Art Garfunkel – Breakaway (Album Review)

Released in 1975, Breakaway, Art Garfunkel’s second solo release, showcases the artist's remarkable vocal prowess, emotive storytelling, and timeless appeal. While fans may have been hoping that a resolution would once again see the legendary duo of Simon & Garfunkel record and release another album, that wasn’t to be, but Breakaway does include the Simon & Garfunkel duet; My Little Town. That duet aside, we are blessed to have Breakaway; an album that can be best described as a classic record. 

While music lovers will declare that the music is the most important aspect, by the mid-70s, albums were primarily released on the vinyl format and Breakaway’s cover art would have looked exceptional, and would have stood out from the crowd, in any record store. It’s album covers such as this that make me wonder how many people would have purchased the record based on the artwork alone, without knowing or having heard the music at all. Nevertheless, the imagery is spectacular and there likely isn’t a straight man alive who wouldn’t have wanted to be vicariously ensconced between actresses Helena Kallianiotes and Laurie Bird. Unfortunately, by the time 1979 rolled around, Bird had taken her own life but her spirit continues to live on via Breakaway’s artwork. 

As it pertains to the sonic qualities of the release, the CD-quality lossless Apple Music stream is exquisite. While I don’t have access to another edition of this classic album, I can’t imagine seeking one out for the stream is more than anyone could expect as the soundstage is wide and enveloping and every musical element is perfectly positioned within the mix. Flawless, is one way to describe it, yet one can’t help but wonder how the album would sound quadraphonically. 

When released in 1975, quadraphonic vinyl and 8-track releases were issued alongside the stereo edition. While the quadraphonic mix was out-of-print for decades, a Hybrid Multichannel SACD was reissued in 2018 by Vocalion (under license from Sony Music Entertainment UK Limited) and was extremely well received by quadraphonic music aficionados. Due to the numerous glowing reviews, I wish that Sony Music would issue the quadraphonic mix to Apple Music for the streaming service supports Dolby Audio which can deliver up to 5.1 channel mixes. An Atmos mix need not apply, especially when the existing quadraphonic mix is already so well respected. 

While I understand that Sony Music may wish to hold onto certain editions, for a variety of reasons, I’m the type of music lover who would like to see the most compelling versions of an album released everywhere so that everyone can enjoy it. While the SACD release is not overly priced and is still available, not every fan will have access to an SACD player; particularly one that is capable of multichannel playback. Apple Music, however, has the potential to allow many more people to listen to, and enjoy, these multichannel mixes; even if in a semi-psuedio playback environment for those without extensive surround sound systems. 

As previously mentioned, the lossless CD-quality stream is thoroughly enjoyable and it is the music, after all, that is the most important aspect, not the delivery format. With that in mind, join me as we take a look at the songs that make up this incredible release. 

I Believe (When I Fall In Love It Will Be Forever) is a magnificent cover of Stevie Wonder’s original from his 1972 release Talking Book. As pleasurable as Wonder’s recording is, however, it pales in comparison to the masterpiece that Garfunkel has recorded. It isn’t just in the chosen vocal styling, but in the musicality, as Garfunkel’s interpretation is bolder, smoother, and more uplifting than the original. It’s a perfect opener that sets the tone for the music that is to follow. 

Rag Doll is a beautiful tune that’s perfectly suited to Garfunkel as it showcases his ability to infuse music with emotion and sincerity. Rag Doll is, subsequently, a timeless, and somewhat hidden, gem. 

Break Away is a stunning upbeat ballad that is worthy of being the album’s title track. The inclusion of David Crosby and Graham Nash, on backing vocals, particularly on this recording, enhances the song and creates a captivating atmosphere to go along with the pleasing musical backdrop. 

Disney Girls, a Beach Boys cover, is stunning! The original, however, is quite the song in its own right. It’s so good that, at times, I prefer the original. Let’s just say that it’s a killer tune and both The Beach Boys and Garfunkel performed it masterfully. 

Waters Of March is one of those songs that you’ve most likely heard on numerous occasions for it has a long legacy and many artists have recorded it. While it’s a perfectly adequate song for the album, and I wouldn’t like to see Breakaway sans Waters Of March, I’m not entirely convinced that it was worthy of Garfunkel, or that his interpretation added anything new to this classic tune. I, therefore, have a love/hate relationship with the song for it flows well within the album’s context, but it isn’t a song that I would seek out on its own. 

My Little Town, a collaboration with Paul Simon, was also released on Simon’s 1975 studio release; Still Crazy After All These Years. While we can lament the cessation of the duos’ collaboration, My Little Town is a lovely tune that harks back to a beloved era. No, it isn’t the strongest song that Simon & Garfunkel ever recorded, nor is it a standout, but it’s lovely nonetheless.  

I Only Have Eyes For You is another well-known tune for this soppy love song has been recorded and aired ad nauseam. Still, Garfunkel’s interpretation is lovely as his vocal control is utterly perfect and the lush, but tepid, orchestration provides a dreamy atmosphere that not only perfectly suits the song but also captures the essence of love and devotion.

Looking For The Right One is a Stephen Bishop composition that Bishop would later record beautifully and release on his 1978 studio album Bish. As for Garfunkel’s original recording, it too is stunning and is another example whereby either version can be thoroughly appreciated.

