Subjective Sounds
Foreigner (Concert Review – 2019)
Ah, Foreigner. I have two very strong memories of Foreigner from my teenage years. The first is that their debut album, Foreigner is what I consider a perfect album. Every song is great and I can listen to it over and over again. The second memory is a bit different.
When I was in high school my mother wouldn't let me go to concerts. Once I graduated, however, I could do what I wanted. That summer Foreigner was playing at a local amphitheater, and my best friend and I were thrilled to be going. We sat on the lawn for the opening act, then traded tickets with two other people and sat inside for Foreigner. Foolishly we were standing on fold-down seats, since everyone was standing and we were (are) both vertically challenged. All of a sudden my friend throws her arm out to the side and I go flying backwards. Thankfully, a cute guy caught me from most likely breaking every bone in my body, and I tried to play it off as an "oops!" All that said to reinforce the idea that music has power, music can create wonderful, if not embarrassing, memories.
Foreigner was formed in 1976 and became a staple of top 40 radio. Even non-fans know the hits: "Hot Blooded," "Feels Like The First Time," "Cold As Ice," and "Head Games" are just a few of their monster hits that are still being played on the radio and streaming services. But the Foreigner of 1976, even the Foreigner of 1986 no longer exists. Why? No more original members.
Don't get me wrong-Foreigner puts on a great show. Kelly Hansen has been the lead singer since 2005. If he isn't an example of energy and enthusiasm then I don't know who is. The audience can tell the band is having a good time right along with them. Kelly turns the show into a singalong, gets people on their feet dancing, clapping, reliving their own memories. He sings all the hits as if he wrote them, as if he sang on the original. But he didn't. And that kept gnawing a bit at the back of my mind.
I enjoyed the concert, truly I did. Kelly asked the crowd to reach back to when they were in their 20s, when they rocked and partied and stayed up past 10PM! For a short time that night we were all the young person we used to be. I sang along. I smiled. I remembered.
Foreigner saved their biggest hit for the encore, "I Want To Know What Love Is," and brought out a local high school choir during the second half of the song. Kelly heaped praise on the group, then added, "I like to have the choir to remind people that we need to continue funding for music programs in school." Amen.
For a band with such a vast catalog, though, Foreigner needs to reach in and mix up the playlist a bit. Keep the hits everyone expects, then add a few more. My personal favorite "Long, Long Way From Home," "Blue Morning, Blue Day," "Headknocker," "That Was Yesterday," and "Say You Will" would be good choices. The show, sadly, was under 90 minutes so there's plenty of time to add a song or 3 to the set.
Sometimes, over the long life of a band, there are personnel changes. Kelly Hansen isn't Lou Gramm, but he's pretty close. I've seen Foreigner five times, four times just in the last three years. Would I go to another Foreigner concert? Of course, their music is the soundtrack of our lives. Plus it's a lot of fun. And I'm always up for a good concert!
Meat Loaf – Bat Out Of Hell II: Back Into Hell (Album Review)
Some albums become instant classics, not requiring the usual time + nostalgia equation. Bat Out Of Hell II: Back Into Hell was most certainly an instant classic as there isn't a bad song to be heard on this 1993 release while paying homage to the original Bat Out Of Hell album from 1977.
While one may suggest it was mere nostalgia that contributed to the success of this release, we have to remember that Bat Out Of Hell III: The Monster Is Loose was less than a stellar release and ultimately failed to captivate music lovers as Bat II did. Yes, there are many reasons for this, such as Jim Steinman's absence during the album's creation, even though a number of his songs were used. Of course, the legal dispute between Steinman and Meat Loaf, regarding the phrase Bat Out Of Hell, certainly didn't help and one has to wonder how much of Bat III was really about closing out the trilogy and how much was driven by the obvious capitalisation of the brand. While I'd like to suggest the latter is not a factor, if there is money to be made, sadly the powers that be will milk a franchise for all it's worth until they destroy it. As such, Bat III just doesn't have the soul of the original album, nor Bat II; even though the second instalment is an album that I consider to be the pinnacle of Meat Loaf's career and one which is, in my subjective opinion, better than the original masterpiece.
Yes, I acknowledge my aforementioned declaration of love for Bat II is likely to ruffle some feathers, but one must remember that Bat II was my first exposure to Meat Loaf and the moment I saw the music video for I'll Do Anything For Love, (But I Won't Do That), with its epic motorcycle revving introduction and the lustful Dana Patrick, I was hooked.
Of course, I'd go on to own Meat Loaf's entire catalogue. Yes, even those albums that I'm sure Meat Loaf would regret having recorded and released. I am a collector, after all. Nevertheless, when I wanted my Meat Loaf fix, throughout the 90s, I'd turn to Bat II as it is a killer album from start to finish without a single B-Side to be found. Yes, Wasted Youth and Back Into Hell are minor distractions, but they ultimately suit the album's styling adequately enough that they don't feel too out-of-place.
Speaking of things being out-of-place, I even tried to woo a girl with this album as the teenage mind believed that music could be a great icebreaker. Well, it kind of was but truth is often stranger than fiction and this particular girl asked if she could borrow the CD after hearing me casually discuss it with another friend at the time. I said sure and took the CD from the portable CD player, placed it back into its case, and handed it across.
The golden brown locks and those hazel eyes captivated me and like many testosterone-driven teenage boys, I was sure this was going to be my foot in the door.
A couple of days later, I got the shock of my life, as she returned the CD to me and merely said thank you. Of course, being a massive music nerd, I couldn't leave it at that, I had to enter the interrogation mode and find out what she thought of it. I quickly found out she didn't even listen to it. Her father was a huge Meat Loaf fan and didn't yet have the album. Of course, I was assured that he liked the album.
Yes, dear reader, I was rejected and my heart was broken and life as I knew it would never be the same again. Okay, maybe that is a little overdramatic, but it is truly amazing how rejection, for any reason, can impact the psyche of the teenage mind.
Of course, a quarter of a century later, I no longer feel rejected by it. In fact, I find it hilarious that I could have even pondered such a notion, although not much as changed as I'm fast approaching 40, getting ready for my midlife crisis, only imagining the ludicrous stories I will be able to tell you upon reflection in the years to come. That, however, is another lifetime away and until then, let's take a look at the songs that make up Bat Out Of Hell II: Back Into Hell.
