Billy Idol – Rebel Yell (Album Review)

Released in 1983, Rebel Yell is the second solo studio album from Billy Idol and not only bests his solo debut release but further solidifies his status as a prominent figure in the 1980s rock and new wave scene. With its dynamic blend of punk energy, new wave aesthetics, and anthemic hard and pop rock, Rebel Yell remains a classic in Idol's discography and is one of the greatest albums of not only the 80s, but of all time.

One of the key aspects that makes Rebel Yell so compelling is the top-notch production. Keith Forsey did a wonderful job in producing Idol by ensuring he skillfully brought out even more raw intensity and focus from not only Idol himself, but the entire band. Add to that Idol’s signature snarl, Steve Stevens’ electrifying guitar riffs, and a selection of killer songs and there’s little doubt as to why Rebel Yell is amongst Idol’s greatest musical achievements.

As you listen to the album, you’ll be pleasantly surprised for it features a series of well-crafted upbeat rockers with the occasional introspective mellower tune that ensures the album is anything but dull. Without a B-side to be found, unlike Idol’s 1982 self-titled release, Rebel Yell is akin to a single performance that is best heard via Apple’s Digital Master for the previous CD releases simply didn’t have the same presence as the lossless streaming counterpart. There’s a tonal warmth and fullness present on the stream that is lacking from the somewhat more clinical Expanded Edition CD release. Yes, the dynamic range was technically greater on the 1999 CD reissue and the album has since been compressed a little more for the latest streaming releases, but they simply sound right. It’s as if the music needed to be a little more dynamically compressed in order to get an additional oomph out of the recording. As to whether or not that style of mastering appeals to you, I find from my subjective perspective that I much prefer the bolder sound signature of the stream and I don’t feel that we lose any of the detail, spacial separation between musical elements, or soundstage as a result.

The stream is so impressive that I’d argue that it’s a fool’s errand to seek out any other copy. No, we can’t rely on streaming being there indefinitely, or that particular master never changing again to something a little less compelling. Hence, with that in mind, I’d be seeking out any physical release post-2017 as they should all have this new mastering. Of course, you can always purchase this particular release on iTunes or Qobuz if you prefer digital ownership. Just a quick note regarding the digital edition available via Qobuz – Flesh For Fantasy is listed as being the 1999 remaster. Perhaps it’s a typo, I’m not sure, but purists will likely find that information relevant. For everyone else, let’s take a look at the songs that make up this classic release.

Rebel Yell kicks the album off with a killer and distinctive guitar riff that sets the tone for the entire record. Idol's snarling vocals convey a rebellious attitude and the chorus is infectious but it's the song's anthemic quality and energetic rhythm that make this song a timeless classic.

Daytime Drama has a mid-tempo driving rhythm that merges well with Idol’s characteristic vocal swagger, resulting in a thoroughly enjoyable song that showcases Idol's confident, charismatic, and diverse vocal style.

Eyes Without A Face slows down the pace of the album magnificently. Yes, Idol is known for his rock numbers, but just like Alice Cooper, he’s got a softer side and a vocal presentation that, when delivering ballads, is nothing short of world-class. The haunting dreamy nature of the musical backdrop is similarly exquisite, but that guitar riff mid-song, and Idol’s intertwining rap, really showcase his versatility.

Blue Highway returns the album to a more upbeat tempo, featuring a driving rhythm and catchy hooks. Stevens’ guitar work, once again, shines and I dare say he’s one of the most underrated guitarists in music history for his licks are second to none.

Flesh For Fantasy is one of the album’s highlights, but there are so many that that could be said about any of the nine tracks featured on this landmark release. Nevertheless, the song's sensual and seductive undertones, along with Idol’s magnificent vocal performance, are amplified by Stevens' sultry guitar riffs, thereby making it one of Idol’s most memorable tunes.

Catch My Fall is a mid-tempo song with a compelling combination of musical elements. That said, if there was a low point on the album, Catch My Fall would likely be it as there are times when I feel that Mars Williams’ performance on the saxophone isn’t suited to the song and that the chorus is a little run-of-the-mill. Perhaps it’s just a simple case that the other songs are so incredible, but Catch My Fall hasn’t aged well. That said, there are times when I thoroughly appreciate this tune so I have a classic love/hate relationship with this song.

Crank Call sounds as if it were taken from, or written for, a television show from the era; particularly the introduction. Nevertheless, once my mind gets past that aspect, I can’t help but rock out to this killer tune.

(Do Not) Stand In The Shadows has an upbeat and energetic sound with an infectious rhythm and catchy chorus. Yes, this is most certainly a song of the era, but it hasn’t aged and is just as exciting as when it was first released.

The Dead Next Door has a beautiful opening that in some respects reminds me a little of U2. Each time it comes on it signifies the end of an exceptional album and is the type of song that permits reflection as well as compelling me to spin the record again.

Capturing the spirit of the 80s with its bold and rebellious attitude, Rebel Yell is a timeless classic that blends various musical elements, from punk and new wave to rock and ballads thereby creating a cohesive and memorable listening experience. Idol's charismatic persona, coupled with the album's exceptional production and Steve Stevens’ magnificent guitar riffs, ensure Rebel Yell is a must-listen for fans of 80s rock and remains a testament to Idol's enduring influence within the music industry.

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AC/DC – Flick Of The Switch (Album Review)

Flick Of The Switch is an interesting release for it was most certainly overshadowed by the mammoth success of Back In Black and to a lesser extent, For Those About To Rock (We Salute You) but despite leaning into the band’s signature blend of hard-hitting riffs, catchy melodies, and tongue-in-cheek lyrics, what we have is a thoroughly enjoyable selection of songs but not a perfect album experience. 