99 Miles From L.A. is a cover of Albert Hammond’s recording; also released in 1975. Hammond’s is a lovely interpretation, but it isn’t quite as fulfilling as Garfunkel’s rendition. Garfunkel’s musical bed is a little more recessed while his vocals were recorded with an ethereal echo. The result is a thoroughly more pleasing musical experience. 

The Same Old Tears On A New Background closes the album with a reflective ballad that continues to showcase Garfunkel’s emotive vocals. Add to that the beautiful instrumental backing and the amalgamation creates a poignant conclusion to the album's emotional journey; one which will encourage you to play the record again.

Breakaway, subsequently, stands as a timeless masterpiece showcasing Art Garfunkel's exceptional musical talent. With its captivating melodies, heartfelt lyrics, and impeccable craftsmanship, Breakaway continues to resonate with audiences decades after its initial release, solidifying Garfunkel's legacy as one of the preeminent voices in the history of recorded music.

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America – Hearts (Album Review)

Released in 1975, Hearts is a masterpiece of 1970s soft rock, showcasing America during their most prominent years. While it’s another impressive collaboration with George Martin, in the production chair, Hearts is most notable for seamlessly blending acoustic guitar-driven compositions with lush harmonies and subtle instrumental arrangements. The result is an album that, much like the rest of their 70s catalogue, is easy listening soft rock folk music that will appeal to just about any music lover. 

As previously mentioned, Martin’s contribution here, along with Geoff Emerick's engineering of the album, ensured that the production quality of Hearts was top-notch, with each instrument and vocal harmonisation meticulously arranged to create a cohesive and immersive listening experience. Hearts, subsequently, has a timeless appeal and while not presented as an Apple Digital Master, sounds lovely via Apple Music. It is, of course, up to Warner Records as to which edition of an album is delivered to Apple Music, but one would expect more with Apple Music not only supporting Hi-Res Lossless delivery but also Spacial Audio; particularly as Hearts had been released in the 70s as a quadraphonic edition alongside the stereo release.

Given the classic album status of this record, Warner may wish to keep additional versions in the archives for anniversary releases on physical media. However, one can’t help but wonder if this isn’t a missed opportunity for a Dolby Atmos mix need not apply as Apple Music fully supports Dolby Audio; a legacy surround format that can deliver up to 5.1 channel mixes via the streaming service.  

Given Hearts has been reissued for the audiophile fans amongst us, higher-quality versions of this album do exist. That said, some of these releases are now out-of-print and command significant prices on the secondhand market. Interestingly, however, Qobuz has a Hi-Res Lossless 24-bit / 192 kHz edition of the album available to stream or purchase so if attaining the highest quality reproduction is the most important aspect to you, you may wish to check out that version. As to why Apple doesn’t have access to the same version as Qobuz, I’ve no idea. It is yet another minor quizzical frustration that streaming-focused music lovers must contend with. 

Turning our attention back to the Apple Music stream and what you get is a CD facsimile that reproduces the album’s analogue-era warmth and fullness with lovely separation between instruments and a pleasurable stereo soundstage. While I’ve no doubt there are advantages to the other, aforementioned, releases, the stream is so lovely that I question if I need to seek out other editions. At any rate, it’s all about the music, so join me as I take a look at the songs that make up this incredible mid-70s release. 

Daisy Jane sets the tone for the album with its gentle acoustic guitar intro and soft melodic vocals. It’s one of America’s most beautiful ballads and the song's catchy chorus and lush harmonies ensure that it’s not only a standout from the album, but is amongst the greatest songs that America ever recorded.

Half A Man shifts the tempo slightly and while the initial shift presents a jolt to the senses, you quickly meld into the soft rock elements that are, in some ways, reminiscent of Alice Cooper; particularly in his solo ballad-styled 70s and 80s recordings. Whether or not Half A Man is an exceptional song will be determined by your subjective tastes, but it’s ideal for the era in which it was released as the upbeat horn delivery and backing vocals pigeonhole it perfectly to the sounds that were prominent during the mid-70s. 

Midnight is captivating with its dreamlike haunting melody and atmospheric instrumentation. The vocal harmonies are stunning and when merged with the musical bed, it makes for a standout tune that’s a hidden gem of, not only, America’s back catalogue, but of the 70s. 

Bell Tree flows beautifully from Midnight as this song continues the serene atmosphere with gentle acoustic guitar melodies, subtle percussion, and delicately delivered vocals. It may not be a standout, but it’s songs such as Bell Tree that make for an exceptional album experience. 

Old Virginia has folk-focused instrumentation that combines seamlessly with America’s vocal delivery and harmonies; a beautiful song! 

People In The Valley features a more upbeat tempo and rhythmic groove than the prior songs, yet the catchy chorus and infectious melody make it a compelling listen and showcase America's ability to craft memorable pop-rock tunes; even if it presents a minor shock to the senses when listening to the album in its linear structure.

Company is an interesting tune for it isn’t the greatest song America ever recorded, yet there’s an intriguing aspect to it that I can’t quite explain. It isn’t a B-side, nor is it filler. It does, however, work perfectly within the flow of the album and I like it; even if I can’t communicate why. 

Woman Tonight, with its energetic rhythm and infectious groove, is a standout tune as the musicality is off-the-charts good. While it doesn’t seem that it should work on paper, the Caribbean and reggae-influenced undertones work surprisingly well with America’s style.