I'd Do Anything For Love (But I Won't Do That) has an exceptional opening that is simply unmistakable. While some may lament the extensive radio play that this song has received, I still find that it's fresh and the intro, if nothing else, is one of the greatest in the history of rock and roll. Nevertheless, I put I'd Do Anything For Love (But I Won't Do That) in the same category as Paradise By The Dashboard Light; it is pure perfection and should be part of everyone's power ballad playlist.
While, obviously, this is primarily a Meat Loaf review, credit must be given to Lorraine Crosby for the incredible vocal prowess she delivered on this track. Meat Loaf is good, but with Crosby, he and I'd Do Anything For Love (But I Won't Do That) is great!
I'd Do Anything For Love (But I Won't Do That) also won a Grammy Award for the Best Rock Vocal Performance, Solo in 1994 at the 36th Annual Grammy Awards, beating out Peter Gabriel's Steam, Sting's Demolition Man, Bob Dylan's All Along The Watchtower, and perhaps most surprisingly Lenny Kravitz's Are You Gonna Go My Way.
If you'd like to cross into an alternate reality, the symphonic metal band Xandria recorded an exceptional cover of I'd Do Anything For Love (But I Won't Do That).
While I haven't viewed the music video for a couple of decades, it's still rather compelling. Although, I don't find it as captivating and mystical as I did in my teenage years. Isn't it interesting how as we age, our viewpoints change? In its heyday, I recall watching the music video back to back for hours at a time; that poor VHS tape. Of course, if I'm to be completely honest, I was most probably more captivated by the beauty of Dana Patrick than any other aspect of the music video. Nevertheless, it's still worth checking out and hasn't really aged despite drastic changes in filmmaking during the last couple of decades. Perhaps we could put that down to the vision of Michael Bay who directed all Meat Loaf's music videos during this era. Of course, the music video, and associated radio mix is truncated as the original song is a 12-minute epic. It's a shame as the shift is noticeable in the music video, especially if you're familiar with the original album release.
Life Is A Lemon And I Want My Money Back is my all-time favourite Meat Loaf song. It is rock and roll 101 and the poetic delivery, mixed with the sarcastic and ironic has always appealed to my slightly left-of-the-centre mindset. I love it!
Rock And Roll Dreams Come Through is a great tune, but it has aged significantly and no longer feels as fresh as it once did. Nevertheless, it is one of my favourite songs on the album but may not appeal to modern fans of Meat Loaf.
Of course, you may be familiar with the Jim Steinman original, released on his 1981 release, Bad For Good and sung by Rory Dodd. Dodd is no Meat Loaf, from a vocal perspective, but I thoroughly enjoy this original and in this case, I consider it to be a published demo. There's a music video for this original and it's so bad that it's good! Dodd doesn't appear in the music video as Steinman delivers lead vocals via lip syncing that is surprisingly convincing.
The Meat Loaf music video isn't bad, but it isn't the greatest either. Of course, at the time, I thought it was wonderful. Hey, come on, it featured Angelina Jolie; what else was I to do as my teenage mind took control of my likes and dislikes. I know you've been there too, dear reader, there's no use denying it.
It Just Won't Quit shifts the flow of the album and while musically It Just Won't Quit is glorious, I find the flow of the album is adversely affected by this song. Of course, once the song gets going, things start to pick up and therefore it has me wondering if we really needed the slow, near-acoustic, introduction or if the song could have started more promptly. Although, I do thoroughly enjoy the closing element that bookends the song in the same manner as the introduction, so you can't necessarily have one without the other. Perhaps you could, but it wouldn't be the same and there is certainly a balance that works with this edition.
It Just Won't Quit is another cover for Meat Loaf as it was originally recorded and released by Pandora's Box on their 1989 release, Original Sin. The Pandora's Box original isn't bad, but I do prefer Meat Loaf's cover.
Out Of The Frying Pan (And Into The Fire) has a killer guitar track. Yes, dear reader, get your air guitar ready, you're going to need it. In fact, the entire song is fantastic and one of the best on the album and in Meat Loaf's catalogue.
Jim Steinman originally released Out of the Frying Pan (And into the Fire) on Bad For Good. Steinman's version isn't appealing, but one can certainly see the origins of what the song would become.
Objects In The Rear View Mirror May Appear Closer Than They Are is a beautiful song from start to finish. While I enjoy Meat Loaf's louder, more rock-driven songs, the guy has an incredible vocal prowess that works brilliantly with Steinman's near-symphonic songwriting style.
…and yes, every time I look at the bottom of the rear view mirrors on my car, and notice the safety message, I'm reminded that I should put this album on and rock out to Objects In The Rear View Mirror May Appear Closer Than They Are.
The music video is, as the song is, a rollercoaster ride of emotions that is true to the song and visually appealing. Yes, dear reader, once again as I was a teenager when this album and the subsequent video clip was released, the scene depicting an older woman teaching the younger man about the mystery and the muscle of love was likely at the forefront of my experience with this song. In fact, in my own life, I would gravitate to a beautiful woman some nine years older than myself. Well, will you look at that, life really does imitate art!
Wasted Youth is one track that I have a love/hate relationship with. I'm not sure I would call it a song. Although, if viewed in similar styling to Lou Reed's work, then perhaps it could be classed as a song. That said, it isn't a bad parable and flows well into Everything Louder Than Everything Else, but one must question if it adds any intrinsic value to the album.
Everything Louder Than Everything Else is a solid riff-driven rock and roll song that was never going to set the world on fire but is thoroughly enjoyable when it comes on. Of course, it could just be a welcome inclusion following Steinman's spoken word Wasted Youth. Okay, maybe I'm being a little too harsh on Wasted Youth, it really isn't that bad, but it does break the flow of the album.
Good Girls Go To Heaven (Bad Girls Go Everywhere) is jazzy rock and roll. I love it! Seriously, what's not to like? Turn the volume up and enjoy!
As with It Just Won't Quit, Good Girls Go To Heaven (Bad Girls Go Everywhere) is another Pandora's Box cover. The original is solid, reminding me of many Bonnie Tyler songs. Yes, Meat Loaf's version is the one to beat, but Pandora's Box really recorded an exceptional original. Released as a single, the Pandora's Box version also had a music video made which is rather good but seriously dated to the time. Seriously, check it out and you'll see what I mean.
Back Into Hell is an interesting instrumental track that works well on its own, but does it really work well in the album format? Over the last couple of decades I've become familiar with it, so removing it now would not be an option. However, as with Wasted Youth, one can't deny that it shifts the flow of the album.
