Billy Joel – Storm Front (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Belinda Carlisle – Runaway Horses (Album Review)

Released in 1989, Runaway Horses represents a pivotal moment in Belinda Carlisle’s career as despite it being her third solo studio release, and her being most notably associated as a co-founder and lead vocalist of The Go-Go’s, Runaway Horses can be viewed as her magnum opus. Yet, it wasn’t as successful as her preceding solo studio release, Heaven On Earth; a solid album but one that is slightly inferior to the fluidity offered with Runaway Horses. Popularity aside, Runaway Horses cemented Carlisle’s place in the pop-rock pantheon of the late 80s for it is all killer with no filler.

With an eclectic mix of upbeat pop anthems and introspective ballads, Runaway Horses is a compelling showcase of Carlisle's vocal prowess and artistic evolution. That said, it’s important to correctly credit the creative individuals behind the music we love for as talented as Carlisle is, she only co-wrote a single song (Shades Of Michaelangelo) with the core songwriting across the record being done by Rick Nowels and Ellen Shipley. Nowels and Shipley were also responsible for Carlisle’s hit single Heaven Is A Place On Earth from Heaven On Earth. While some purists may be perturbed by the following statement, it is nevertheless true that Carlisle’s success, as a solo artist, can be attributed to the incredible songwriting of Nowels and Shipley. The amalgamation of their songs and Carlisle’s exceptional vocal delivery created a lasting impact on both Carlisle’s career and the era’s musical landscape.

Speaking of Nowels, he also produced the record, ensuring that each track was meticulously crafted. The album also has just about every 80s cue you can imagine for its lush, multi-layered, soundscapes will not only deliver longtime fans a healthy dose of nostalgia, but will transport them, and any modern music lover back to what could be considered a simpler era where singles, live performances on television, interviews in magazines, and albums reigned supreme. Unlike the modern era, the excitement for a new release was palpable and an event in and of itself. Whether or not you lived through the 80s, one thing is for certain, Runaway Horses is reflective of the era, with a focus on a rich and immersive listening experience.

Of course, once the singing, songwriting, and production values have been considered, one has to turn their attention to the musicians. While the highly talented Nowels contributes throughout on guitar and keyboards, you also have industry legends such as Kenny Aronoff, Bryan Adams, and George Harrison, amongst others, contributing to the album’s sound. Yes, dear reader, it's that George Harrison; the one from The Beatles. Granted, Carlisle was already well-established by this time, but to have a legend such as Harrison play on your record must have been an incredible honour.

As it pertains to the listening of the album, while I’ve never been fortunate to have owned this release, the lossless Apple Music stream is derived from the 2013 remastered edition and is a sonically admirable release. It isn’t, however, representative of the very best sonic reproduction, for the low end is a little anaemic, thereby slightly reducing the bombastic presentation often featured in pop music from the late 80s. That said, if you’re not a fan of bass, you’ll probably appreciate the chosen mastering and there’s nothing wrong with tweaking the EQ levels, on occasion, to boost the low end of the spectrum. As our subjective tastes differ, I implore you to give the stream a listen, as you read through my thoughts on the songs themselves, but if you’re like me you may feel the mastering is a little too reserved.

Leave A Light On is an infectious upbeat track with a catchy melody and vibrant arrangement that will draw you in from the very first note. Carlisle's vocals are both powerful and polished, perfectly complementing the song’s energetic rhythm, ensuring that Leave A Light On is the quintessential opening track. It also features George Harrison’s masterful slide guitar that adds additional depth to the tune and matches the song’s musical style perfectly. Leave A Light On is, subsequently, one of the greatest songs ever recorded.

Runaway Horses slows the tempo slightly, but this title track, with its mid-tempo beat and lush arrangement, creates a rich sonic landscape that is highly compelling. Again, as will also be the case throughout the entire album, Carlisle’s vocal control is capable of conveying deep and emotional narratives for those of you who are interested in lyrical intent. Even if, like me, you prefer to appreciate the human vocal as an instrumental element within the mix, rather than a storytelling device, Carlisle’s pronunciation is so incredible that you’ll find yourself captivated.