In some respects, Flick Of The Switch could almost be seen as a collection of songs that were cut from the aforementioned releases. It isn’t, after all, uncommon for a band to write more than they require for a given release, only to work on those songs at a later date and release them on a future album. That is, after all, how Rock Or Bust and POWER UP were conceived. To my knowledge, however, that wasn’t the case here. What is acknowledgeable is the stylistic shift towards rawer production values, similar to those heard on the Bon Scott era AC/DC albums. 

It well could be the more straightforward, no-frills sound that limits the overall flow of the album experience; particularly if listening to their discography in chronological order. That said, Flick Of The Switch features numerous killer tunes and while I have ranked it as 12th in AC/DC’s discography, it remains one of the best releases from 1983 and is only ranked so low because AC/DC’s greater discography is impressive, to say the least. I do, however, stand by my statement, in the ranked list, that the album doesn’t have a memorable quality. If you were to quiz me on specific songs, from this release, I’m not sure I’d be able to answer correctly, despite thoroughly enjoying the songs when I play the album. I don’t want to suggest that this record is best listened to in the background, but there’s nothing offensive regarding the song selection, there just isn’t a chart-topping hit to speak of.

Rather than working again with Robert John “Mutt” Lange, AC/DC decided to self-produce this release and that significantly contributed to the overall style of the record for Lange’s production focus was bold and dynamic with a focus on chart-topping stadium-filling hits. While we can ponder what Flick Of The Switch may have been with Lange in the production chair, it wasn’t to be and if we’re to endorse artistic intent, then fans have to be content to acknowledge that while Flick Of The Switch may lack focus, and the bold production values of Lange-produced albums, it is ultimately what the Young brothers were aiming to achieve. 

None of that, however, limits us from rocking out to this release, although the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is a little underwhelming in places. Perhaps it’s the way the album was recorded and mixed, but there’s a sense of the music being concealed slightly as well as some annoying cymbal crunching. As the album was remastered in 2003, and the stream is the direct counterpart, it very well could have been a result of the 2003 remastering process that significantly reduced the dynamic range of the recording. 

Other than that, the stream sounds good and you’ll find it easy to appreciate Angus Young's blistering guitar solos and Malcolm Young's rhythm guitar providing the backbone of the album, driving each song with relentless intensity. Brian Johnson's raspy vocals soar above the instrumentation, delivering gritty and impassioned performances throughout, while Cliff Williams' solid bass lines and Phil Rudd's powerhouse drumming anchor the rhythm section, adding depth and groove to the entire album.

Rising Power kicks the album off with a magnificent guitar riff that, when combined with the rhythm, creates an energetic track with some thunderous drumming from Phil Rudd and driving basslines from Cliff Williams. Brian Johnson's gritty vocals complement the lively instrumentation, but the bridge and chorus, with the backing vocals, are a distractive element in an otherwise perfect tune. 

This House Is On Fire maintains the album's high energy with a relentless rhythm and infectious guitar hooks. The lyrics convey a sense of urgency that matches the intensity of the music and in many respects, This House Is On Fire is so close to an anthemic sing-along tune that it, with a little more spit and polish, could have been a standout track. 

Flick Of The Switch is a fierce and unapologetic anthem that captures the essence of AC/DC's raw, no-frills sound. It’s, subsequently, the perfect title track. Again, it is only let down by the rawer production. 

Nervous Shakedown introduces a mid-tempo groove with a killer guitar riff that would have been perfectly suited to Stiff Upper Lip. Johnson's vocals take on a smoother more melodic tone, adding a dynamic contrast to the album, but it’s the catchy chorus and addictively good hooks that make Nervous Breakdown, arguably, one of the best songs from the record.

Landslide opens with some lovely noodling on the guitar that builds momentum with its driving rhythm, and Johnson’s raw vocal delivery. Landslide is a solid album-only tune, but it is unlikely to be anyone’s favourite song and is largely unforgettable. That said, every time it comes on when I play the album, I thoroughly enjoy it. 

Guns For Hire, much like Nervous Shakedown, is one of the standout tracks on the album. It's a high-octane rocker with a relentless groove that, when coupled with Angus Young's electrifying guitar solos and Johnson’s soaring vocal performance, creates an impressive listening experience.

Deep In The Hole is another of AC/DC’s incredible bluesy numbers that showcase not only their versatility but penchant for songs with a swaggering vibe.

Bedlam In Belgium with its upbeat tempo and catchy rhythm is an engaging listen but it’s unlikely that you’ll seek this song out, outside of the album’s linear structure as it simply isn’t a standout. 

Badlands maintains the album's momentum with a driving beat, catchy guitar riffs, and a dose of the blues. The track's straightforward structure and memorable hooks contribute to its overall appeal but Johnson’s vocals sound a little strained. Nevertheless, Badlands is a killer tune that reminds me fondly of ZZ Top as it would have been perfectly suited to the trio. 

Brain Shake is grossly underproduced and the cymbal crunching drives me insane each time I hear it. It’s a shame because it’s an adequate closing track otherwise. Yes, I believe Badlands would have been a stronger closer, one that would ultimately encourage the spinning of the album again, but that wasn’t to be.

Flick Of The Switch may not have achieved the same commercial success as its predecessors, but it remains a solid entry in AC/DC's discography. Its raw sound, and infectious energy, capture the essence of the band, even if the production on this release is a let-down. Nevertheless, Flick Of The Switch continues to resonate with audiences decades after its release and is one of the best albums released in 1983 and would likely have ranked higher within AC/DC’s discography had they not had so many other exceptional albums both prior and after this album’s release. 

