become a favourite song from Blue Moves. 

Shoulder Holster is a solid album-only tune. While it isn’t the strongest song on the record, the brass instrumentation makes it far more enjoyable and I dare say without it, Shoulder Holster would be rather bland.

Sorry Seems To Be The Hardest Word is one of the most extraordinarily beautiful songs John and Bernie Taupin ever wrote. To say it is a masterpiece is an understatement for it’s not only a standout on the album, and within John’s back catalogue, but it’s one of the greatest songs ever recorded in all of music history. Magnificent!

Out Of The Blue is a musical jolt following the sonic brilliance of Sorry Seems To Be The Hardest Word, but once the senses adjust to the shift, Out Of The Blue isn’t a bad song at all; it just wasn’t well positioned in the sequencing of the album. That said, after all these years, Blue Moves wouldn’t be the same if this instrumental tune was placed elsewhere. Subsequently, as with so many classic albums, you grow to love even the slightest missteps. 

Between Seventeen And Twenty presents us with another sonic shift and while Between Seventeen and Twenty was never destined to be a standout tune, something is compelling about it. Perhaps it’s the offbeat vocal presentation or the continuous edge-of-your-seat sense that the song is going to reach its peak, yet it is neither. Let’s just say that it is one of John’s most interesting songs, from a compositional standpoint. 

The Wide-Eyed And Laughing is quite a different style of song than we are used to hearing from John. I can, subsequently, understand why some would dislike it, but I find it captivating and feel it’s one of his greatest recordings.

Someone's Final Song is a hauntingly beautiful ballad. 

Where's The Shoorah? has a lovely vocal delivery and the harmonious choral backing is superb. The result is that Where's The Shoorah? is  perfectly suited to the album and could be seen as a precursor to You Gotta Love Someone.

If There's A God In Heaven (What's He Waiting For?) is a witty title, no doubt, but it’s not a standout. Still, as an album-only tune, it isn’t bad and helps to form the backbone that Blue Moves is built upon; an album with few hits but many memorable moments.

Idol is one of the most beautiful songs John and Taupin ever wrote, but if you want to hear the very best recording of Idol, look no further than George Michael’s rendition from Symphonica; nobody will ever do it better! 

Theme From A Non-Existent TV Series is another musical interlude and while the rhythmic shift from Idol is a jolt to the senses, this tune does lead perfectly into the final track. 

Bite Your Lip (Get Up And Dance!) is dance meets gospel, meets rock and roll, with a touch of pop. It’s a solid closer, although I feel Idol would have been a stronger song to conclude the album on as it would permit greater reflection. Still, the upbeat tempo of Bite Your Lip (Get Up and Dance!) is fun and sometimes that is the perfect way to close an album.

Blue Moves is an album that requires listeners to engage with its deeper emotions and intricate musical arrangements for this isn’t background music; until you get to know the album, that is! While it may not have generated the same commercial success as John's earlier works, it remains a testament to his artistic growth and is a worthy addition to his discography; even if it is one of the most overlooked, and underrated, albums of all time. 

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Detective – Detective (Self-Titled Album Review)

Released in 1977, the self-titled debut album by Detective is a hidden gem from the era. With their blend of bluesy hard rock, soulful vocals, and tight musicianship, Detective showcased their raw talent and distinctive sound on this record; one of only two released, the other being It Takes One To Know One. Neither album charted well, yet the inability of Detective to become a household name has, upon reflection, resulted in them attracting a cult-like status. 

When you take the time to listen to their music, particularly this debut, you’ll be left bewildered as to how such an incredible band came and went seemingly unnoticed by the majority of music lovers the world over. Yes, the album artwork may be a little nondescript, but the music is anything but. In the absence of a physical copy, I find that the lossless Apple Music stream is sonically superb with a bold hard rock soundstage that has plenty of headroom and separation between all musical elements while simultaneously creating an immersive and impressive soundstage. If nothing else, it’s wonderful that modern music lovers have access to such incredible recordings; especially considering Detective isn’t, necessarily, at the top of everybody's list of the best albums from the 70s and such releases are often forgotten in the annals of the music industry. 