The Story Of A Teenager slows things down again and while I don’t mind the uptempo numbers, more melodic tunes, such as this one, are much more well-aligned with America’s vocal-focused presentation.

Sister Golden Hair is, arguably, the most iconic track from Hearts. Featuring a catchy guitar riff, and memorable chorus, Sister Golden Hair is a timeless classic and a standout within the classic rock sub-genre. 

Tomorrow is the perfect song to follow on from Sister Golden Hair as it doesn’t detract from the brilliance of the previous track but is magnificent in its own right. While the musical bed is stunning, it is the harmonious vocal delivery that makes Tomorrow an exceptional tune. 

Seasons is an interesting closer as part of me would suggest that Tomorrow would have been a stronger final track, if for no other reason than to allow the listener time for contemplating the music they’ve just heard. Instead, Seasons will pique your attention with its theatrical nature that sounds as if it would have been better placed in a different sequenced position. Nevertheless, Seasons is a lovely album-only tune that will encourage you to play the record again. 

With its memorable melodies, heartfelt lyrics, and impeccable production, Hearts continues to captivate audiences and stands as a testament to the band's enduring legacy; one that has its peers but one that sees America at the very top of the folk-rock movement of the 70s. 

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Alice Cooper – Welcome To My Nightmare (Album Review)

There are classics and then there is Welcome To My Nightmare. Going solo, after the official disbandment of the Alice Cooper Band, Cooper would return with a debut solo album that not only built upon his previous successes but also took his musicality to new and unexpected heights. While it was familiar, yet different, Welcome To My Nightmare delves into the dark and twisted recesses of Cooper's imagination, taking listeners on a journey through the nightmares of a troubled mind. As far as concept albums go, this is amongst the greatest and stands as a cornerstone in the history of rock music.

While one of the most appealing aspects of Welcome To My Nightmare is its story-driven approach, you need not worry if you’re not interested in that style of album for I’m sure Steven, the album’s protagonist, won’t mind as the songs are exceptional in their own right. From the haunting opening track, to the chilling finale, this album immerses listeners in a theatrically surreal world filled with macabre imagery and unsettling melodies that will leave a lasting impression for it is nothing short of a musical masterpiece.

Being a master storyteller is but one part of Cooper’s musical skill, for his ability to deliver emotive vocals, alongside poignant lyrics, is profound and elevates his music to another level entirely. Welcome To My Nightmare, along with so many of Cooper’s solo albums, pushed the boundaries of what was possible with music and the album format and while we’ll take a look at the songs that make up this incredible release, I dare say that it is best heard in its linear structure for it’s a textbook example of how to write, record, and release a concept album.

While the music is one aspect, the record's iconic cover art perfectly encapsulates the album's theatrical spectacle. Drew Struzan’s illustrations pop off the canvas and as much as it can be appreciated on the smaller screen of a smartphone, this is an album cover worthy of vinyl ownership. Speaking of which, I’ve been fortunate to own the 2018 Limited Purple Vinyl Edition; a visually stunning and thoroughly enjoyable reissue with a relatively low noise floor and a rich dynamically charged sound stage that has plenty of clarity, oomph, and analogue warmth to captivate most music lovers. However, is it the final word in sonic quality for this classic album? That is, naturally, subjective and while I’m aware of the Analogue Productions reissue and respect what Chad Kassem and his team do with their remasters, as I own quite a few, I am growing weary of 45rpm releases.

Granted, I acknowledge that the entire Atlantic 75 Audiophile Series is being delivered exclusively on 45rpm 180-gram heavyweight vinyl, as well as Hybrid SACD releases, but with an album such as this one, the flow naturally suffers from being placed across four sides rather than two. For instance, Years Ago flows nicely into Steven but these songs are separated on Sides 3 and 4. Perhaps I’m being pedantic as I can see how a separation here would be appropriate, but after so many years of hearing this album in its original sequencing, I fear it would detract from the flow of the album.

Additionally, I strongly believe that if a mastering job is done properly, the benefits are also noticeable when released at 33rpm. For instance, as incredible as the Analogue Productions edition of Aaron Neville’s Warm Your Heart is at 45rpm, the Acoustic Sounds Series (also supervised by Chad Kassem) of Nina Simone’s I Put A Spell On You at 33.3rpm is every bit the aforementioned contemporary, once the recordings differences are taken into account, and it’s simply extraordinary.

Given all the praise I’ve seen directed at the Atlantic 75 Audiophile Series reissue, I really should pick up a copy, but it still amazes me that these releases are exclusive and limited. If they are the very best that these albums have ever sounded, and I have no reason (based on my own experience) to suggest otherwise, then why don’t they become the definitive standard henceforth; on every format, future release, and digital delivery platform? I don’t know about you, dear reader, but I feel it’s gatekeeping at its finest and unnecessarily feeds the FOMO attitude that is prevalent within music-collecting circles.

Turning our attention to the lossless Apple Music stream and what we’re presented with is the same mastering as that available on the standard CD counterpart. It’s a solid facsimile, with adequate dynamics and detail, but it’s also a little underwhelming and brittle, particularly in the treble range. Yes, EQ settings can address some of these shortcomings, but if a better master were available, such as the most recent reissue, we wouldn’t need to make these accommodations.