Vision Of You is a magnificent ballad with sweeping melodies that highlight Carlisle’s vocal prowess and when you listen to her quivering pitch, you can’t help but be reminded that this was recorded before the introduction of autotune; an example of just how exceptional a vocalist Carlisle is.

Summer Rain is a testament to Carlisle's ability to tell a compelling story through her music, thereby making it one of the album's most enduring songs. The arrangement builds beautifully throughout, but her chosen vocal pitch is what truly makes the song shine, for the lower range in the verses, and the higher octaves throughout the chorus, make Summer Rain a textbook example of how to vocally deliver an exceptional song.

La Luna adds a touch of mysticism and variety to the album with its Latin-inspired rhythms and atmospheric production. The song’s exotic feel is enhanced by Carlisle’s sultry vocal performance and the instrumental elements featuring flamenco-style guitars and percussion that create a lush and immersive soundstage.

(We Want) The Same Thing picks up the pace with a driving beat and a rebellious spirit. This energetic song is a quintessential late-80s pop-rock anthem; particularly regarding the song’s powerful chorus. Carlisle's dynamic vocal performance, coupled with the song’s infectious energy, make it a standout track that exemplifies the album’s overall upbeat and optimistic vibe.

Deep Deep Ocean is a hidden gem for those not familiar with the record. It’s also one of those songs that is guaranteed to create a mondegreen in your mind as you’ll likely hear the lyrics Deep Deep Ocean as Deep Devotion. Intentional, or not, I love it as it creates a deeply immersive and emotionally resonant listening experience.

Valentine is another magnificent highlight from the album; one that could be classed as a hidden gem. While Valentine wasn’t released as a single, even though it could have done exceptionally well on the charts during the era, it’s album-only tracks such as this that make Runaway Horses an exceptional album experience from start to finish.

Whatever It Takes has a solid pop-rock arrangement and engaging melody. It’s another of Carlisle’s exceptional album-only tunes and what’s most intriguing is the mixing decision for the vocals are laid beautifully atop the instrumental bed, but Bryan Adams’ backing vocals are so recessed that unless you check the liner notes, you’d likely miss his inclusion as his trademark vocal cues are a little too subdued in the mix. That said, his backing vocal is meant to be complementary to Carlisle’s lead vocal and, therefore, doesn’t detract. As a result, it could be argued that it’s a perfect mix.

Shades Of Michaelangelo features a dramatic build-up and expansive sound, with Carlisle’s vocals soaring over the grand arrangement. As the closing track, the Shades Of Michaelangelo brings the album to a powerful and satisfying conclusion. Whether or not you listen to the album again, or simply reflect on the music you’ve just heard, there is little doubt as to why Runaway Horses is such an exceptional record as it’s arguably perfect from start to finish.

Runaway Horses is, subsequently, a quintessential late-80s pop-rock album that showcases Carlisle at her artistic peak. With its memorable melodies, emotive vocals, and polished production, it remains a standout in her discography and offers fans and newcomers alike, a rewarding listening experience.

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Alice Cooper – Trash (Album Review)

Released in 1989, Trash marked a significant comeback in Alice Cooper’s career, with a shift towards the glam metal sound that dominated the late 80s. Produced by Desmond Child, known for his work with artists like Bon Jovi and Aerosmith, Trash is anything but the literal meaning of the word as the album is presented as a polished and commercially accessible version of Cooper’s signature shock rock style.

As we explore music that resonates with us, it isn’t uncommon to think of the magic as being that of a single entity; in this case Alice Cooper, either the man or the band. The reason we do this is that it allows us to compartmentalise a collection of songs far more succinctly than knowing every person associated with the making of the album. However, when you have such a titanic shift in one’s musical output, it’s worth examining the differences and the first place to look is the production and songwriting teams. In this instance, Child was paramount to the sound of Trash from both the production chair as well as being a co-songwriter on nine out of the ten songs on the album.