Lost Boys And Golden Girls is pure Meat Loaf. His vocal tracking on Lost Boys And Golden Girls is superb and the song is a perfect classical-styled rock song, ensuring I remain in Meat Loaf's catalogue and listen to the album again. In fact, as I think about it further, I would say Lost Boys And Golden Girls is the one song that links Bat Out Of Hell II: Back Into Hell to the original Bat Out Of Hell.
Lost Boys And Golden Girls was also originally recorded and released on Steinman's Bad For Good. As much as I love Meat Loaf's rendition, Steinman performs it masterfully.
Overall, Bat Out Of Hell II: Back Into Hell is one of the greatest rock and roll albums of all time. Yes, I know that praise is often given to the original Bat Out Of Hell, but the collaboration between Meat Loaf and Jim Steinman on this second instalment is beyond reproach. Rock and roll, truly, doesn't get much better than this!
This review was based on listening to the Apple Music stream and the CD release. Sonically, both are sensational and you won't be disappointed with the mastering on this release; a stark contrast to the original Bat Out Of Hell. However, sadly, the CD copy I own has very faded artwork that makes me wonder how it got past quality control checks. It's tragic considering just how beautiful Michael Whelan's artwork is.
I'm also fortunate enough to have a double cassette release of Bat II that was issued when Meat Loaf toured Australia. Unfortunately, I haven't got a cassette deck anymore, so it sits staring at me in hope that the cassette revival will reach critical mass and I will come back to a format that I adore and grew up with. If money were no object, I'd likely buy a good Hi-Fi cassette deck on the secondhand market; cause I've gotta have the best hardware possible to play the four cassette tapes remaining in my collection. Nevertheless, will you just look at that cover. I thought the original cover was spectacular, but I love the darker, hell-inspired cover art of the limited edition release.
The cassette, of course, includes the entire album on Cassette 1, while the second cassette includes live editions of Bat Out Of Hell, You Took The Words Right Out Of My Mouth, and Everything Louder Than Everything Else; repeated on both sides. Liner notes, however, are not included, which is a shame, but not entirely unexpected given the change in format and limited nature of the release. I seem to recall there was also an outer cardboard slipcase when I first got the album, but if that were the case, the slipcase is long gone and likely would have got battered up from the various moves I've done throughout my life.
Speaking of the varied formats, I really need to pick up a copy of the 25th Anniversary vinyl re-issue. Let's just hope it isn't as flawed as my release of Bat Out Of Hell was.
Bat Out Of Hell II: Back Into Hell is available to own on Vinyl, CD, and iTunes.
Click here to read other Meat Loaf reviews by Subjective Sounds.
Fleetwood Mac – Concert Review
When I was in high school, Fleetwood Mac released their seminal album, "Rumors." Every song was a gem, and everyone I knew owned a copy. Everyone. It won a Grammy in 1978 for album of the year. Over 40 years later, Fleetwood Mac is still performing many songs from that album, but with a slightly different group lineup. Recently they were appearing in my neck of the woods, so of course I had to be there!
Lindsey Buckingham was unceremoniously fired from the band in early 2018 and was replaced by Neil Finn, of Split Enz and Crowded House, and Mike Campbell, guitarist extraordinaire from Tom Petty and the Heartbreakers and Mudcrutch. I was worried that even though Finn and Campbell are talented musicians, would they be able to replace what Buckingham brought to the group. By the end of the evening my answer was no, not totally.
Let's start with the overall concert. For just over two hours, Fleetwood Mac gave fans everything they had, singing hit after hit to an adoring crowd. Singalongs were common throughout the evening. One of my favorites, "The Chain" started off the show and set the tone for the rest of the night: a mutual lovefest between artist and fans.
Neil Finn took over Buckingham's vocals, with mixed success. He was enthusiastic and animated, but his voice doesn't have Buckingham's strength. Finn's best performance was a duet with Stevie Nicks, "Don't Dream It's Over," Finn's hit with Crowded House. As for Mike Campbell, he gives Lindsey Buckingham a run for his money in the "shredding guitar" department. If you've seen Campbell perform with Tom Petty you know what I mean.
The highlight of the evening was Stevie Nicks singing "Landslide" while Neil Finn played acoustic guitar. Nicks dedicated the song to a young girl in the front row, telling her she can do anything she sets her mind to. Cell phone flashlights were prominent as the audience swayed and sang.
Another highlight for me was my all-time favorite Fleetwood Mac song, "Gypsy." Stevie Nicks, dressed in black and with plenty of flowing scarves, twirled and spun as she did in the magical videos played on MTV and VH1. (Remember when those stations used to play music videos? Now they're just sweet memories…)
Christine McVie sang lead on "Little Lies," "Say You Love Me," "Everywhere," and "You Make Loving Fun." While her piano skills are there her vocal skills are not. I saw Fleetwood Mac in 2017 and thought so then. McVie's voice has no strength and wasn't always on key.
The last song of the set was "Go Your Own Way." It started out rough on the vocals, but they brought it home in the second half of the song.
The three-song encore began with a beautiful tribute to Tom Petty. Photos of Petty were shown on the video screen at the back of the stage while the band performed an emotional version of "Free Fallin." It was sad and glorious at the same time. As a huge Tom Petty fan, those photos brought tears to my eyes.
Is it time for Fleetwood Mac to hang up their instruments and call it quits? That's hard to say. I've seen the band three times, all with different iterations of members. The first time was without Christine McVie. This time there was no Lindsey Buckingham. My favorite Fleetwood Mac concert was the second one I saw, with all the members most of us know: Stevie Nicks on vocals, Christine McVie on vocals and keyboards, Lindsey Buckingham on vocals and guitar, John McVie on bass guitar, and Mick Fleetwood on drums. That's the Fleetwood Mac of my youth, the Fleetwood Mac I sang along with, the Fleetwood Mac I remember. If you've never seen them in concert, I would say go, as they may not tour again. It will be worth it.
Eagles – Eagles Live (Album Review)
Live performances are a mixed bag. This is a key reason why I avoid going to concerts. I simply don't want to come away disappointed, following a lacklustre performance. However, with an increase over the years in lip-syncing, the question regarding what constitutes a live performance yields intriguing results. However, what happens if the artist in question is such a perfectionist that they are determined to release a live recording that has its origins based in a series of live performances but thanks to excessive overdubbing can no longer really be regarded as a live performance. Well, the Eagles did just that on their first live album, released in 1980, Eagles Live.