Welcome To My Nightmare serves as an ideal ominous introduction to the album’s central theme with eerie effects and haunting vocals. It’s surreal and is one of those songs that builds masterfully as it progresses. Additionally, the soundstage is immersive and by the time the brass instrumentation enters the mix, you’ll be in sonic heaven. Welcome To My Nightmare is, subsequently, a killer 70s tune, embracing various aspects of funk, jazz, and disco.

Devil’s Food is interesting in its delay to get started following the quiet final moments of Welcome To My Nightmare. It may be a minor aspect, but it’s a technique that I wish was applied more as it allows the senses a moment to reset. Nevertheless, Devil’s Food continues the dark and brooding atmosphere that flourishes when Vincent Price’s role as the curator enters the mix. In many respects, Price’s inclusion shouldn’t work, yet it does and provides an astonishing segue into The Black Widow.

The Black Widow is one of the best songs from the album and perhaps one of the most underrated. With a menacing guitar riff, sinister lyrics, and dramatic delivery, The Black Widow is one of the finest songs from Alice Cooper’s back catalogue.

Some Folks offers a departure from the album’s overall darker musical style by injecting a dose of dark humour with some killer swing, big band, and jazz-inspired elements.

Only Women Bleed is, arguably, Cooper’s greatest musical accomplishment. His emotive vocals and the song’s haunting melody combine to create a powerful ballad that knows few peers.

Department Of Youth aims to be a high-energy anthem that celebrates the rebellious spirit of youth culture, yet it isn’t a standout and I question if the inclusion of The Summerhill Children’s Choir was beneficial or detrimental to my appreciation, or lack thereof, of this tune. Let’s just say that I wouldn’t seek Department Of Youth out, on its own, outside of the concept album structure.

Cold Ethyl is a killer rock tune containing infectious rock riffs and tongue-in-cheek lyrics that create a twisted love song unlike anything else on the album. It’s original, you’ve got to give it that, and Cooper’s theatrical delivery adds a macabre charm to the song’s already gleefully morbid subject matter.   

Years Ago is a perfect interlude-styled haunting ballad that tends to drive anxiety directly into the soul of the listener. Yet, it’s compelling and is one of the best songs from the album.

Steven is one of the record's most ambitious tunes. Not only is the storytelling compelling but every musical aspect is perfectly positioned in the mix. The result is a song that is the sonic equivalent of an Alfred Hitchcock film. It is, without a doubt, one of the greatest Alice Cooper recordings of all time.

The Awakening flows beautifully from Steven and is somewhat of a musical interlude, but it’s a little too short for my liking as I feel it should have been extended. Nevertheless, the atmospheric music and eerie sound effects, merged with Cooper’s extraordinary vocal presentation, ensure that The Awakening is memorable.

Escape is a great closer, but it doesn’t flow as well from The Awakening as the other songs throughout the record have. Yes, there’s a delay between songs, but I’m not sure it’s enough to ignore the shift in style. Despite that aspect, it’s an epic finale that will compel you to play the album again.

Welcome To My Nightmare is not only one of Cooper’s best albums, but it’s one of the greatest records, concept or otherwise, from the 70s; particularly 1975. It really is a triumph of creativity and innovation that pushed the boundaries of the concept album to the very limits of what such a release could achieve. After more than four decades, it remains a timeless classic that continues to captivate and inspire music lovers and Alice Cooper fans alike.

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

ABBA’s self-titled studio album, their third, is a landmark release that distanced itself from the somewhat whimsically juvenile B-sides that littered Ring Ring and Waterloo. No, ABBA isn’t a serious album, by any stretch of the imagination, but where it separates itself from its predecessors is, in part, due to the higher production values and synergy between not only the songwriting team of Benny Andersson, Bjorn Ulvaeus, and Stig Anderson, but with the core ABBA members themselves. While ABBA is most certainly a standout release amongst their formative years, it remains one of their very best, and most underrated, albums and is also amongst the best records released in 1975.

While I always focus on the album experience, first and foremost, this eponymous release gave music lovers seven riveting singles, some of which have become staples in ABBA’s extensive back catalogue. Songs such as Mamma Mia, SOS, and I Do, I Do, I Do, I Do, I Do showcase the band’s ability to craft infectious pop and disco melodies that would not only solidify their status as one of the most influential acts of the 20th century but would ultimately make them timeless.

As already alluded to, the production qualities increased significantly upon this release but as longtime fans will note, not all editions of the album are created equally. It’s all in the mastering and it was unfortunate that I purchased one of the most brittle vinyl editions; the 2011 Back To Black (POLS 262) vinyl re-issue. The lossless Apple Music edition, an Apple Digital Master, is leaps and bounds ahead of that 2011 vinyl reissue as it has a far greater sense of space and clarity.

The ABBA fan within, however, couldn’t let one edition forever tarnish this great album. As such, when the ABBA – The Studio Albums box set was reissued in 2020, I couldn’t pass up the opportunity to dump all previous Back To Black reissues and give this one a shot. Impressed, by the entire box set, would be an understatement. It’s the very definition of perfect and while your subjective preference may differ from mine, I consider the box set, and the version of ABBA, to be the final word in sonic quality as it’s flawless.