As much as I appreciate Cooper’s 80s output, Trash is Cooper’s most polished and radio-friendly album from the era. With its glam metal sheen, anthemic choruses, and slick guitar solos, Trash not only became one of Cooper’s greatest releases, but it would introduce him, or reintroduce him, to a broader audience and subsequent mainstream success. While legacy Cooper enthusiasts may declare that an album such as this was a sellout, there is little doubt as to how important songs such as Poison and Bed Of Nails have been to Cooper’s continued dominance post-1989.

As one of Cooper’s most popular albums, it has seen numerous reissues and I’m incredibly fortunate to own the 2017 Limited Edition, Numbered, Red Transparent Vinyl Reissue. Not only does it look incredible, but it’s a sonic powerhouse. To say it is the very best version of the album I’ve heard, wouldn’t be an understatement. The vinyl is so silent that if you were listening on headphones, you’d have a much better chance of hearing the blood cursing through your veins. Music On Vinyl (MOV) certainly reissued this masterfully with a dynamic presentation and soundstage that is wide and immersive. It’s an experience that needs to be had in person for you’ll find yourself looking in awe as the music emanates from your stereo.

Naturally, Vinyl isn’t for everyone and as it pertains to the CD release, I always found it a little too shrill. It’s a perfect facsimile but you’ll likely want to adjust your tone controls to rein it in slightly. Keeping with the digital formats, the Lossless Apple Music stream, an Apple Digital Master, is a little lacklustre. It doesn’t have the clarity of the CD release or the presence of the vinyl reissue. While saying that it sounds a little flat and lifeless would be an overstatement, the music is somewhat concealed when compared with the album’s physical counterparts.

Of course, if you’re not like me searching for the very best-sounding copy of certain albums, endlessly comparing editions, you’ll likely find the Apple Music stream to be very pleasing. That said, if you find yourself listening to the stream and questioning if it sounds right, then it may be worthwhile exploring other avenues.

Poison is a quintessential 80s rock anthem. Its infectious chorus, driving guitars, and Alice's signature snarl made it a massive hit, so much so that it could be said to be Cooper’s trademark tune. If nothing else, it is the song that he is most well known for and for good reason as it’s exceptional.

Spark In the Dark continues the album’s energetic vibe with catchy hooks and a strong, rhythmic drive. It exemplifies the album's glam metal styling, with layers of guitar riffs and a memorable chorus that will see you not only singing along but playing along via your air guitar.

House of Fire is another high-energy rocker that shines, due in part to its collaborative songwriting between Cooper, Child, and Joan Jett. Add a few killer guitar licks from Joe Perry (Aerosmith) and you’ve got an incredible rock and roll tune with melodic sensibilities.

Why Trust You features a punchy rhythm, aggressive guitar work and Cooper’s gritty vocal delivery. It may not be a standout, but it’s a hidden gem and a perfect album-only tune that works with the flow and overall style of Trash.

Only My Heart Talkin’ flows seamlessly from Why Trust You, before dropping the tempo to that of a power ballad, that features Steven Tyler (Aerosmith) on vocals; a combination that works exceedingly well. The collaboration between these two amazing vocalists, along with the ballad focus, ensures the song has emotional depth and a melodic structure that provides contrast to the heavier tracks thereby showcasing Cooper’s versatility.

Bed of Nails co-written with Cooper, Child, and Diane Warren is a perfect blend of hard rock and pop sensibilities. Its anthemic quality and catchy chorus make it a standout track and was mildly successful when released as a single. Although, if you ask me, Bed Of Nails is so good that it should have topped the charts, worldwide, in 1989.

This Maniac's In Love With You is 80s music 101 with its playful lyrics and upbeat tempo. While much of the focus of Trash is the album’s glam metal aspects, This Maniac’s In Love With You is a reminder of Cooper's roots in shock rock and performance art; one that tips the hat to his late 70s and early 80s releases. As a fan of that era, especially his blackout albums (Special Forces [1981], Zipper Catches Skin [1982], and DaDa [1983]), This Maniac's In Love With You is, subsequently, one of my favourite songs from the album and is a genuine hidden gem for those not familiar with the record.