Recognition sets the tone for the entire album with its energetic guitar riffs, driving rhythm section, and powerful and emotive vocals from Michael Des Barres. Even if you’ve never heard Detective before, you’ve likely heard this classic tune as it's one of the best ever recorded and has likely been featured on numerous classic rock playlists and radio stations. 

Got Enough Love is a great tune with a fluid transition from Recognition that maintains the core energy, catchy hooks, memorable chorus, and blues-influences. 

Grim Reaper is a hard-hitting rocker with a memorable chorus and infectious energy. By this stage, if you’re not as amazed as I am as to how underrated Detective is (the band and the album), that’s a shame for the band’s tight musicianship and powerful vocals puts them on par with Led Zeppelin. Additionally, there’s little doubt in my mind that they were a perfect match for being signed to Zepplin’s own Swan Song Records, but I dare say some music lovers would still class them as imitators. 

Nightingale is a gorgeous ballad, that shifts styles throughout, and is perfectly positioned in the sequencing of the album. Des Barres’ vocal delivery is utterly perfect and further showcases just how underrated he was as a vocalist. 

Detective Man, with its swaggering groove and infectious chorus, is a standout tune on the album. Blues with a gritty edge perhaps best describes this late 70s hidden gem and when listening to Detective Man I can’t help but think that music doesn’t get much better than this.

Ain't None Of Your Business brings back the high-energy rock sound with its blistering guitar licks and a driving rhythm that showcases the band’s chemistry and overall tightness. As with much of Detective, Des Barres’ vocal delivery is as memorable as the music itself and that is certainly the case with this song. Ain't None Of Your Business is another incredible late 70s hard rock tune that should have been a landmark release for the entire genre. It just goes to show how easily greatness can be overlooked. 

Deep Down really leans into the blues and, initially, it may seem a little disjointed, but your mind quickly adapts and while Deep Down is an album-only tune, and possibly even filler, there’s some incredible playing, especially with regard to Michael Monarch's guitar performance, to be heard on this instrumental tune.

Wild Hot Summer Nights is a spirited performance with a touch of funk and soul added to Detective’s hard rock style. The result is a catchy tune that is an instant toe-tapper. 

One More Heartache is the quintessential closer that encompasses the very best elements of the entire album into a single song. With an incredible guitar riff, vocal delivery, and an electrically charged musical atmosphere, there’s little doubt that One More Heartache will compel you to listen to the album again for once you find Detective, you’ll likely put them at the very top of the greatest hard rock bands of not only the 70s, but of all time. 

Overall, Detective's self-titled debut album is a testament to their musical prowess and versatility. From high-energy rockers to introspective ballads, the band effortlessly navigates different styles while maintaining a cohesive sound. The raw and passionate performances, combined with well-crafted songwriting, make this album a must-listen for fans of classic hard rock with a touch of blues. 

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Iron Maiden – Killers (Album Review)

Released in 1981, Killers solidified Iron Maiden's status as heavy metal pioneers. Building on the foundation laid by their self-titled debut album, the band pushed their boundaries and continued to evolve by delivering a record that combined adrenaline-fueled energy with thought-provoking lyrics and some of the greatest riffs you’re ever likely to hear. 

It’s also Paul Di’Anno's final album, as vocalist, with Maiden and is somewhat bittersweet for as incredible as Bruce Dickinson is on the microphone, Di’Anno’s gravelly singing style was perfect for Maiden’s musical style. That said, I can’t imagine Maiden’s albums post-Killers had Di’Anno remained a member of the band. 

What has remained consistent, throughout the years, is Maiden’s album artwork and Killers is one of their very best. Eddie’s demonic grin is captivating and if the music doesn’t grab you, the artwork certainly will. 

Speaking of the music, for that is the real reason we’re here, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is thoroughly enjoyable. There’s a tiny bit of muddiness to be heard, but it isn’t a detraction and once Wrathchild comes in, as the second track, all is forgotten for it is quite an audible treat. Yes, some may suggest that the Apple Digital Master is overly compressed, but for Maiden’s style of music, I find it to be perfectly suitable and the latest remasters have a little more heft in the mid to low end of the audio spectrum meaning that the thin sound of the legacy CD releases, from the 1998 remastering sessions, is no longer a cause for concern; unless you enjoyed that style of reproduction, that is. 