Now, as much as I love this release, it pales in comparison to the sonic prowess of Hell Freezes Over. That said, Eagles Live is thoroughly enjoyable as it has the spit and polish that only studio overdubbing could accomplish. It is disappointing to acknowledge that this release needed significant post-recording modifications in order to bring it up to the Eagles' demanding standards. While I lament the obvious notion that this isn't completely a live performance, I also applaud the work done here as the Eagles were facing internal turmoil during this release, resulting in the overdubs being done in different studios, in different locations, across the United States. It's honestly a miracle that any live album resulted and it showcases just how good the production team was in getting the sound so good with such obstacles in their way. There is little doubt that the modern era of digital recording has made these types of multi-location collaborations easier and more fluid, but Eagles Live plays so fluidly that only the most observant fans will notice the additional production elements. The rest of us will enjoy the album for what it is. A compilation of the Eagles very best songs, played live but perfected in the studio.
Hotel California (July 29, 1980, Santa Monica) is an exceptional song, but this rendition sounds concealed and while the performance is worthy of inclusion, you'd think with all the post-production aspects of this release that this would sound significantly better than it does. Regardless, if you want to hear what I believe to be the very best version of Hotel California, then you need to check out the recording on Hell Freezes Over. That said, it's Hotel California; what's not to like?
Heartache Tonight (July 27, 1980, Santa Monica) is, as I've mentioned before, an exceptional song and this live rendition is no exception. I subjectively enjoy this rendition more than the studio release on The Long Run, as the treble is dialled back on this version and subsequently is less shrill than the original. A minor detail, yes, but one that is important to me and may be important to you as well.
I Can't Tell You Why (July 28, 1980, Santa Monica) is simply glorious. I don't know about you, but I could listen to Timothy B. Schmit on vocals all day. Yes, this rendition, as many are on this live album, is very close to the original studio release, but when music is this enjoyable, it ceases to matter as I just sit back and enjoy the experience.
The Long Run (July 27, 1980, Santa Monica) isn't one of my favourite Eagles' songs and this live rendition doesn't really change that opinion, although the brass instrumentation is fantastic. Overall, it isn't fundamentally bad, it just isn't a song that I feel I need to listen to. That said, I won't skip it when it comes on.
New Kid In Town (October 22, 1976, The Forum) is, for me, similar to The Long Run. Although, I do have to say that I thoroughly enjoy this rendition. Again, the treble region has been rolled off and I don't know about you, but that is appealing to me as the music just sounds right with a slightly reduced treble range.
Life's Been Good (July 29, 1980, Santa Monica) is a killer rock and roll song from Joe Walsh's solo catalogue, first appearing on But Seriously, Folks, that offers a flawless transition on the album. Given the egos associated with the Eagles, I find it refreshing to see that Walsh's solo efforts didn't go unnoticed.
Seven Bridges Road (July 28, 1980, Santa Monica) is a cover of the Steve Young classic. Young's original is fantastic, but the intermingling vocal harmony of the Eagles takes Seven Bridges Road to another level of sonic perfection. Either way, whichever edition you listen to, you're bound to love this song.
Wasted Time (October 22, 1976, The Forum) is one of my all-time favourite Eagles' songs. Absolutely brilliant and a welcome addition to this live album.
Take It To The Limit (October 20, 1976, The Forum), on this live release, is stronger than the original on One Of These Nights as the mix, this time, just sounds right. Whereas, I've always felt the mix was a little unbalanced on the original studio release.
Doolin-Dalton (Reprise II) [October 21, 1976, The Forum] is a lovely, albeit brief, interlude.
Desperado (October 21, 1976, The Forum) is, as I've mentioned before, one of their greatest songs and is translated to the live performance masterfully; albeit with a little post-production. Nevertheless, it is an exceptional song and I consider this rendition to be one of the very best versions of the song I have ever heard the Eagles perform.
Saturday Night (July 28, 1980, Santa Monica) has, as I've mentioned before, perfect harmonics that make for a lovely song that flows perfectly from Desperado.
All Night Long (July 27, 1980, Santa Monica) is another Joe Walsh solo classic. I absolutely love it!
Life In The Fast Lane (July 31, 1980, Long Beach) is fantastic. That rhythm and riff are incredible but I'm not a fan of this live interpretation as I feel the studio release, on Hotel California, is significantly stronger. In some ways, however, this live rendition may be the most live song from this album as the differences are more pronounced than that heard on other songs.
Take It Easy (July 27, 1980, Santa Monica) is always great and closing out this live album with it is perfect as it encourages me to listen to the album again and stay within the Eagle's catalogue.
Overall, Eagles Live is an extraordinary release that while not entirely live, is a welcome addition to the Eagles' back catalog. While one may decide not to listen to, or purchase, this album because of the overdubbing throughout, I would argue that it can still be enjoyed and quite frankly given I dislike live performances that are lacklustre, I'm glad a little spit and polish can be applied in order to improve the audio quality and performance. There is nothing worse, in my opinion, than hearing a live performance sound so different to the studio release that you question if the live record was recorded by a cover band. That said, lip-syncing acts have to be abolished as it's an insult to the concert goer who attends primarily for the atmosphere associated with a live performance and pays extensively for that privilege. By comparison, the individual who buys or listens to a live album knows instinctively that some production has gone into the final product and unless you're into the bootleg scene, acknowledges that live is not necessarily as live as the artist, record label, and associated marketing would like us to believe.
Eagles Live is available to own on CD and iTunes.
Eagles – Desperado (Album Review)
A year after their astonishingly good Self-Titled debut, the Eagles returned with Desperado; an album arguably leaning more towards a country-styling, than their debut, as they focused on the old west in American culture. Considering Desperado as a concept album, one can't help but see a correlation between Desperado and Elton John's similarly themed 1970 released Tumbleweed Connection. Perhaps the Eagles copied that concept, but if that was ever an element, it has never been discussed to my knowledge. Either way, as a fan of the old west, when the theme is done well, as it is in this case, it can be extraordinarily rewarding for the listener.
As a life-long fan of the Eagles, Desperado was always going to be a must-own release for my collection and the copy I am fortunate enough to own is the 2014 vinyl reissue. Sonically, it is a beautiful reproduction that is dynamically pleasing with an incredible soundstage that is as wide as it is deep. I love it when the speakers disappear, and I become immersed in the music. Part of the immersion can also be attributed to the album artwork that is striking in its presentation and this particular reissue has a textual cover, reportedly the same as the original 1973 vinyl release. At least it isn't a fingerprint magnet like those albums released by Music On Vinyl (MOV); they look stunning and are very well pressed, but over time the fingerprints weaken the artwork. While the red text, on the near-black background looks a little washed out and therefore more difficult to read, it is a major improvement over the Self-Titled debut whereby the text was basically unreadable.