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Stevie Wonder – Songs In The Key of Life (Album Review)

Songs In The Key Of Life is one of those unique album experiences that comes along once in a generation. Billed as a double album, part of the uniqueness of this release was that it originally shipped with a bonus EP called A Something's Extra that included the four final tracks that you’ll find on all digital counterparts. While this additional element could be seen as unnecessary to the core album experience, I couldn’t imagine Songs In The Key Of Life sans these bonus tracks as some of them are representative of Stevie Wonder’s most creative output. Granted, in the modern era, bonus tracks are nothing special but we must remember that we’re talking about 1976; a year when the vinyl record reigned supreme and rather than have a third full-size record, with nothing pressed on the sixth side, the additional 7-inch record seems to be the perfect compromise between maintaining artistic vision and the vinyl record’s limited runtime. 

Even with such an abundance of music, as incredible as it is, Songs In The Key Of Life can, at times, be a little too long; particularly if you wish to listen to the album in its entirety. Of course, that is part of the appeal for it is an audible journey that needs to be experienced in its intended sequencing, at least once, as you’ll be amazed at just how fluid and spectacular this release is. Yes, it ebbs and flows throughout, and some songs may touch your soul more than others, but as an album experience, there really isn’t a bad song to be heard. Yes, there is the occasional extraneous moment, but if we believe in artistic license, then these aspects must remain unaltered, unchallenged, and ultimately appreciated.

As it pertains to the sonic presentation of this release, Songs In The Key Of Life was masterfully mixed and recorded with kid gloves, yet all releases should not be considered equal. I was flawed by the sonic reproduction on the High Fidelity Pure Audio (HFPA) Blu-ray release as the DTS-HD Master Audio lossless codec added a sense of presence that had always been absent from the CD counterpart. The presentation is fuller and more three-dimensional in its soundstage (despite being only delivered in stereo). Most importantly, however, the clarity of the Blu-ray release wasn’t as bright as the CD editions, thereby eliminating listener fatigue. Correcting these previous flaws makes for a thoroughly enjoyable listen ensuring that you still get the sparkle in the top end but it's never so prominent that it overpowers the mid or low-range aspects of the recording. 

Turning our attention to streaming and we have a Hi-Res Lossless Apple Music stream which is also an Apple Digital Master. While it is anything but shrill, sharing the reserved nature of the Blu-ray release, it’s also not quite as dynamic while also sounding a little concealed by comparison. That said, if you’ve never heard any other edition of the album, then the Apple Music stream will likely offer you a perfect facsimile. However, if you are looking to go that additional mile, the Apple Music stream may not be the best choice as songs that are meant to pop, such as As, are ultimately a little too relaxed. Interestingly, Qobuz has a different master, and it’s incredibly similar to that heard on the Blu-ray release, hence it may be the direct counterpart minus the physical container; an important aspect seeing as the Blu-ray release has been out-of-print for a considerable time. 

While it’s clear that I prefer the Blu-ray release, for it encourages my body to move involuntarily to the music, I just don’t feel the Apple Music stream is connecting with my soul. That doesn’t mean the Apple Music stream isn’t enjoyable to listen to, but it subjectively isn’t the perfect release of this classic album.

While mastering always plays a role in the appreciation of music, whether you pay attention to that aspect or not, Songs In The Key Of Life is really all about the music and as you listen you’ll come across a collection of songs that can best be described as a kaleidoscope of musical genres. Wonder effortlessly weaves through jazz, R&B, funk, and even classical elements with each tune being a testament to his versatility and mastery across various musical styles. Yes, the album is synthesiser-heavy, but Wonder’s inclusion of groundbreaking technology, at the time, was used to enhance the music rather than being implemented simply because it was available. The result of this refrain was that Songs In The Key Of Life is timeless and there’s little doubt as to why this 1976 record remains Wonder’s most celebrated release. 

Of course, the sonic aspects of the album would be for nil had Wonder’s songwriting not been up to snuff, but in Songs In The Key Of Life we find a lyrical approach that is nothing short of poetic genius. The storytelling is vivid and emotionally resonant, painting a rich tapestry of the human experience while simultaneously addressing social and political issues. 

Love's In Need Of Love Today opens the album with a beautiful vocal harmony before launching into a soulful ballad that, in many ways, sets the tone for the journey ahead. It, as so many of the songs from this album are, is masterful and is amongst the greatest tunes Wonder ever recorded. 

Have A Talk With God is a spiritual and introspective track that blends soul, jazz, and gospel elements. Wonder's vocals are accompanied by a celestial choir, creating a transcendent atmosphere that is extremely compelling. 

Village Ghetto Land is a socially conscious piece that uses orchestral arrangements to paint a vivid picture of urban struggles. The juxtaposition of classical elements with Wonder's soulful delivery adds a powerful dimension that is difficult to ignore. While it may not be a standout song, and would have never been considered for release as a single, it’s the quintessential album-only tune that is perfectly suited to the overall style of the record. 

Contusion is an instrumental jazz-fusion piece showcasing Wonder's prowess as a multi-instrumentalist and genre-bending artist. Featuring intricate melodies and a dynamic interplay between all musical elements, Contusion is an exceptional work of audible art that had it been released by one of the jazz greats, would have become a renowned jazz standard.

Sir Duke is simply magnificent with an introduction that Duke Ellington would have been proud of for Sir Duke was a tribute to the jazz legend. While the entire song is spectacular, the infectious horn arrangement and upbeat rhythm ensure Sir Duke remains a timeless classic.

I Wish is a funky, upbeat, energetic number that captures the essence of the funk and soul music throughout the 70s.

Knocks Me Off My Feet is a soulful and romantic ballad that showcases Wonder's vulnerability and emotional depth. The tender lyrics and melodic arrangement make it a standout and it's one of the best songs from the album.