The Ides Of March is an incredibly ominous instrumental that sets the tone for the entire album with its haunting guitar melodies and riffs that help to form a foreboding atmosphere before leading into the high-octane anthem, Wrathchild.

Wrathchild kicks things off with Steve Harris' thundering basslines and Paul Di'Anno's gritty vocals. The song’s relentless rhythm, soaring guitar work, and catchy chorus have ensured that it’s a signature tune within Maiden’s back catalogue.

Murders In The Rue Morgue initially slows the tempo considerably with a focus on the melody, before launching into the dynamic metal-driven style that showcases Maiden’s ability to craft complex compositions while staying true to their signature sound. 

Another Life is a killer tune with so much musical depth that your mind will want to connect with every musical aspect, yet you’ll need to find an element to latch onto before the pace of Another Life gets away from you. This kind of frantic song isn’t likely to appeal to everyone, but as far as I’m concerned the shifting styles, throughout, are trademark Maiden; it’s part of what makes them so compelling.

Genghis Khan is the album’s second instrumental piece and while the vocalists of Maiden have always been commanding, I love Maiden sans the vocalist for their music is so emotive and you really get a sense of their instrumental power. From Clive Burr's drumming and Harris’ bass skill to the twin guitar attack of Dave Murray and Adrian Smith, you’ll be left speechless as many aspects of Maiden’s musical accompaniment are lost when lyrics are laid atop the musical bed. The result is that Genghis Khan is one of the greatest pieces of music Maiden ever recorded; a true masterpiece in every sense of the word. 

Innocent Exile flows nicely from Genghis Khan but it’s ultimately an album-only tune. A solid one, yes, but as a song on its own, it’s somewhat unremarkable. 

Killers is a true heavy metal classic that can be best described as an unforgettable sonic experience.

Prodigal Son is a departure from the album’s heavier tracks for this acoustic-driven tune offers a moment of introspection. The folk-inspired melodies and storytelling lyrics further demonstrate Maiden's versatility and while hardcore metal rockers may feel that Prodigal Son is nothing but filler, I’d go as far as suggesting that it’s one of Maiden’s greatest songs; a hidden gem!

Purgatory is a fast-paced relentless onslaught of music; a polar opposite to Prodigal Son. If nothing else, Purgatory is indicative of Maiden’s early raw sound signature. 

Drifter closes the album with a final burst of palpable energy that will compel you to play the album again, for Killers can rarely be heard a single time. 

Killers marked a significant step forward for Iron Maiden, both in terms of musical complexity and thematic depth; even though I consider their self-titled debut to be a masterpiece. Regardless, when you combine the band, Steve Harris’ driving basslines, and Paul Di'Anno's raw vocals, you get a sound that has not only influenced generations of metal bands but stands as an influential chapter in Iron Maiden’s legacy. 

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Elton John – Captain Fantastic And The Brown Dirt Cowboy (Album Review)

Elton John's 1975 release, his ninth studio album, Captain Fantastic And The Brown Dirt Cowboy stands as a masterpiece in his discography and a significant milestone in the realm of classic rock and pop music. The album not only showcases Elton John's unparalleled musicality and storytelling capabilities but also offers a personal journey that will resonate deeply with listeners who appreciate concept albums and literal lyrical meaning. From the intricate songwriting to the diverse musical arrangements, this record further solidifies Elton John's position as a true musical icon.

Visually striking and busier than the exceptional cover art for Goodbye Yellow Brick Road, Captain Fantastic And The Brown Dirt Cowboy is another of John’s albums that really needs to be experienced via the larger vinyl canvas for the detail Alan Aldridge put into the artwork is exquisite. While I’ve yet to own a copy on vinyl, displaying the artwork on the television, while the music plays, gets me part of the way there but this album is deserving of ownership and is, subsequently, on my wish list.