While the re-issue was marketed as replicating the original artwork, the album label is different to the original releases I've seen whereby they had the plain white background, this edition has the clouds background. It isn't really an issue, but I do appreciate authenticity. It would have been incredible for the record label to match the texture of the record sleeve but I'm not even sure if that can be technically achieved, as the labels are applied during the heat/moulding stage, but it is nevertheless cool to think about.
The record itself comes in a lovely static free inner sleeve, black in colour with a clear centre. While the music itself is paramount, both sides of the album are mastered and pressed perfectly. This is certainly a re-issue that I would recommend to any fan of the Eagles.
SIDE ONE
Doolin-Dalton is incredibly compelling. That harmonica just reaches into my soul every time I listen to this masterpiece. It's also important to note that it is less harsh on the vinyl version when compared directly to any of the digital counterparts.
Twenty-One is too 'country' for my liking. The banjo is an acquired taste and while I don't dislike it, I feel it is played too fast for this song and subsequently it's as though I'm listening to two different songs when Twenty-One starts playing.
Out Of Control is a solid rock song that I feel would have sounded better on On The Border, just as James Dean does. If you didn't know, James Dean was recorded for Desperado but held back at the time as it didn't match the album perfectly.
Tequila Sunrise, as I've said before, is a beautifully relaxing song that gets better the more often I hear it. I don't know as I could ever tire of this song as it uses every part of the soundstage to ensure you're enveloped in sound. Amazing!
Desperado, having not been released as a single, has become a fan favourite and is one of the Eagle's very best recordings. Vocally it is a little rough around the edges, but that gives the song character and I couldn't imagine it with any more spit and polish.
SIDE TWO
Certain Kind Of Fool is fantastic. The perfect guitar strum. The perfect tempo. The perfect vocal delivery. Certain Kind Of Fool is a hidden gem that casual fans would likely miss but is undoubtedly one of the best songs on the album.
Doolin' Dalton (Instrumental) is a distraction and while it flows well into Outlaw Man, Desperado would have been fine without this deviation. Interestingly, this instrumental track has never been listed on the back of the record sleeve. It is written on the record label, however. Other than a typo that has remained consistent throughout the years, I can't help but wonder why this may be the case.
Outlaw Man is a killer song with a spectacular soundstage and while positioned on the B-side of the album, it's an A-side in my opinion. I love it! On a side note, this song would have been perfectly suited to Fleetwood Mac; Rumours era.
Saturday Night is a lovely ballad. Perfect harmonics and just an all-around great song. As good as some of the tracks on Side One are, it is really the second side that makes Desperado a must-own album. Astonishingly good!
Bitter Creek is one of my all-time favourite Eagles songs. You may not have heard it before as it is unlikely to be played live and doesn't appear on any of the Eagles' career perspective releases, but there is something very special here. The simplicity of that guitar strum and intermingling vocal, interspersed with the harmonies, is nothing short of amazing.
Doolin-Dalton (Reprise) is enjoyable but I would have been extremely happy if Bitter Creek was the final song on the album. I've never been much of a fan of the reprise, as I would generally prefer to hear the original track again, however, I do enjoy the electric guitar tracking instead of the harmonica as it creates a unique experience that works remarkably well.
Similarly, Desperado (Reprise) builds upon the original song without disrupting the magic that made the original so special. It's a perfect way to close the album, ensuring I'll listen again and stay within the Eagles' catalogue.
Desperado is an album of hidden gems, combined with a few hits and a couple of misses. However, it all comes together in a coherent album that is thoroughly enjoyable and worthy of the Eagles.
Desperado is available on Vinyl, CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes (Mastered for iTunes).
If you prefer streaming, Desperado is available on TIDAL Hi-Fi and Apple Music.
Air Supply – The Ultimate Collection (Compilation Review)
Who doesn't like a good ballad? Yes, you in the corner, I see you rolling your eyes, not willing to admit you're a ballad junkie. That's okay, it can be difficult for some of us to acknowledge our emotions, but Air Supply's ballads are just so addictive and easy to sing-along to that even the most emotionally guarded individual will feel compelled to join in, especially when no-one else is watching. It's a great feeling, isn't it? Don't worry, dear reader, this will be just between us, for the magic would be lost if anyone knew our little secret.
Few artists do ballads as well as British–Australian soft rock group Air Supply, but it would be naive to pigeonhole them into that category for their orchestral soft rock styling is so expansive that their peers are a who's who of soft rock culture from the last four decades. While their prime is arguably behind them, their songs, including those written by others, remain timeless and recognisable. Perhaps that is why I'm drawn to The Ultimate Collection because, as the title suggests, it really is the epitome of their creativity.
Love And Other Bruises is an interesting song to commence this career perspective release on as it isn't necessarily one of their best or most popular tunes. Nevertheless, the musicality is there, resulting in an enjoyable beginning to an exceptional collection of songs.
Bring Out The Magic is the reason I suggested it naive to class Air Supply as a ballads-only band. This is soft rock at its finest.
Lost In Love is beautiful!
All Out Of Love is a stunning composition and one of the greatest ballads ever written and recorded.
Every Woman In The World is another stunner. Absolutely sensational!
Just Another Woman offers an interesting shift into the disco-era and immediately reminds me of Elton John's Victim Of Love as the two were somewhat unexpected but thoroughly enjoyable. Just Another Woman is fantastic and despite the shifting style, the song is absolutely worthy of inclusion.
Chances returns the compilation to its ballad-based roots and is thoroughly enjoyable with a vocal presentation that is off-the-charts. The slow build works exceptionally well, and Chances is simply amazing to listen to.
The One That You Love is sonic gold! It may sound like a cliché, but they don't write songs like this anymore. Plus, that drum track is amongst my favourites of all time, only bested by Phil Collins' In The Air Tonight and Dire Straits' Money For Nothing.
Here I Am is badly placed as the lyrics of The One That You Love also includes the phrase, here I am, throughout. Nevertheless, Here I Am is a lovely ballad that I never tire of. The soundstage and sonic depth of Here I Am is exceptional with a drum track that I adore.
Sweet Dreams is epic! My recommendation is you turn the volume up when this song comes on, you'll thank me later. Sweet Dreams is one of the best songs ever recorded and that guitar solo and vocal interlude is absolutely incredible.
I'll Never Get Enough Of You is exceptional!