Trash is a rebellious high-energy number with a raw edge. Despite being the title track, it isn’t the strongest song and one that, while I can appreciate it, simply doesn’t meld with my soul. Jon Bon Jovi’s vocals don’t work as well on this track as Steven Tyler’s did on Only My Heart Talkin’ plus the lineup of guest musicians, including Tom Hamilton and Joey Kramer (both of Aerosmith fame) adds to a confusing mismatch. It just goes to prove that no matter how many talented musicians get together, if they aren’t on the same page, creatively, you’ll end up with a song that fails to impress.

Hell Is Living Without You is a magnificent tune with a moodier and slower tempo. When I consider Trash to be one of the greatest albums released in 1989, it’s songs such as Hell Is Living Without You that I think of for it’s a masterpiece.

I'm Your Gun closes the album out with a bang, but I really wish the album had been re-tracked to have this song positioned prior to Hell Is Living Without You as I feel the previous track would have been a much stronger closer for the album. Nevertheless, this fast-paced rocker with aggressive guitar riffs and an unapologetically bold attitude is a fitting end to an album full of high-energy tunes.

Overall, Trash is a landmark album in Alice Cooper’s career, blending his iconic shock rock style with the glam metal sound of the late 80s. With memorable hits, expert production, and Cooper’s charismatic performance style, this album stands as a testament to his adaptability and enduring appeal. Whether you’re a long-time fan or new to his music, Trash offers music lovers a thrilling and enjoyable listening experience.

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Aerosmith – Pump (Album Review)

Released in 1989, Aerosmith’s tenth studio album is amongst their tightest for its all killer with no filler; with the minor exception of a Hidden Track closing out the album. Teaming up again with producer Bruce Fairbairn, following the success of 1987’s Permanent Vacation, proved to be a wise decision as Pump would not only close the 80s out with a bang but, in retrospect, has stood the test of time whilst simultaneously becoming a timeless addition within the annals of hard rock and glam metal history.

With a blend of hard rock, blues, and ballads, Pump showcases Aerosmith's versatility. Of course, with impeccable production values, Aerosmith’s high-energy sound is captured, as is the essence of the band's 70s raw edge, while still appealing to the contemporary rock scene at the time. The album's sound is clean yet powerful, allowing each instrument to shine. As such, Joe Perry and Brad Whitford deliver exceptional guitar work, ranging from blistering solos to intricate riffs. Tom Hamilton's bass lines provide a solid foundation, while Joey Kramer's drumming drives the album's relentless energy. Steven Tyler's vocals are a highlight throughout, demonstrating his wide range and emotive power. His ability to convey both raw energy and deep emotion is a key component of the album's success and appeal to a broad audience.

That said, while the recording and mix of the album are top-notch, the mastering has been an issue throughout the years as there are very distinct differences between releases. For instance, the 2001 remaster boosted the volume across the entire album by crippling the album’s dynamic range. It gives it a punch-in-your-face approach, but you’ll be looking to turn the volume down before too long as it’s simply too fatiguing. The original releases were arguably perfect but as they are long out-of-print, the new music lover, uninterested in attainment via the secondhand market, will need to be content with current offerings.

While I was fortunate to have owned the 2013 vinyl picture disc release, the mastering on that particular edition is perfect and while the picture disc format always has an increased noise floor, you can only really hear it at the beginning of each side, before the music starts, and momentarily between tracks. While no mastering information was given for the picture disc release, Universal Music gave music lovers an admirable reissue that proves a well-mastered album is essential. Nevertheless, most people these days stream and for that purpose the Hi-Res Lossless Apple Digital Master is interesting.