Sonically, while I hope that the vinyl counterpart will be exceptional, the Apple Music stream is another convoluted mess; not dissimilar to John’s Madman Across The Water, in that the Apple Digital Master is sonically compromised while the Deluxe Edition offers a far more pleasing presentation of the album that doesn’t sound lifeless, concealed, and has incredible separation and detail across the stereo spectrum. Subsequently, as is usual for these reviews, I’ve compiled a playlist of the core sequencing, taken from the Deluxe Edition, for you to enjoy as you peruse the rest of the review. 

Captain Fantastic And The Brown Dirt Cowboy is a solid title track but it takes a little too long to get to the heart of the song. Nevertheless, once it’s up and running, the upbeat melody, combined with poignant lyrics, introduces listeners to the duo’s (John and Bernie Taupin’s) struggles and aspirations. The result is a perfect opening chapter for those of you who appreciate narrative-driven music. For the rest of us, it remains musically enjoyable, particularly in the second half of the song when the rest of the band joins John in the mix and you get the percussion elements and killer guitar licks.

Tower Of Babel is exceptional with its shifting dynamics and powerful chorus that makes it a standout on the album and is one of John’s many hidden gems as his piano and vocal performance will leave you speechless. While the entire band is on fire, and Tower Of Babel is nothing short of pure perfection, I absolutely adore Nigel Olsson's drum performance (here and on the closing track Curtains) and I, subsequently, feel that his playing has often been underrated. 

Bitter Fingers is delivered via a slow build and like the album’s title track, it takes the first minute or so for the song to build to its exceptional climax. When it does, that chorus is off-the-charts good; even though it isn’t easy to sing along to. 

Tell Me When the Whistle Blows has a Marvin Gaye feel to it and it doesn't quite suit John’s style. Nevertheless, John’s emotive vocals are supported by gentle instrumentation that creates a delicate atmosphere throughout the verses. The chorus, however, falls flat and while the song is more than adequate as an album-only track, it is the low point in an otherwise exceptional record.

Someone Saved My Life Tonight is one of the most spectacular songs on the album and one of John’s greatest recordings. To think that it may never have been part of the social consciousness had John been successful in his suicide attempt in 1968, is just unimaginable. Aside from that aspect, John’s incredible vocal performance, mixed with the engaging melody and piano playing, ensures this is a timeless masterpiece.

(Gotta Get A) Meal Ticket has a rock-oriented arrangement that is not unlike a Rolling Stones recording. Subsequently, I love it! 

Better Off Dead is musically quirky, yet it works remarkably well. While Better Off Dead is unlikely to appeal to you on the first listen, the more you listen to the album, the more you come to appreciate it and John’s versatility. 

Writing is campy, but as with the varying styles heard throughout Captain Fantastic And The Brown Dirt Cowboy, you’ll find that songs such as Writing are a little lacklustre to begin with, but given time they grow on you and become thoroughly pleasing tunes that you look forward to listening to each time you play the album. 

We All Fall in Love Sometimes is a poignant ballad that transitions from contemplative verses to sweeping choruses. The orchestral arrangement adds grandeur to a simply beautiful song that needs to be heard to be fully appreciated for some music defies adequate explanation.

Curtains flows seamlessly from We All Fall in Love Sometimes and that was intentional, as it also was with Funeral for a Friend / Love Lies Bleeding, for originally the two were one. Regardless, it is a perfect way to close out the album for music doesn’t get much better than this and John, Taupin, and the band should all be congratulated for laying down such incredible music that is amongst the very best recorded in all of music history. 

As a complete body of work, John and Taupin masterfully crafted a sonic journey that spans the highs and lows of their careers and personal lives. Each track contributes to the album's overarching narrative, showcasing the duo's ability to seamlessly blend rock, pop, and introspective ballads. The result is, without a doubt, one of the best albums released in 1975. 

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AC/DC – For Those About To Rock (We Salute You) [Album Review]

Released in 1981, For Those About To Rock (We Salute You) is AC/DC's eighth studio album and is built upon the success of their previous records; particularly Back In Black. With a collection of hard-hitting tracks that showcase AC/DC’s signature energy and riff-driven style, For Those About to Rock is one of the best albums released in 1981 and still stands as an exceptional entry in the band's discography. 