This Heart Belongs To Me has a great dual tempo that allows the listener to experience this song in a non-traditional manner, thereby making it truly subjective. This is yet another Air Supply song where the drum tracking is superb. I love it!
Keeping The Love Alive is, as this entire compilation is, exceptional!
Even The Nights Are Better is a song that reminds me of the Carpenters, especially with the vocal styling. That's, of course, a positive reflection as I adore Karen Carpenter's vocal.
Now And Forever is musical perfection. This truly is the ultimate Air Supply collection.
Two Less Lonely People In The World is remarkably good and sounds as fresh today as it did when first released on Air Supply's 1982 release, Now And Forever.
Making Love (Out Of Nothing At All) is a Jim Steinman classic power ballad and is an incredible Air Supply song. I find that I'm torn between this original recording and Bonnie Tyler's rendition as both are exceptional.
Young Love is a lovely song and that dual vocal presentation is simply amazing, as is the entire musicality of the song.
Come What May is a great tune with an incredible soundstage and presence that fills the room. If all music was recorded and mixed this well, we'd never stop listening. As the closing track on The Ultimate Collection, it certainly compels me to listen to the compilation again and stay within Air Supply's back catalogue.
There is little doubt regarding my love of Air Supply and The Ultimate Collection release. It is so good that everyone should have a copy in their collection. Unfortunately, it has yet to receive a vinyl release and while I'm not opposed to picking it up on CD, the TIDAL Hi-Fi CD-quality stream is more than adequate.
The Ultimate Collection is available on CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes.
If you prefer streaming, The Ultimate Collection is available on TIDAL Hi-Fi and Apple Music.
Eagles – Self-Titled (Album Review)
Some of the most interesting albums are debuts as they can either make or break an artist. Regardless of the outcome, it's always interesting to see how the artist evolves over time, especially from a retrospective viewpoint. That said, I don't believe I'd be wrong in suggesting that the Eagles had already found their sound on this Self-Titled debut and went about refining their talent on each subsequent album.
Album covers in the 70s were probably as unique as they have ever been, with artists and record labels seeing what would work and what wouldn't on the large vinyl canvas. The Eagles' debut is no exception as the cover would not only encompass the bands country meets rock musical style perfectly but would fold out to a larger poster that one could hang or admire while listening to the album. Over the years, the Eagles' Self-Titled release has been reissued numerously and the edition I'm fortunate enough to own is the 2015 vinyl re-issue with the original album artwork. Yes, it looks impressive, but as the record doesn't sit in a dedicated enclosure, one has to be careful not to pick the record up, out of its outer sleeve, and watch as the record slips from one's hand across the room. Okay, so perhaps that's an exaggeration, but if you're new to vinyl, these unique designs can be a challenge when dealing with the larger format.
The inner sleeve is plain and somewhat lacklustre if I'm to be honest. The red text on the natural background is incredibly difficult to read and subsequently wasn't really well thought out in my opinion. The label itself is plain but elegant. Yes, even though I use the Audio Technica AT-618 LP Stabilizer, I love looking at the record labels. I even lust over compact discs and in a bygone era, it wasn't uncommon for me to appreciate the designs of the compact cassette. I'm not sure why it's such a fascination, but I find it a thoroughly enjoyable part of the record collecting process.
Of course, as impressive as the record looks, it would be for nought if the audio quality wasn't up to par. Well, I think we can all agree as to just how sonically stunning the Eagles are, and this debut is no exception. The record is as black as the ace of spades, perfectly flat, and has no noticeable inner groove distortion or surface noise. While purists may lament that a significant majority of reissues are being sourced from high-resolution digital files, rather than the original master tapes, the pressing of this 2015 reissue is flawless with a full analogue sound that simply has to be heard to be believed. I have compared both the TIDAL Masters (MQA) and Apple Music (Mastered for iTunes) editions against the record and you won't see me part with this vinyl record anytime soon. Yes, it is that good and for fans of the band, I highly recommend this particular reissue.
Take It Easy, as I've mentioned before, is perfect for a country drive. When I hear this Eagles standard, I can only imagine the excitement of fans when they put the record on for the first time in 1972. It must have blown their minds for it still astonishes me to this day as to how developed the musicality of the Eagles is on this debut. In many respects, it's good that Jackson Browne was unable to finish the song and required Glenn Frey's involvement. I simply couldn't imagine the Eagles debut without Take It Easy. Jackson Browne did, however, record a rendition for his 1973 album, For Everyman, and while it's a lovely interpretation, that doesn't stray far from the Eagles' original, Browne's interpretation failed to set the world on fire as the Eagles' version did.
Witchy Woman is a killer track that really showcases just how well the vocal harmonies of the Eagles members flow together. Witchy Women is, in many respects, the perfect classic rock song that encompasses many musical eras and styles. Seriously, I could be here all day just listing them, but let's just enjoy listening to this absolutely amazing tune, shall we?
Chug All Night is a slow starter but develops into a solid song that is thoroughly enjoyable. While it may not be a fan favourite, the album wouldn't be the same without the frantic beat and low volume harmonies that are off-the-chart. A great rock song!
Most Of Us Are Sad is sensational! The drum and bass track blow my mind, as does the guitar strumming and vocal harmonies. Music doesn't get much better than this.
Nightingale was almost not included on the album as producer Glyn Johns felt it was substandard. One could hardly argue with him as it is filler, a B-side at best, but the record label, in this case, won and it's of course included. In reality, it isn't fundamentally a bad song, it just isn't to the same calibre as the other songs on the album.
Train Leaves Here This Morning is a lovely country-focused tune that has a beautiful soundstage and depth that envelops you in sound.
Take The Devil is one of the best songs on the album, and in the Eagles catalogue, that very few know about as it doesn't make an appearance in live performances or on career perspective releases. The rhythm is seriously addictive, and the musicality of the entire recording is uncompromising.
Earlybird has a fun little entrance, but it can be equally infuriating if you're not in the mood for those chirpy bird sounds throughout. Nevertheless, while it may be a B-side, it's a solid song that fits well with the style of the album.
Peaceful Easy Feeling is a lovely song, but as I've said before, the guitar twang mid-song is a little too high pitched for my liking and I subsequently find it distracting. A shame considering it is an otherwise exceptional song with yet another beautiful vocal presentation.
Tryin' is a solid song to close the album with. Nothing to write home about, but a perfect B-side if there ever was one. Tryin' certainly makes me want to listen to the album again and stay within the Eagles' extensive catalogue.