Where the 2001 remaster is mastered too hot, the Apple Music streamed edition is a little too reserved. For instance, Aerosmith’s trademark cowbell positively rings through your soul on the 2001 remaster whereas it is somewhat lost in the soundstage on the streamed version. Some may suggest using tone controls to dial back the 2001 remaster but the fatigue is still present as the entire recording is brickwalled. Similarly, because of the mastering style, the shimmer of the high notes from the Apple Music stream is somewhat lost. Think of it this way, the Apple Digital Master is akin to what one may have heard had they turned on Dolby Noise Reduction in the Compact Cassette days as it reins in the treble range.

As to which release I prefer, I have to say that it’s the Apple Music stream for despite owning the 2001 remaster, that version is too fatiguing to thoroughly enjoy. Plus, it’s Aerosmith, you should want to turn the volume up, not down, and the Apple Music stream allows us rockers to do just that.

Young Lust opens the album with a high-octane tune full of raw energy that sets the tone with its driving guitars, rhythmic drumming, and bass performance as well as Steven Tyler's unmistakable vocal prowess.

F.I.N.E. as an acronym for “Fucked Up, Insecure, Neurotic, and Emotional” is bloody brilliant! The energetic pace, infectious riffs, and catchy chorus ensure that this playful number is not only a standout but an anthem-worthy tune.

Going Down / Love In An Elevator is one of the album's most famous tracks, combining a funky groove with rock sensibilities. The escapades in an elevator add a cheeky and memorable structure to the song's dynamic approach that keeps it engaging throughout. At its core, however, Love In An Elevator is a solid blues-based rock and roll tune that is a forerunner to Aerosmith’s Livin’ On The Edge from 1993’s Get A Grip.

Monkey On My Back is brilliantly distorted with gritty guitar work and a compellingly addictive rhythm that will see you head-bopping and toe-tapping throughout.

Water Song / Janie’s Got A Gun is an incredibly powerful song and another highlight from the album. Tyler’s vocals are particularly strong on this socially conscious tune that addresses issues of abuse and revenge. Perhaps the most appealing aspect of this song is that it can be appreciated for both its lyrical intent and musicality.

Dulcimer Stomp / The Other Side has an upbeat and infectious nature that’s hard to resist. The Dulcimer Stomp portion of the song provides the perfect segue into The Other Side; a song that is quintessentially, Aerosmith.

My Girl has a bluesy rock twist that, despite being modern, feels as though it could have been a 50s tune; one that would have set many a dance floor alight.

Don’t Get Mad, Get Even has one of the greatest didgeridoo performances, thanks to Randy Raine-Reusch, that has ever been recorded outside of the Indigenous Australian music scene. With a swaggering rhythm and sense of defiance, Don’t Get Mad, Get Even is a killer tune and is somewhat of a hidden gem for if you’re not familiar with Pump, you may have overlooked this masterpiece.

Hoodoo / Voodoo Medicine Man is a darker more experimental tune that features complex instrumentation and an eerie atmosphere. While it may very well shift the style of the album, especially as it applies to the introduction, the brooding intensity stands out as a unique element that envelops your soul and doesn’t let go until the final note.

What It Takes will appeal to fans who have been captivated by songs like I Don’t Want To Miss A Thing. Aerosmith's ability to blend emotional depth with rock balladry knows few peers and as a closing tune, it encourages me to play the album again. Plus, as it pertains to Aerosmith’s ballads, What It Takes is one of their best. One aspect, however, that I wish to lament about is Randy Raine-Reusch’s closing instrumental ‘Hidden Track’. I’ve never been a fan of hidden songs and while I’ve got used to hearing it on the back end of What It Takes, I simultaneously wouldn’t object to it being removed as I feel it detracts from an otherwise exceptional song and album.

Overall, Pump stands as one of Aerosmith's defining albums, representing a peak in their late 80s and early 90s career resurgence. Its blend of hard rock, blues, and ballads, combined with a polished production and memorable songwriting, make it a highlight in the band's discography. It is most certainly one of their very best.

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Queen – A Night At The Opera (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Neil Young & Crazy Horse – Zuma (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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Nazareth – Hair Of The Dog (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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