Pastime Paradise is musically incredible. That instrumental styling, along with the lyrical delivery, stays with you well after the song has ended. Most modern music lovers will likely be familiar with Coolio’s reworked interpretation of the song as Gangsta’s Paradise from his 1995 album, Gangsta’s Paradise; an interpretation that I dare say is spectacular and better than this original. Nevertheless, the core Stevie Wonder tune has a haunting quality that, when combined with the choir element, represents some of the greatest music ever released.

Summer Soft, by contrast, is more mellow but flows seamlessly from Pastime Paradise. Summer Soft, however, isn’t a standout, but as another album-only tune, it’s simply incredible as it ensures the flow of the album is maintained. 

Ordinary Pain is a lovely mellow ballad, until it picks up the tempo midway through, which delves into the complexities of love and heartbreak. Wonder's emotive vocals, and the soulful arrangement, contribute to the emotional impact of the song, but it’s the mix that I find myself continually drawn to for the backing vocals are perfectly positioned in the mix and never detract from Wonder’s vocals or the musical bed. If Ordinary Pain isn’t a textbook example of a good mix in audio engineering circles, I’m not sure what would be.

Isn't She Lovely is a joyous celebration of the birth of Wonder’s daughter, Aisha who also happens to appear on the track as she’s the baby crying at the beginning of the song and the young child featured towards the end. It’s a fitting tribute to his daughter and while I would love to have a version sans these child elements, simply because I feel they detract from the core song a little too much, the song wouldn’t be the same if it were edited in such a way. 

Joy Inside My Tears is a contemplative and soulful ballad that explores the theme of finding joy amid life's challenges. The emotional depth of Wonder's vocals and the intricate arrangement make it a standout tune.

Black Man is a socially and politically charged track that addresses issues of racial identity and pride. The powerful lyrics and dynamic musical arrangement contribute to its impact as a statement on social justice. That said, it’s difficult to dance to so while it resides in a lyrically important place within music history, had it not been so lyrically powerful, it likely would have fallen flat. 

Ngiculela-Es Una Historia-I Am Singing blends Latin and African rhythms with Wonder's signature sound. The multilingual lyrics convey a message of love and unity and while most English language speakers would be unaware of the specific words sung, that doesn’t alter the fact that this song is thoroughly enjoyable.

If It's Magic is a delicate and enchanting ballad with a simple arrangement that highlights the timeless beauty of the harp and Wonder’s soulful tones. 

As is one of Stevie Wonder’s greatest songs. The rhythmic tempo, perfectly cemented in the 70s, is timeless and connects with your soul. The sweeping musical arrangements and heartfelt lyrics provide the backbone to a song that continues to build to its climactic and triumphant conclusion, showcasing Wonder's musical prowess. 

Another Star is a dynamic and energetic fusion of Latin, funk, and jazz influences. As another of Wonder’s extended musical journeys, there is little doubt regarding his skill as a musician for he’s able to capture your attention and hold on to it, whilst simultaneously ensuring that you’ll want to listen to the music time and time again.

Saturn is a cosmic and experimental track where the use of synthesisers and atmospheric sounds contribute to its otherworldly quality. It’s the first of the EP songs to be included on the album, and while I’m normally not a fan of bonus material, Saturn is magical and fluidly continues the brilliance that has already been present throughout the album thus far.

Ebony Eyes is amazing, brilliant, sensational…you get the idea. Flowing perfectly from the closing moments of Saturn, the rhythm reaches into your soul and ensures that your body will move involuntarily to the beat. It is, arguably, the best song from Songs In The Key Of Life and is severely overlooked. 

All Day Sucker has a lively rhythm and playful lyrics that further showcase Wonder's ability to create infectious grooves with not only his music but also his lyrical delivery. 

Easy Goin' Evening (My Mama's Call) was an interesting choice as the closing tune. It’s reflective, yes, but its tempo is so different to the previous three tracks that it feels like it would have been better suited in another sequenced position within the album with the energy of All Day Sucker closing out the collection of songs. Nevertheless, it’s a lovely album-only tune and while I always feel compelled to listen to the album again, following this song, I also find myself more than satisfied to move on to the next record in my library as the length of Songs In The Key Of Life can be a little too long. While there’s no such thing as too much Stevie Wonder, this classic album puts that statement to the test and sometimes it is best to appreciate the album and come back to it at a later date rather than to immediately repeat the journey.  

Overall, Songs In The Key Of Life stands as Stevie Wonder's crowning achievement and is a landmark release in the landscape of popular music that continues to resonate with audiences worldwide. It’s a breathtaking musical odyssey that spans a myriad of genres, showcasing Wonder's unparalleled musical skill, innovative production, and profound lyricism. It, ultimately, is nothing short of a masterpiece! 

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The Rolling Stones – Black And Blue (Album Review)

By 1976, The Rolling Stones were already synonymous with rock ’n’ roll. Leaning even further into their blues-based rock styling, The Stones would also add influences from funk and reggae music, thereby showing their willingness to experiment with various styles. This adaptability has, arguably, been a core reason for their success throughout the decades, but it logically isn’t the only reason for the Stones’ continued relevance within the music industry.

Part of the shifting style can be attributed to Mick Taylor’s departure and the need to find a replacement guitarist. Black And Blue’s uniqueness, as a result, is that it became a testing ground for several very talented guitarists prior to the Stones bringing Ronnie Wood into the fold. Yes, Wood’s inclusion would forever change the direction of the Stones, but before that transition took place, the songs that Wood would play guitar on included Cherry On Baby, Hey Negrita, and Crazy Mama. He also appeared as a backing vocalist throughout the record, but the Stones also worked with guitarists Harvey Mandel (Hot Stuff and Memory Motel) and Wayne Perkins (Hand Of Fate, Fool To Cry, and Memory Motel); each to much success. The result of these varied collaborations is that Black And Blue is not only a standout within the Stones’ extensive discography, but is an eclectic mix of songs that make it one of the most compelling releases of all time. 