Of course, I can’t take the record everywhere with me, so for that purpose, the lossless Apple Music stream remains a highly respectable digital counterpart that is every bit as pleasurable as the 2020 vinyl reissue. Yes, the vinyl reissue is blessed with the renowned warmth of the format, but the Apple Music stream suffers from no digital glare and has the same smooth and dynamic presentation as its counterpart, so it’s likely to appeal to most music lovers.

As you head into the breakdown of the songs that make up this incredible release, it’s important to note that only the core songs, from the album’s original release, are featured below. This is because I’m a purist at heart and while I’m aware of the bonus tracks that have been made available via subsequent digital reissues, I much prefer listening to the album in its original linear structure. Thankfully, the additional tracks can be heard at any time via the Bonus Track Version, but for some reason, the Deluxe Edition is no longer available on Apple Music. Nevertheless, sit back, relax, and let’s take a look at the songs that make up this landmark release.

Mamma Mia is a perfect album opener. Iconic and catchy, this lively tune perfectly encapsulates ABBA’s signature sound. It also helps that it’s got an infectious melody and irresistible chorus, for you’ll find yourself captivated from the very first note to the last.

Hey, Hey Helen is a little quirky when compared to Mamma Mia, but it works with its spirited tempo and vocal delivery. It can, however, get a little monotonous throughout the chorus, but as a fan of ABBA’s rock-focused tunes, I can live with that aspect, in part, because the riff is simply incredible.

Tropical Loveland shifts the tone of the album and adds a touch of reggae. This isn’t up to Bob Marley & The Wailers' standards, but it’s a solid tune and further showcases ABBA’s diverse musical arrangements. Plus, it does give you a sense of being transported to a sun-soaked paradise, thereby making it memorable, relaxful, and thoroughly enjoyable.

SOS is what I call a disco ballad for its combination of haunting melody, heartfelt lyrics, and emotional depth are regularly associated with ballad-styled music. Yet, add in the uptempo musical elements and you’ve got the disco component. Either way, and no matter how you choose to enjoy SOS, one thing is for certain; ABBA doesn’t get much better than this!

Man In The Middle is a dynamic and energetic track with impeccable harmonies and infectious rhythms that are ideally suited to the era. The song's catchy chorus and driving beat make it a standout track on the album and is, arguably, one of ABBA’s best, lesser-known, tracks.

Bang-A-Boomerang is a joyous and infectious tune that harks back to ABBA's origins. With its catchy melody and playful lyrics, Bang-A-Boomerang is guaranteed to put a smile on your face as you dance along to the irresistible rhythm. Perhaps the only negative aspect of the song is that there’s a little too much distortion present and it comes across as a demo, rather than a complete tune. It isn’t a dealbreaker, but it’s one song that can be jarring on the senses if you have too much treble dialled into your stereo.

I Do, I Do, I Do, I Do, I Do is a jubilant number with an upbeat tempo and infectious chorus. The song's catchy hooks and spirited vocals make it a standout and while it may not be everyone’s favourite, I’ve no doubt most would agree that the alto saxophone tracking that Ulf Andersson laid down is simply exquisite.

Rock Me is dynamic and electrifying. With its driving beat and energetic vocals, this song is guaranteed to get you on your feet, dancing along to the infectious rhythm.

Intermezzo No.1 is a captivating instrumental masterpiece that highlights ABBA's talent for crafting lush and evocative music. With its sweeping melodies and intricate arrangements, this song is a testament to the band's creative vision.

I’ve Been Waiting For You is one of Agnetha’s most beautiful vocal performances and is another song that showcases the emotional depth and musical sophistication ABBA brought to their music via this album.

So Long isn’t the strongest closing tune, particularly after I’ve Been Waiting For You, as it feels out of place within the flow of the album. Where it could have been placed instead, I’ve no idea. It’s a low point but, one thing is certain, it will leave you with a spirited and upbeat feeling that will compel you to listen to the album again.

Overall, ABBA's self-titled album is a minor masterpiece that showcases the band's unparalleled talent and musical innovation. Their skills in both increased production quality and songwriting are notable, resulting in infectious melodies, heartfelt lyrics, and dynamic performances that are timeless and are a must-have for any music lover's collection.

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Ringo Starr – Old Wave (Album Review)

It’s fair to say that Ringo Starr never quite received the recognition that his fellow bandmates, from The Beatles, did when embarking upon a solo career. Whilst he may have flown under the radar, the glorious thing about our modern music streaming world is that any music lover can easily experience classic albums, such as Old Wave, and decide if they’re worthy of adding to their collection. For me, it most certainly is. Showcasing a mix of musical styles and collaborations, Old Wave captures the essence of the 80s while incorporating elements of Starr's signature sound. It also just happens to be one of the very best albums Starr ever recorded and one of the greatest albums released in 1983.

Old Wave is Starr’s ninth solo studio release and is notable, in part, as Joe Walsh co-produced the record with Russ Ballard whilst also writing and co-writing many of the songs. Walsh also performed on the album and you’ll hear his signature licks throughout. Old Wave very well could have been called Ringo Starr meets Joe Walsh, but while purists may detest that proposal, Old Wave maintains a classic rock sound that, due to the combination of these incredible musicians, ensures that it is one of Starr’s most rocking releases.

While Starr’s previous album, Stop And Smell The Roses (1981) already has a place in The Worst (And Most Disturbing) Album Covers Of All Time, Old Wave almost qualifies for inclusion. Only a mugshot would have been more intriguing and while the art direction is relevant to the album’s title, and the throwback photo further adds weight to a counterposition of the new wave movement that was sweeping the social consciousness at the time, it’s just not a piece of visual art that you’d display proudly.