The debut Self-Titled Eagles album is astonishingly good from start to finish and shows a band with a sound signature that would take others years to develop. It really is one of their greatest albums and even if you're a casual fan, you'll find something to love on this Self-Titled debut.
Eagles – Self-Titled is available on Vinyl, CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes (Mastered for iTunes).
If you prefer streaming, Eagles – Self-Titled is available on TIDAL Hi-Fi and Apple Music.
Elton John – Leather Jackets (Album Review)
Leather Jackets failed to set the world on fire from both sales and critical review perspectives, but was Leather Jackets just a quick-to-market money-spinning effort, with leftover songs from the Ice On Fire recording sessions, or are there a few hidden gems to be heard? Let's find out!
Leather Jackets is your classic bad 80s pop song, but it's so bad that it's good!
Hoop Of Fire changes the tempo of the album significantly, but it's a beautiful song.
Don't Trust That Woman has a toe-tapping tempo and a rather compelling chorus, but the Caribbean styling is a little too subdued and I feel the song could have been stronger if it had focused more on that sonic signature.
Go It Alone is another song, that I thoroughly enjoy, with a stellar rhythm. Yes, it is lacking a little spit and polish, but that is strangely appealing for this song.
Gypsy Heart is, as many of the songs are on Leather Jackets, a B-side. However, it's a lovely song that is worthy of inclusion in John's back catalogue.
Slow Rivers could have been exceptional, especially with the combined talents of John, Bernie Taupin, and Cliff Richard. Sadly, it's a missed opportunity and a lacklustre song.
Heartache All Over The World is average at best, and that is being generous. It's just bad and when Johns sings Girls, Girls, Girls, all I think of is Mötley Crüe's Girls, Girls, Girls; an infinitely better song.
Angeline has a terrible opening and the song sadly doesn't get any better as it progresses.
Memory Of Love isn't bad if it was a demo. There is a beautiful song hidden here, it's just a shame John wasn't in the right headspace when recording this album.
Paris is musically and lyrically boring. One of the worst songs on the album and one of John's most disappointing recordings. It's unstructured and from a composition standpoint is a convoluted nightmare.
I Fall Apart is adequate to close the album with, but it doesn't compel me to listen to Leather Jackets again or stay within John's catalogue. That said, there are some exceptional songs, as referenced throughout this review, to be heard on this album.
Without a doubt, Leather Jackets is the perfect album for the streaming era as one can add songs of interest to a playlist. While I remain a fan of the album format, I can't help but be envious of the younger generations and their digital playlists, for us old-timers would have had to buy an entire album to get maybe one or two worthwhile tracks. I'd like to say that didn't happen very often, but I have many albums with only one killer song. Perhaps that is why I have become increasingly interested in compilation releases as well as favouring streaming.
For this review, I listened to the TIDAL Hi-Fi (CD-quality FLAC) edition and the Apple Music stream. The difference was negligible as the mastering is a little concealed and arguably muffled on both platforms. Hence, any improvement the lossless TIDAL stream may have had over Apple Music becomes irrelevant. Leather Jackets really needs to be remastered, but that would do little to make this album more compelling. While it's a shame that Leather Jackets isn't a stronger album, there is enough enjoyable music here to listen to the album from time to time.
Leather Jackets is available on CD, the TIDAL Store (16/44.1kHz FLAC) and iTunes.
If you prefer streaming, and for this album, you should, Leather Jackets is available on TIDAL Hi-Fi, Apple Music, and Spotify.
Click here to read other Elton John reviews by Subjective Sounds.
Elton John – The Fox (Album Review)
Longtime readers would likely be aware of my admiration for Elton John's back catalogue, especially those albums that didn't get the recognition they deserved. However, I also call a spade a spade and while a number of the songs featured on The Fox were from the recording sessions of the exceptional 21 At 33, sadly the sparkle of that album failed to make it to The Fox. That's not to say that The Fox is categorically a bad album, but it is a collection of B-sides. Of course, a B-side for Elton John would be akin to a hit for many other artists, therefore, one shouldn't be too harsh in their assessment of this album; even if the cover is uninspiring and obscure. Nevertheless, let's listen to the music and see if there are any redeeming qualities that may appeal to listeners other than John's diehard fans.
Breaking Down Barriers isn't a bad tune, the musicality is beautiful with an addictive beat, but it lacks the spit and polish often associated with John's recordings. Nevertheless, I thoroughly enjoy the mix and the depth of the soundstage.
Heart In The Right Place has a moody rhythm that I enjoy. It reminds me of some of John's earliest recordings and it's a great song with yet another excellent mix. It gets better the more you listen to it and in many ways, that's a sign of a good song.
Just Like Belgium is a solid pop-rock tune. Nothing to write home about though. Although, as with many of the tracks on the album, the musicality and mix are excellent, making for a rather enjoyable listening experience.
Nobody Wins has a compelling beat that is stuck in the 80s, yet I love it as I lived through that era and the music expression of the time was certainly unique. Nobody Wins is one of the best songs on the album.
Fascist Faces is average at best. It just proves that despite the incredible collaboration efforts of John and Taupin, not every song they wrote together was a hit.
Carla / Etude / Fanfare / Chloe is a lovely song, or collection of songs, that is truly worthy of being a part of John's back catalogue. While much of The Fox is a missed opportunity, this recording, in particular, is a hit and deserves to be heard. Absolutely beautiful!
Heels Of The Wind is an enjoyable B-side that works well within the album format.
Elton's Song was rather controversial at the time of release. However, if the song was released today I dare say it wouldn't receive the same level of pushback and negative press. Actually, it would be interesting to see John reissue Elton's Song as a single as I feel it would be well received and finally receive the credit it deserves for not only its subject matter, but its simple, yet complex, composition. A lovely song!
The Fox follows Elton's Song nicely and is a fantastic song to close the album with ensuring I'll stay within John's catalogue, even if I don't immediately listen to The Fox again. Although the album does grow on you the more you listen to it.
Overall, The Fox is a solid album but one can't deny that it isn't one of John's greatest releases. It's highly likely that The Fox will only ever appeal to his most dedicated fans. That said, I implore you to give it a listen as there are a couple of hidden gems to be heard and you may end up thoroughly enjoying the album.
The Fox is available on CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes.
If you prefer streaming, The Fox is also available on TIDAL Hi-Fi and Spotify.