While there is no doubt as to The Rolling Stones' musical talent, Black And Blue is also notable as being self-produced by Mick Jagger and Keith Richards under the pseudonym The Glimmer Twins. Yes, it wasn’t the first time the Stones would self-produce themselves, but it’s their most impressive self-produced album. Naturally, that is a subjective opinion, but as you listen to the album, consider the strengths of the songs and the way they flow haphazardly throughout as the album’s sequencing shouldn’t work, yet it grows on you the more you listen to the record. 

Speaking of the listening process, while I was fortunate to have owned, for a period of time, the Studio Albums Vinyl Collection 1971-2016, I can say that while the half-speed master of Black And Blue was lovely, and I also didn’t mind the 2009 CD reissue, but the 2009 lossless remaster from Apple Music is in every way the physical counterparts’ ideal peer. Granted, the vinyl re-issue may have had a little more of a rounded sound, due to the format’s mastering requirements, but what’s telling is that every time I listen to Black And Blue, via the stream, I’m not missing the physical releases that I once owned. That may be blasphemy to some, but as the Apple Music release is also an Apple Digital Master, I find them to be incredibly enjoyable to listen to and in some cases, such as this, they match or exceed the physical counterpart. The takeaway is that regardless of how you choose to listen to this classic album, you’ll have a thoroughly enjoyable musical experience.

Hot Stuff kicks the album off with a disco/funk feel that makes you question if you’re really listening to a Rolling Stones album. Well, you are, and that genre-bending approach works exceedingly well; particularly as it embraced the musical trends of the 70s. No doubt, fans will forever be torn regarding Hot Stuff as it was quite the departure from their traditional blues-rock roots, but the guitar soloing throughout ensures that elements of their core styling remained intact. Perhaps the only criticism that can be directed at the song is that it’s a tad long and is, subsequently, a little repetitive.

Hand Of Fate brings the Stones back to their bluesy roots with a gritty and powerful sound. Keith Richards' signature guitar riffs propel the track forward, while Jagger's lyrics paint a vivid picture as the song's raw energy and relentless pace make it a standout blues-rock anthem.

Cherry Oh Baby shifts the sonic direction of the album, yet it’s extremely compelling and the detour into reggae demonstrates the Stones’ ability, and willingness, to experiment with different influences. If nothing else, Cherry Oh Baby adds an eclectic mix to an album that can’t easily be pigeonholed.

Memory Motel is one of the album’s highlights and is one of the greatest ballads ever recorded, by anyone. As the narrative and musical bed slowly unfold, you’ll be swept away by Memory Motel as it’s simply unforgettable. 

Hey Negrita was always going to be a tough sell following the smoothness of Memory Motel, but by the time Jagger’s lyrics enter the mix, the upbeat nature of the song transitions the mind to this solid album-only tune; one that is a little overproduced and would, arguably, have been more appealing had it been exclusively a rock-only tune.

Melody, with a touch of blues and jazz influences, again shifts the tone of the album but it works so well that you likely won't skip a beat when Melody comes on. It’s also a song that I dare say Charlie Watts would have thoroughly enjoyed recording; due in part to his love of jazz music.

Fool To Cry is another of the Stones’ incredible ballads and is a perfect companion to Memory Motel. There’s no doubt in my mind that Fool To Cry and Memory Motel are core reasons why Black And Blue remains a standout release amongst the Stones’ incredible discography. 

Crazy Mama closes the album on an energetic note with a blues-infused rock number that has some killer riffs, a thoroughly enjoyable overall rhythm, and dynamic vocals that, when combined, become a fitting conclusion to the diverse musical journey of Black And Blue.

No matter how you view Black And Blue, it stands as a testament to the band's enduring musical legacy. With a dynamic fusion of blues, funk, and rock, each track unveils a different facet of their versatile sound, yet there isn’t a bad song to be heard. Black And Blue, subsequently, remains a must-listen, showcasing the Stones' ability to adapt and experiment while maintaining their timeless rock essence and status as true pioneers within the music industry.

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The Jacksons – The Jacksons (Self-Titled) [Album Review]

Released in 1976, The Jacksons’ self-titled release marked a significant turning point in the musical journey of the iconic Jackson family. Formerly known as the Jackson 5, the group changed their name to The Jacksons after leaving Motown Records in search of greater creative freedom. This self-titled album not only showcased the group's evolution but also hinted at the individual talents of each Jackson sibling. 

Speaking of The Jacksons’ evolution, they would embrace a more mature and sophisticated musical style, incorporating elements of funk, disco, and soul. Helping them on this journey was the esteemed American songwriting and production team of Kenneth Gamble and Leon Huff whose main focus, meticulous arrangements, and polished sound demonstrated their commitment to excellence and The Jacksons’ evolving musical style.

Of course, all the production and songwriting prowess would be for nil had The Jacksons not been incredibly talented and while their music immediately resonates with your soul, the impressive vocal capabilities of each sibling are to be celebrated. Michael's lead vocals, as always, are charismatic and soulful, while the harmonies and additional lead vocals, shared by Marlon, Tito, Jackie, and Randy demonstrate the group's tight-knit musicality. It’s also imperative to note that The Jacksons was the first album to include their own material, as they were not given such creative freedoms while being signed to Motown. The songs to look out for are Blues Away (Michael Jackson’s very first published song) and Style Of Life; both exceptional and world-class musical achievements.