The music is, of course, another thing entirely and thankfully it’s exceptional. As it pertains to sonic quality, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite. It’s so good that as I listen to the album my mind is not drifting and wondering whether or not the album would sound better via a vinyl or CD release. Yes, dear reader, sometimes the stream can be that good.

In My Car opens the album with a catchy melody that will see you toe-tapping and head-bopping along. With a synth-driven upbeat style, In My Car is perfectly suited to the era and quickly becomes an earworm that you’ll be listening to long after the album has stopped spinning. Joe Walsh went on to record the tune in 1987, but I truly believe Starr’s is the superior version as Walsh’s is a little too overproduced, and pop-driven, for my liking. Whereas, the rock-edge on Ringo’s edition is sensational.   

Hopeless has a killer country-inspired twang to it and its quirkiness is perfectly suited to Starr’s persona. Again, you’ll find yourself involuntarily moving to the rhythm, but that’s part of the appeal for Hopeless is anything but.

Alibi is a fantastic song but, as much as I thoroughly enjoy it, this is one song that would have been perfect had Starr collaborated with Paul McCartney, for it has his manner written all over it. Nevertheless, Walsh provides a more than adequate accompaniment and that’s, really, quite an understatement for Alibi may not be a standout tune, but when you have songs as compelling as this one, you’ve got an exceptional album experience.

Be My Baby has an offbeat rock edge to it that is simply superb. Your senses may struggle to connect with a particular aspect of the song initially, but once you sync with a specific element, Be My Baby comes into its own and is one of the best songs that Walsh has ever written.

She's About A Mover is a fun little cover. If it sounds familiar, you’ve probably heard the original performed by the Sir Douglas Quintet. Regardless of which rendition you appreciate more, She's About A Mover is a timeless tune.

I Keep Forgettin’ is another cover and as much as I love the Chuck Jackson original, there’s a broodiness in Starr’s presentation that makes this my preferred edition as it has a little more attitude in its presentation. The mix, as is the case throughout the entire album, is also exquisite and is a textbook example of how to correctly mix for stereo. Incredible!

Picture Show Life is a fun album-only tune that is suited perfectly to the album.

As Far As We Can Go is a beautiful ballad-styled tune. Don’t get me wrong, it isn’t Starr’s greatest vocal achievement and you’re unlikely to seek it out on its own, but it’s a value-added proposition for those of us who appreciate fluid album structures.

Everybody's In A Hurry But Me shifts the styling considerably, but that's hardly surprising when you’ve got Eric Clapton and John Entwistle performing on the song as well as being co-writers. There’s plenty of Clapton’s Slowhand to be heard here as well as the jamming elements you’d often associate with The Who. In truth, Everybody's In A Hurry But Me is more akin to a demo than a fully-fledged tune, but none of the musicians featured here had anything to prove and have earned the right to be self-indulgent.

Going Down is a perfect closing tune that will encourage contemplation as well as compelling you to play the album again. With Walsh’s screaming signature guitar sound, this is one thoroughly enjoyable rocker.

Old Wave is best described as a hidden gem within Starr’s extensive discography; offering listeners a diverse and engaging musical experience. It may not have been commercially successful, but that metric has rarely been an accurate indication of creative quality. What Old Wave does offer fans, and music lovers alike, is a window into Starr’s enduring talent and musical evolution as it delivers some of the most enjoyable music from the early 80s.

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Quiet Riot – Metal Health (Album Review)

Released in 1983, Quiet Riot’s Metal Health is a landmark release within the metal music scene. Delivering a relentless barrage of heavy riffs, thunderous drumming, and explosive vocals, this legendary album not only catapulted the band to mainstream success but also played a pivotal role in bringing heavy metal, and hard rock, to the forefront of the music scene during the early 80s.

While music lovers will contend that it’s all about the music, there is no doubt that the iconic cover art played a crucial role in the album’s success as it perfectly encapsulates the rebellious and energetic spirit of the music within. Plus, music in the early 80s, was still primarily distributed on vinyl, meaning that engaging artwork such as that seen on Metal Health would have stood out from the crowd at any local record store.

Of course, album artwork alone couldn’t secure the multi-million-selling sales success that Quiet Riot experienced with this release, so the music does play a pivotal role. From start to finish you’ll be met with the spectacular guitar riffs of Carlos Cavazo, providing a solid backbone for the album's raw and aggressive sound. The rhythm section, comprised of bassist Rudy Sarzo and drummer Frankie Banali, lays down a foundation of power and precision, driving the music forward with unwavering force. However, perhaps most notable is Kevin DuBrow's vocals for they showcase both power and range. His ability to seamlessly transition from gritty, aggressive delivery to melodic harmonies is stunning and his charismatic presence adds the final layer of intensity that makes Metal Health such a dynamic listening experience. It’s also fair to say that Metal Health is the famed album it is because of each member and musical element for when working in conjunction, they know few peers.

Metal Health may be rooted in heavy metal, but the diversity of musical styles, throughout, also leans towards hard rock and glam metal. The result is that the music offers enough variety that it can be enjoyed by a broad range of music lovers whilst, simultaneously, staying true to its roots.