AC/DC has always had compelling cover art and For Those About To Rock (We Salute You) is no different in that regard. Plus, if you haven’t already, take a look at the animated artwork on Apple Music; it’s fantastic and one of the best examples of the feature. While the physical counterparts will never be able to replicate such wonder, unless a lenticular cover is produced, the vinyl and CD artwork, which is usually embossed, is thoroughly pleasing as well.

Speaking of the Apple Music stream, it’s exceptional! Presented as an Apple Digital Master, it rocks and with plenty of headroom available, you’ll find yourself turning the volume up and rocking out throughout the entire 40-minute masterpiece, with zero fatigue. While I do not doubt that the physical counterparts would be on par with the stream, as they’re derived from the same remastering sessions, when a stream sounds this good it really does make one wonder if they should pick up a physical release. Regardless of how you choose to enjoy For Those About To Rock (We Salute You), one thing is for certain, you’re going to love it.

For Those About To Rock (We Salute You) is the quintessential slow-build opening track that sets the tone for the entire album. With its marching beat, killer riffs, and Brian Johnson’s soaring vocals, you’ll find yourself singing along to the catchy chorus while simultaneously rocking out to this blues-based masterpiece. 

Put The Finger On You is a straightforward rock 'n' roll track with a driving rhythm that captures AC/DC’s classic sound. It may not be a standout in the traditional sense, but Put The Finger On You is one of AC/DC’s hidden gems.

Let's Get It Up offers listeners a fluid transition from Put The Finger On You and keeps the momentum going with a catchy riff and infectious chorus. The lyrics, as most of their songs do, play on suggestive themes that are characteristic of AC/DC's cheeky style.

Inject The Venom, with its heavier edge, is a killer hard rock tune. It’s songs such as Inject The Venom that showcase not only the band’s incredible musicality, and Young’s skill on lead guitar, but that they are far greater than their biggest-selling albums.

Snowballed is a mid-tempo rocker with some memorable hooks and bluesy guitar licks, but it’s one of AC/DC’s most uninspiring songs.

Evil Walks has an incredible rhythm and a menacing riff that captures your soul from the very first note. Your body will move involuntarily to the groove, as you strum your air guitar, all while belting out the chorus as if playing on stage with Malcolm Young to one side and Cliff Williams to the other. Evil Walks is another of AC/DC’s greatest recordings that has rarely received the recognition it deserves. 

C.O.D. is a straightforward rocker with a catchy chorus, but don’t let that deter you for a run-of-the-mill tune for AC/DC would be a hit for any other band.

Breaking The Rules retains AC/DC’s trademark hard rock edge while being a little more melodic. The chorus is particularly infectious and showcases Johnson’s vocal range. It’s one of their songs, with Johnson on lead vocals, where you can understand the lyrics through his trademark growl, thereby making the song even more compelling than it otherwise would have been.

Night Of The Long Knives with its pounding rhythm and aggressive guitar riffs, stands out as one of the album's heaviest, and most enjoyable, moments. The song's dynamic shifts will keep you engaged throughout and while Night Of The Long Knives was never destined to be a stadium-filling tune, as an album-only track, it’s incredible.

Spellbound closes the album on a high note, despite the song being a more mellow and sonically sombre tune. It’s the rhythm, guitar hooks, and Johnson’s vocals that will capture your attention. It’s also the perfect closer as Spellbound doesn’t only compel you to listen to the album again, but if you choose to reflect on what you’ve just heard, you’ll sit in wonder at the masterful musical experience that is For Those About To Rock (We Salute You).

While For Those About To Rock (We Salute You) may not have achieved the same level of commercial success as its predecessor, it remains an exceptional release and is amongst AC/DC’s finest recordings. Full of memorable riffs, powerful vocals, and energetic performances, For Those About To Rock (We Salute You) is often overlooked which is a shame for had it not followed one of the biggest-selling albums of all time, it would have been more highly regarded. Nevertheless, this is one album that is a must-listen for fans of classic hard rock and AC/DC alike.

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Elton John – Caribou (Album Review)

Following an album like Goodbye Yellow Brick Road was always going to be a monumental challenge, yet John and the band created an impressively captivating and eclectic musical journey that showcases Elton John's distinct blend of pop, rock, and balladry.