While I had been fortunate to have owned the 2018 vinyl reissue, I recently needed to sell a portion of my collection and this reissue was sadly one of those that I had to say goodbye to. Nevertheless, I look forward to the day when I can repurchase it because the pressing was simply magnificent. One may, therefore, assume that the lossless Apple Music stream is a letdown but it is anything but as the Apple Digital Master is exquisite. 

Right or wrong, and frustrating nonetheless, The Jacksons’ back catalogue was remastered and expanded in 2021 but was only ever released to digital platforms. Given that remasters can be hit or miss, the lack of a physical release may not be an issue for those of you who are fortunate to own previous releases, but in this instance, the Jacksons’ back catalogue has never sounded so good, on any digital format, as it does via the stream. For those interested in the fine details, no specific information has been issued regarding the remastering process of the albums, but all you need to do is load up your preferred streaming platform and give them a listen for I dare say you’ll be pleasantly surprised with not only the smoothness of the reproduction, but the detail and fullness across the entire soundstage that will immerse you in this classic recording.

Enjoy Yourself, The Jacksons first single following their departure from Motown, rocketed to the top of the charts with Michael and Jackie sharing lead vocals on this disco-funk tune. It’s a great opening song with an infectious energy that ultimately sets the tone for the album; particularly the upbeat numbers. 

Think Happy is a feel-good track with an optimistic and uplifting message; one that we should all appreciate from time to time in our modern complex, and not always happy, lives. That said, if you're not in a contented mood, it can be an incredibly annoying tune. Nevertheless, as I write this my mood is high so I have a smile from ear to ear and I genuinely hope you do as well for it’s a solid album-only tune from The Jacksons. 

Good Times slows the tempo down for this dynamically arranged vocal-focused number. It’s a beautiful song and while it’s most certainly cemented in the 70s, with that musical arrangement, it doesn’t sound as dated as it could have and I put that down to the incredible vocal performance by Michael and the harmonious perfection of his brothers. 

Keep On Dancing is a high-energy, danceable track that maintains the album's disco and funk influences. The repetitive and catchy chorus, coupled with a driving beat, reinforces the message of letting go and enjoying the moment while Michael's spirited vocals add an extra layer of excitement to the song. Keep On Dancing really should have been released as a single and it’s a shame that it has never received the recognition it deserved, for it’s an incredible tune that sounds as fresh today as it would have when the album was released.

Blues Away slows the tempo of the album with this soulful ballad. The vocal processing is interesting in that you’d think it would get fatiguing, but the mix is done so well, and the vocal distortion is only applied minimally, meaning that it is an enhancement rather than a distractive element. Of course, this was recorded well before autotune and Michael certainly didn’t need such a gimmick. That said, I’d love to know how they achieved the vibrating aspect on his vocal mix as it’s a key reason why Blues Away is one of my all-time favourite songs by The Jacksons. 

Show You The Way To Go is a sophisticated, elegant, and subsequently smooth ballad. The silky-smooth vocals, lush arrangement, and polished production elevate the song to timeless status even though it sounds of the era.

Living Together is a mid-tempo R&B tune with a killer groove and a social message conveying the importance of togetherness. It’s a great song and as with the majority of songs from the album, The Jacksons’ harmonies are what take this song to the next level. 

Strength Of One Man is a solid album-only tune that is thoroughly enjoyable with the brothers sharing lead vocal duties. Granted, Strength Of One Man sounds quite dated, but sometimes that is exactly what the soul expects and being set in the era from which it came is not the worst thing in the world. 

Dreamer is perhaps even more cemented in the 70s than Strength Of One Man, but it’s such a lovely song that I generally don’t reflect on that aspect. Michael’s vocal takes centre stage and the emotive lyrics, combined with a subdued arrangement, create a poignant atmosphere that is not only perfect for the song but works incredibly well for The Jacksons’ style.  

Style Of Life is a great mid-tempo closer that blends soul and R&B elements. The smooth vocals atop a laid-back groove contribute to the song’s depth and appeal, thereby making it ideal for contemplation once the album ends whilst simultaneously encouraging the playing of the record again. That all said, I do feel that the song ends somewhat prematurely. 

The Jacksons is a testament to the enduring talent of the Jackson family. It successfully captures the essence of the 70s music scene while showcasing the group's ability to evolve and adapt. With its memorable tracks and polished production, the album remains a crucial chapter in the musical legacy of The Jacksons and is amongst their greatest releases.

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Alice Cooper – Alice Cooper Goes to Hell (Album Review)

Alice Cooper, the undisputed master of theatrical rock, returned in 1976 with his second solo studio album Alice Cooper Goes To Hell. Following the success of its predecessor Welcome To My Nightmare, this album continued the narrative journey into the macabre and sinister realms of Cooper's imagination. While not as commercially successful as its predecessor, Alice Cooper Goes To Hell is far greater than that 1975 release and stands as a unique and ambitious chapter in Cooper's discography.

Cooper's vocals and witty lyrics draw you into the narrative and the musical arrangements are diverse, blending elements of hard rock, glam, and theatrical pop, along with rock ballads. Via this diversity, Cooper showcases his ability to seamlessly combine different genres while remaining true to himself. With an elaborate production, thanks to Bob Ezrin, Alice Cooper Goes To Hell is more than just an album, it’s a musical experience first and foremost; one that hardcore and casual fans alike shouldn’t turn away from as there are few peers to this incredible release; even from within Cooper’s own celebrated discography.