Turning our attention to the lossless Apple Digital Master, available via Apple Music, it's dynamically charged thereby ensuring that you’ll be rocking out to every song as the soundstage is well-developed and every music element is carefully presented in the mix. 80s metal releases can often be hit and miss, regarding their mastering, Metal Health sounds fantastic via Apple Music. While it may not be the final word in sound quality, as I feel there is a little more of the recording that can be attained from the original master tapes, it certainly is not lacking in bass, treble reach, or dynamics.

Interestingly enough, and this may only apply to music lovers who like to seek out the very best possible releases of their favourite albums, Qobuz has a Hi-Res 24-bit/192 kHz edition of the album. That is in contrast to the lossless 24-bit/44.1 kHz version on Apple Music. As to whether or not you can hear a difference, or if there is indeed a difference to be heard, is highly subjective, but what is frustrating is that there isn’t a single master for music fans to rely upon. For instance, the Apple Music stream lists the album as Remastered, yet the publication date remains as 1983 rather than 2001 (when the last CD remaster was issued). Is the Apple Digital Master a specific remaster? Or is it just derived from the previous remaster?

Qobuz, on the other hand, doesn’t reference their release as remastered and maintains the publishing date as 1983. This is an ongoing issue with streaming and its relationship to the provenance of the recording for the higher-quality edition, on paper, is no guarantee that the album is a much more pleasurable listen. I really don’t understand, and perhaps this is my naivety showing, why there isn’t a singular master that is used for every edition. I understand mastering for vinyl is different to CD etc, but in the case of Apple Music vs Qobuz, you would think that it would be best for both companies to stream the same edition. These variances only manage to frustrate fans who don’t wish to listen to a substandard version of an album they hold dear and near.

Naturally, you can trust your ears and listen to both if you wish, but I’m already experiencing subscription fatigue to the extent that I have no interest in testing alternatives. If I had more disposable income I’d be better off seeking out a physical release that I could add to my permanent collection to ensure a lifetime of enjoyment. That, however, brings up another contentious issue and that’s a case that should I choose to go with a CD reissue, all editions include bonus tracks that impact the flow of the album. Plus, to be completely frank, vinyl in Australia is priced so badly at the moment that most music lovers, myself included, simply can’t afford the ~AUD$60 price tag to attain even our favourite records, with the original sequencing; especially when the CD release is close to a third of the price.

Yes, dear reader, all the above are first-world problems, but music-loving collectors will undoubtedly understand that it’s the little elements that make our collections unique; elements that can be frustrating when the music industry, as a whole, does not share the idealistic perspective that reissues should mimic the original release so that an entirely new audience can experience Metal Health as if it were 1983 all over again.

Metal Health (Bang Your Head) kicks the album off with its anthemic title track. Featuring heavy guitar riffs, pounding drums, and DuBrow's powerful vocals, the song's energetic and rebellious spirit became a defining anthem for the era and headbangers everywhere.

Cum On Feel The Noize is the only cover song on Metal Health and as solid as Slade’s original is, Quiet Riot mastered it and made it their own.  The song's catchy chorus and heavier edge propelled the song to mainstream success and has become a quintessential part of 80s hard rock.

Don't Wanna Let You Go slows down the tempo somewhat and showcases Quiet Riot’s ability to balance heavy hitters with melodic numbers. Don't Wanna Let You Go is, most certainly, an album-only tune and is a little weak, particularly when contrasted against the other songs from the album. However, after all these years, I couldn’t imagine listening to Metal Health sans Don't Wanna Let You Go.

Slick Black Cadillac with its driving rhythm, gritty vocals, and overall raw intensity, returns the album to its high-octane, hard-hitting, style that will appeal to headbangers the world over.

Love's A Bitch flows seamlessly from Slick Black Cadillac and is an absolute masterpiece. Love's A Bitch really should have been released as a single for it’s one of the very best songs on Metal Health and one of the greatest hard rock songs of not only the 80s, but of all time. With a blend of heavy guitar riffs, a brooding atmosphere, and DuBrow’s impressive vocal range, you’ll find yourself turning up the volume, if you haven’t already, while rocking along to that addictively good chorus with your air guitar in hand.

Breathless is a killer tune with a relentless energetic pace and pulsating rhythm section, along with some incredible vocals.

Run For Cover maintains the high-energy aggressive momentum. It’s a solid track, nothing to write home about, but every song on an album need not be a hit for the album to be exceptional.

Battle Axe is a purely instrumental number that presents us with a masterful guitar solo, thereby adding variety to the album while maintaining the record’s overall energy.

Let's Get Crazy flows perfectly from Battle Axe with its high-energy riff-driven approach that makes this tune one of the very best songs from the record and an ideal B-side that could have been a chart-topper under the right circumstances.

Thunderbird is a beautiful way to close the album, paying tribute to the late Randy Rhoads (Quiet Riot’s original guitarist). As a ballad, it showcases a different side of the band, highlighting their ability to deliver emotionally charged and heartfelt compositions. However, more importantly, it allows for contemplation while simultaneously encouraging repeat plays of the album.

Quiet Riot's Metal Health not only helped to define a genre but also left an indelible mark on the history of heavy metal, hard rock, and glam metal. Its raw energy, memorable hooks, and rebellious spirit make it a timeless classic that continues to resonate with metal fans across generations. Whether you're a seasoned metalhead or a newcomer to the genre, Metal Health is an essential listen.