Released in 1974, John’s eighth studio album, Caribou built on the success of his previous releases and continues to highlight the extraordinary writing skills of John and Bernie Taupin; for their ability to craft memorable songs and melodies knew few limits. Yes, it could be said that Caribou isn’t as strong as Goodbye Yellow Brick Road, but if we look at it on its own, Caribou is a masterpiece in its own right; provided, of course, that you ignore the bonus tracks from the 1995 CD remaster. Thankfully, I can choose not to include those songs in my digital library and I’m fortunate to own the 2017 vinyl reissue that is void of bonus material. It's a lovely reissue, particularly sonically as it sounds significantly better than the aforementioned digital remaster with a fuller and more immersive presentation. The album artwork, however, has been reproduced from a scanned source as you get the banding across the cover art that is common with such reproduction processes. The inner sleeve is better produced but could have been a little sharper as the text is easily readable, but the associated photographs are a tad soft. Nevertheless, when a record sounds this good, I’m not going to complain too much about the shortcuts taken with the sleeve designs.

As is common with these reviews, I like to share a version of the stream so that you can listen along while perusing the review. In this case, I’ve created a playlist of the core ten tracks from the album as I feel that’s the best way to experience it. However, if you’re interested in listening to all the bonus tracks, you can check out the complete version here. 

The Bitch Is Back is one of the greatest rock songs ever recorded. While John only ever dipped his toe into the hard rock musical spectrum, he could have gone even further for his rockers are just as memorable as his pop tunes and ballads. The song's infectious chorus and driving rhythm make it an instant attention-grabber and is, therefore, the perfect opener for Caribou.

Pinky is tonally beautiful and offers a slight change of pace, moving towards a more introspective and reflective sonic presentation that incorporates John’s signature piano-driven rock sound.

Grimsby has an addictively good rhythm. You’ll be toe-tapping and head-bopping from the very first note. Additionally, the unique tuning of the guitar riff, found throughout, is what can only be described as sonic perfection. I love it!

Dixie Lily is a classic album-only tune, with a touch of country, that would have been better suited for inclusion on Tumbleweed Connection as it feels a little out-of-place on Caribou. That said, after all these years, I can’t imagine Caribou without Dixie Lily. 

Solar Prestige A Gammon is a quirky experimental piece that showcases John’s willingness to explore different musical avenues. While it is unlikely to appeal to all music lovers, Solar Prestige A Gammon grows on you the more you listen to it. I, subsequently, consider it a hidden gem. 

You're So Static returns us to a more rock-oriented sound. With its energetic instrumentation and catchy chorus, You’re So Static is impossible to resist.

I've Seen The Saucers starts beautifully with a gorgeous beat and atmospheric sound. John’s vocal is somewhat Jazz-inspired and as the song continues its linear flow, it builds into a solid pop/rock tune that is worthy of inclusion on the album. That said, if this song had a little more spit and polish applied, it could have been a massive hit. The result is that there is a masterpiece hidden, just below the surface, that will forever remain concealed. Although, I will say that some of the concealed elements become more apparent on the masterful vinyl reissue. 

Stinker leans into a bluesy rock vibe, delivering a gritty and raw musical experience. It’s a fantastic album-only tune and another of John’s many hidden gems.

Don't Let The Sun Go Down On Me is simply fantastic and is, arguably, the standout song from Caribou. It’s an emotionally charged ballad and one of John’s greatest vocal recordings. The result is that Don't Let The Sun Go Down On Me is an unforgettable masterpiece.

Ticking is another of those hidden gems I’m so fond of. There’s nothing wrong with the core fan-favourite tunes, of course, but John has such diversity in his back catalogue, with so many memorable recordings, that every time I listen to his classic albums, there’s a level of musical freshness to be experienced. That aside, Ticking is a beautiful song that allows for contemplation of the album you’ve just heard while simultaneously compelling you to play Caribou again. 

Overall, Caribou showcases John's versatility as the music effortlessly shifts between various styles while maintaining his distinctive flair. The album's diverse range of tracks ensures that there's something for everyone; whether it's energetic rock anthems or heartfelt ballads. While some tracks may stand out more than others, the album as a whole is one of the greatest releases of the 70s and is another snapshot of brilliance from John’s impressive classic era.

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