Visually striking, the album artwork draws you in in a similar manner as all of Cooper’s releases, but as impressive as it is, it would be for nil had the music and sonic presentation of the album been subpar. While not presented as an Apple Digital Master, Warner Records has ensured that Alice Cooper Goes To Hell sounds thoroughly enjoyable. It’s dynamic, immersive, and is probably about as pleasing as this album will ever sound via streaming. To my knowledge, there has never been a thorough remaster for Alice Cooper Goes To Hell and this is a good thing for I’m more than happy with the CD facsimile presented on Apple Music. That said, as a physical media fan, I do have to hunt down one of the respected copies from the Rocktober 2018 reissue series as the releases from that series that I already own are exceptional and take their respective albums to further levels of appreciation. Until then, however, the lossless Apple Music stream is perfect for this Alice Cooper fan.

Go To Hell launches the album with a catchiness that not only sets the tone for the entire record but is 100% Alice Cooper. The upbeat and energetic rock elements, with Cooper's signature theatrical vocals, ensure that Go To Hell is a masterful tune that sounds as fresh today as it would have when first released in the 70s. It’s nothing short of perfection and the closing third of the song, with instrumental elements galore, is a pleasure that must be heard firsthand in order to fully appreciate what an incredible tune this opener is. 

You Gotta Dance is a lively and danceable track with a glam-rock feel that was ideally suited to the era. The catchy rhythm and infectious energy make it a fun addition to the album. While this type of song may cause disagreement amongst fans, I consider it to be one of Cooper’s all-time greatest and I strongly believe that it should have been released as a single for it had the potential to dance its way to the top of the charts. 

I'm The Coolest slows the tempo a little with its swaggering rock vibe. The spoken word lyrical styling is perfectly suited to the musical bed, but it’s the egotistical nature of the lyrics, some very beautiful guitar licks, and the overall mix that ensures I’m The Coolest is amongst the coolest songs (pun intended) that Cooper has ever recorded. 

Didn't We Meet is a bluesy and soulful number that flows perfectly within the album’s sequencing. That said, as much as I adore Alice Cooper Goes To Hell, I have a love/hate relationship with the chorus. Yes, it works but there is some aspect of it that I don’t feel works well with the song’s structure or the overall musical approach to the record. Nevertheless, the album wouldn’t be the same sans Didn’t We Meet but it is, subsequently, a lull in an otherwise perfect album. 

I Never Cry is one of the greatest ballads of all time and is as spectacular as Only Women Bleed from Welcome To My Nightmare. The emotional depth of the lyrics, coupled with a melodic arrangement, ensure that you’ll want to play this tune on repeat for Cooper is, arguably, as good a vocalist on ballads as he is on his other rock-focused tunes, if not more so, for the shock rocker never fails to disappoint on slower numbers.

Give The Kid A Break returns the album to an upbeat tempo by injecting the album with a little rock and roll energy. While it’s an album-only tune, it’s a fantastic song that could have quite as easily come out of the 50s era, yet is perfectly suited to Cooper’s 70s styling. 

Guilty flows seamlessly from Give The Kid A Break and maintains the rock vibe with a catchy chorus and infectious guitar riffs. While not necessarily a standout, exceptional albums are the sum of their parts rather than possessing a killer song or two. It is this aspect that ensures many 70s releases, and most of Alice Cooper’s albums, are worthy of adding to one’s collection for even the filler material is exceptional. 

Wake Me Gently takes us on an atmospheric journey with dreamy instrumentation and ethereal vocals. The song adds a surreal and introspective element to the album and is another of Cooper’s remarkable ballads. 

Wish You Were Here has an eclectic nature to it; an aspect that continues throughout the entire song. It is rock and roll to its core, most certainly a 70s rock masterpiece, and is a song that will encourage you to get your air guitar out. While it would have never worked as a single, Wish You Were Here is amongst Cooper’s greatest recordings, particularly from a musical and mixing perspective for it will envelop you and there isn’t a single element that is unnecessary; despite its busy composition.

I'm Always Chasing Rainbows was an odd, yet perfect choice, for this well-known vaudeville tune is perfectly reinterpreted with Cooper’s theatrical intent that adds a darkness to the nostalgic melody, fitting seamlessly into the album's overarching theme.

Going Home flows seamlessly from I'm Always Chasing Rainbows and, the two, in some respects could have been a singular song. Despite that, Going Home is one of Cooper’s most beautiful songs with orchestral elements and a cinematic quality that will leave you with a sense of closure, contemplation, and compulsion to play the album again.

Each of the 11 songs from Alice Cooper Goes To Hell contributes to the album's narrative cohesiveness, showcasing Cooper's ability to experiment with various musical styles while maintaining a thematic thread throughout the theatrical journey. Granted, it’s Cooper’s trademark, but it is amongst his greatest releases and that’s saying something for with a career spanning six decades and a discography of 29 studio albums under the Alice Cooper banner, numerous records could share the top billing as his very best. Nevertheless, Alice Cooper Goes To Hell is a masterpiece and is not only one of the greatest Alice Cooper releases but one of the best albums ever released in all of recorded music history.

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America – Hideaway (Album Review)

Released in 1976, Hideaway is the sixth studio album by the American rock band America. While the music on this album would showcase further evolution within the band’s production style and songwriting, this evolving nature isn’t to the band’s detriment for on this release they took their acoustic-driven folk-rock style even further by adding higher production values and a fuller musical presentation. The result is one of the greatest rock albums of the 70s and one of the best releases in America’s illustrious career.

While the album artwork is mundane, it’s effective and is a perfect visual counterpart to the musical style of the album. Granted, the music surpasses the album cover in terms of quality, for there isn’t a dull song to be heard on the album, and while each fan will have their own preferred favourite America release, Hideaway is certainly mine; followed by Hat Trick and their self-titled debut, America. 