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Petra – Not Of This World (Album Review)

Petra's Not Of This World, released in 1983, stands as a landmark rock album that seamlessly blends powerful messages with some exceptional music.

While Petra is billed under both Christian and Inspirational rock genres, you’ll note that I referenced Not Of This World as a rock album and for good reason; I don’t listen to music for its lyrical interpretation. I, instead, prefer to enjoy the human vocal as another instrument within the mix. The benefit of that, in this case, is that I’m not influencing my love of the music based on the interpreted meaning of the lyrics. Granted, not everyone appreciates music in that manner, but I only mention it because if you’re opposed to Christian-based music, you’re going to miss out on some of the very best rock music from not only the 80s, but from all of recorded music history.

Visually, the album’s artwork is stunning and perfectly suited to the era and the vinyl format; the leading distribution medium for music during the early 80s. Thankfully, modern music lovers can still access this classic release as it was reissued beautifully on CD in 2021 and vinyl in 2022. That said, both releases are nearly impossible to pick up in Australia, with both commanding high prices when available. So, until I can track down one of the two physical releases, streaming will have to suffice.

Speaking of the stream, the Apple Music version is a direct CD-quality counterpart to the CD release from 1988 and is dynamically pleasing. Turn the volume up and you’ll be met with a rocking album that has an ample soundstage, clarity and definition between all music elements, and enough mid to low-end bass to please even the most ardent stadium rockers.

Whether or not you find yourself interested in Inspirational music, one thing is for certain; Not Of This World is nothing short of an incredible rock and roll album. Therefore, dear reader, join me as I take a look at the songs that make up this landmark release; from my own unique music-focused non-lyrical perspective.

Visions (Doxology) opens the album admirably as the instrumental journey builds throughout this piece. If you’re into science fiction, you’ll likely appreciate and instantly connect with the audible vibe of Visions (Doxology), but it would be also fair to say that this instrumental opener is somewhat superfluous. It does, however, make for a worthwhile bookend to the final track Visions (Reprise).

Not Of This World sets the tone for the entire album with a highlight on Petra’s harmonies; some of which challenge the greats, such as the Eagles, for supremacy. That aside, this title track is one of the most beautiful songs to come out of the 80s.

Bema Seat picks up the tempo and while it may initially be a jolt to the senses, it quickly comes into its own, particularly when the song enters the chorus. While it may not be a standout tune, it’s a quintessential album-only song that drives the record forward; one that, in this case, is perfectly aligned with the era.

Grave Robber is simply magnificent. That acoustic introduction is superb and while that alone could be considered the reason as to why Grave Robber is such a memorable tune, the slow build to the chorus is masterful. The chorus itself is addictively good and as much as I don’t listen to the lyrics for literal interpretation, I do find myself singing along to the anthemic chorus. Grave Robber is, undoubtedly, one of the greatest songs from the album and one of the best songs ever recorded, by anyone. Exceptional!

Blinded Eyes was always going to be a challenge, following on from Grave Robber, but that need not be a concern for Blinded Eyes continues the musical brilliance with some incredible guitar licks, magical interplay between musical elements, and a perfect vocal presentation with a small amount of processing that adds to the overall style of the song without going too far that it detracts from the hard rock edge of the recording.

Not By Sight flows perfectly from Blinded Eyes and is a testament to not only the musical prowess of the entire band, but also the chosen sequencing for Not By Sight continues the rocking edge laid down by the previous songs.

Lift Him Up shifts the atmosphere back to that of melodic soft rock. Yes, the song may be a little campy and while I tend to appreciate the human vocal as another instrument in the mix, when it comes to Lift Him Up, you really get the Christian values presented front and centre. That isn’t a criticism, mind you, it’s just an observation and may be a deterrent for some music lovers.

Pied Piper kicks things up a notch as it returns us to a harder rock edge. It’s another album-only tune that is perfectly positioned and suited to the era, but it’s also fair to say that you likely wouldn’t seek Pied Piper out, outside of the album’s structure. That said, I couldn’t imagine the album sans this track as it simply wouldn’t flow as well as it does.

Occupy is an interesting song as the musical bed, and individual elements, are somewhat more reserved. While I like it, a lot, it would be interesting to hear a remix of Occupy with a slightly bigger soundstage, greater musical separation, and a more bombastic rock presentation that I feel would have made it an even stronger song than it already is.

Godpleaser is a fantastic song that particularly stands out when the bridge and chorus enter the mix. It’s addictively good and while the campiness of the Christian values may be a distractive element to some, I find that it’s just a great little rocker.

Visions (Reprise) is a minor annoyance in so far as Godpleaser would have been a perfect closing track. Yes, I acknowledge the bookending style that Petra was aiming for, but more than ever I feel Visions could have been omitted from the album and it wouldn’t have been missed. It isn’t a bad track, far from it, but it would be fair to say that it doesn’t fit perfectly with the other songs from the album.

While Petra's Not Of This World showcases a blending of rock styles, thoughtful lyrics, and a commitment to exploring Christian themes, at its core it’s a rock and roll album that rock and rollers everywhere will thoroughly enjoy. If you’re not enamoured with the topical approach of the record, listen for the music and try to ignore the lyrical meaning for doing so will only enrich a well-curated rock music library.

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