Speaking of the music contained within this classic release, Hideaway demonstrates America's ability to seamlessly blend different musical styles while staying rooted in their signature folk-rock sound. Incorporating elements of pop, soft rock, and a touch of country, Hideaway is one of those pleasurable listens that has a smooth well-balanced mix that allows each instrument and vocal harmony to shine. 

While America’s legacy is legendary, when you have a producer of the calibre of George Martin producing Hideaway, one of five studio albums that he would produce for the band, there’s little wonder as to why Hideaway is so exceptionally pleasing. For those really interested in geeking out, Geoff Emerick was also the engineer for this recording. With two of the core Beatles’ production team behind the scenes, there’s little doubt as to why Hideaway is such a compelling release. Of course, America had to have musical skill in the first place and the songwriting throughout delivers a strong set of compositions that are introspective and often contemplative, exploring themes of love, longing, and self-discovery. Overall, the songwriting maintains a poetic quality, complemented by the band's trademark harmonies, and this, along with the quality of production further validates the importance of every aspect in the creation of a timeless record.

As it pertains to the sonic presentation of the album, the Apple Music stream is exquisite. It may not be an Apple Digital Master, but Warner Music has ensured that the streaming counterpart is a lovely facsimile. Some may naturally prefer a physical copy and while they are readily available on the secondhand market, it’s good to know that Music On Vinyl reissued the album in 2022. While I have no experience with that particular release, I have found Music On Vinyl to be a respectable reissue label. 

Decades ago, I was fortunate to have owned the 1997 Australian reissue CD, under the EMI Legendary Masters reissue series, but it has been so long since I owned that edition that it's impossible for me to even comment on how it compares to the stream I now thoroughly enjoy. What I will say, however, is that if I only had the lossless Apple Music stream of Hideaway, I would be in seventh heaven and wouldn’t feel like I’m missing a thing; it’s that enjoyable!

Lovely Night opens the album with an upbeat and catchy tune that sets the tone for the musical journey ahead. The harmonies are tight, and the melody is infectious, but it’s the entire sonic presentation that ensures Lovely Night will remain with you long after the song and album have concluded as it’s earworm-inducing; the positive kind, of course!

Amber Cascades features a lush atmospheric arrangement that makes for a captivating listening experience that is one of the album's highlights.

Don't Let It Get You Down has a more upbeat tempo, combining electric guitars and keyboards, thereby showcasing America's diverse musical palette. The lyrics convey a message of resilience and encouragement, and the dynamic arrangement adds a sense of urgency to the track that is also the perfect pick-me-up for those moments in life when we feel a little down.

Can't You See is a beautiful acoustic-focused ballad with magnificent harmonies that will immediately touch your soul. It is the definition of a textbook perfect tune and is, arguably, not only one of the best songs America ever recorded, but it’s one of the greatest ballads of all time. It is somewhat disappointing that this tune was not released as a single for it had the potential to be a chart-topper. My only complaint, however, is that it is too short. Of course, if it had been longer, it may not be as appealing. Let’s just say that it’s purposefully minimal and appreciate it within that context.  

Watership Down is a beautifully mellow track with a contemplative atmosphere that adds a sereneness to the album. 

She's Beside You returns the album to a more upbeat vibe, but that classic almost doo-wop introduction is a little distracting as it limits the fluidity of the album’s sequencing. That said, the catchy chorus and infectious rhythm make it a memorable addition to the album.

Hideaway, Pt. I serves as the first part of a two-part instrumental interlude and is not only thoroughly enjoyable but is ideally positioned within the album’s structure; particularly as it’s the closing song on the first side of the vinyl record.

She's A Liar is a killer rock tune with the electric guitar taking centre stage on this bluesy number. It may be a run-of-the-mill rock number by many standards, but the mix and subsequent layering ensure that She’s A Liar is one of the best songs from Hideaway.

Letter is bass guitar heaven. That introduction is spectacular and as the song builds so does my appreciation for it as the stripped-down nature perfectly suits America’s styling. 

Today's The Day is a beautiful tune that rocketed to the top of the charts upon its release as a single. Despite being successful at the time, there are other songs from Hideaway that I feel would have been stronger singles had they been released. Of course, that is me looking at the music via a modern lens and if I reflect on the era, then Today’s The Day was a ideal single release. That said, this is a perfect example as to why this album is so revered here at Subjective Sounds, for it isn’t just the songs on their own that make an album experience, but the album’s sequencing that ensures the record is a standout release. 

Jet Boy Blue kicks things up a notch with twangy guitars and a driving rhythm. It’s nothing short of fantastic and is another favourite as it is not only perfectly suited to America but the variation in musical styles adds depth to the overall album experience. 

Who Loves You emphasises the band's vocal harmonies on this soulful and mellow track. It is, truly, one of their most beautiful compositions and if I wanted to introduce America to someone who had never heard them before, this is one of the tracks that I would share for it’s thoroughly pleasing.  

Hideaway, Pt. II serves as an instrumental closer and while I appreciate the intent, I would suggest that Who Loves You was a perfect way to close the album. Nevertheless, given that Hideaway was released in the vinyl era, the consistency of an instrumental number closing both Side A and B, of the vinyl release, makes logical sense and was a commonly used technique during the heyday of the vinyl record. 

Hideaway stands as a testament to the band's musical maturity and willingness to experiment with different sounds. The album's cohesive flow, coupled with strong songwriting and polished production, makes it a notable addition to America's discography and the 70s classic rock scene. While it may be cemented firmly in nostalgia, Hideaway perfectly encapsulates the saying that they don’t make music like this anymore.    

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