(When The Sun Sets Over) Carlton – [Compilation Review]
Few would argue about the influence of Melbourne's music scene in the 70s, for it was the mecca of the Australian Music Industry at the time. That said, I'm sure my Sydney neighbours would fervently disagree. While I'm Sydney born and bred, good music is good music and (When The Sun Sets Over) Carlton validates that point. With a runtime nearing three hours, this compilation is an extensive trip down memory lane, but will also excite those of us that missed out on experiencing this wonderfully vibrant music scene during its heyday.
Skyhooks – Carlton (Lygon Street Limbo) is the perfect song to open this compilation. Not only were Skyhooks one of the most successful bands on the scene, at the time, but Carlton (Lygon Street Limbo) incorporates the energy and musicality of the 70s. A sensational song!
The Sports – Who Listens To The Radio? (Original 7" Version) is one of my all-time favourite songs, having heard it repeatedly, ironically, on the radio. Yet, until listening to this compilation, I never knew who the artist was. Now I do and I have this compilation and streaming music to thank for bringing me back to one of the coolest songs from the era.
Jo Jo Zep & The Falcons – So Young is another sensational song and reminds me, in spirit, of Tom Petty. I love it!
The Dots – Lowdown is a little rough around the edges, but that adds to the character of the song. However, I'd argue that while Lowdown isn't a standout song, it is thoroughly enjoyable and the compilation wouldn't be the same without it.
Stiletto – Middle Of The Bed is a sensational classic with a killer vocal, rhythm, and an intriguing guitar tune.
The Bleeding Hearts – Hit Single has a disjointed musical style that surprisingly works perfectly. Hit Single is dynamic and never dull. I don't know about you, dear reader, but it's a hit from my perspective. It also has a slight Skyhooks influence; what's not to like?
Mighty Kong – Hard Drugs (Are Bad For You) is another rhythmic monster. Seriously, you have to listen to this compilation, it is hit after hit. Incredible!
Mondo Rock – Primal Park is a solid tune but it has a little too much pop-influence for my liking. However, there are certain elements, such as the chorus, that are spot on and thoroughly enjoyable.
Mark Gillespie – Suicide Sister is pure perfection!
High Rise Bombers – Faster Than Light is a great song. That brass section undoubtedly makes the song and I could happily listen to Faster Than Light on repeat for hours.
The Toads – Eudil is addictive. Yes, even that interesting near-pop-based backing vocal grows on you; the song would be lost without it.
The Pelaco Bros – Mechanics In A Relaxed Manner isn't a bad blues-based tune, but I find the mix confuses my mind as the vocal presentation is too forward and slightly offbeat to the rhythm. In some respects, it is as though two songs have morphed into one.
The Relaxed Mechanics – Truckin' Casanova is a campy tune, but I can't help but love it. An absolute classic and arguably a song that only an Australian band could have conjured up.
Millionaires – Gossip has a shifting tempo that takes a little getting used to. It isn't my favourite song from the compilation, but there was bound to be at least one of the tracks that didn't connect with me.
The Kevins – Out At Night is a great song. Yes, another campy tongue-in-cheek song, but such is Australian humour.
Martin Armiger & Buzz Leeson – No Reason is a killer classic rock tune.
Parachute – The Big Beat isn't anything to write home about, but the compilation wouldn't be the same without it.
Spare Change – Let's Get Rich Together is one of those songs that takes repeat listens to truly enjoy. That said, once the connection is made, you'll be hypnotised by this exceptional song.
The Glory Boys – The Ballad Of Good & Evil is a fantastic song. The rhythm is amazing, but that vocal delivery is off-the-charts. So Good!
Eric Gradman Man And Machine – Crime Of Passion is a solid song with an interesting vocal overlay. The sonic shift, mid-song, is also intriguing and while I'm unsure of how I really feel about Crime Of Passion, it suits the compilation perfectly.
Martin Armiger – I Love My Car is certainly reminiscent of the era, but I'd argue that it's not quite worthy of this collection.
The Bleeding Hearts – Boys (Greg Macainsh Demo Version) is a great track. It kinda makes me wonder what the non-demo version sounds like as this edition was already ready for prime-time in my opinion.
Stiletto – Rozalyn is a killer song. The vocal delivery, in particular, is absolutely sensational, making for one of the best songs on the compilation. That said, there is a little sibilance in the vocal that can be distracting, especially when listening via headphones.
The Dots – I See Red is rather rough around the edges, reminding me a little of the early Rolling Stones and Bob Dylan recordings. Overall, however, it isn't a bad song but it could have been great with a little more spit and polish.
Jo Jo Zep & The Falcons – Only The Lonely Hearted isn't a song to write home about, but it's a solid addition to this compilation.
The Sports – Suddenly is a great song that improves upon each listen. I love the vocal style and Suddenly is perfectly mixed.
Mondo Rock – Telephone Booth has a great rhythm that is full of energy. I dare say Telephone Booth would have been exceptional when played live.
Daddy Cool – Saturday Night (GTK Live) is merely satisfactory as there are much better Daddy Cool songs that could have been selected for this compilation.
Skyhooks – Hey, What's The Matter? (Steve Hill Demo Version) is awesome! Although, the final master recording is even better. Regardless, it's Skyhooks, what is not to like?
Company Caine – Buzzin' With My Cousin is a little too left of the centre for me. That doesn't mean that you won't like it, but I just don't connect with it.
Captain Matchbox Whoopee Band – Roll That Reefer is different and feels out-of-place, but it's certainly a compelling tune.
Stephen Cummings & Dave Flett – The Third Degree sounds too much like The Rolling Stones. That isn't necessarily a bad thing, as the song is excellent, but I do value uniqueness.
Rock Granite – You Got Me Where You Want Me is a toe-tapper and a head-bopper. Great tune!
Jo Jo Zep & The Falcons – Someday It's Gonna Come To You (1976 Demo Version) is far better than the demo tag would make you believe. A sensational song!
Mark Gillespie – Comin' Back For More is thoroughly enjoyable.
Autodrifters – Locked Out Of Love is not my type of song, but you may enjoy it; especially if you're a Hank Williams fan.
Fabulous Nudes – I'll Be A Dag For You, Baby is daggy! It isn't the greatest song and should have been omitted from the compilation.
The Pelaco Bros – Truckdrivin' Guru is a solid song, but nothing to write home about and again we have a song that is somewhat influenced by The Rolling Stones. I guess imitation is really the sincerest form of flattery.
Peter Lillie & The Leisuremasters – Hangin' Round The House is brilliant! An Aussie Classic!
The Sports – Live Work & Play (Nightmoves Live) isn't a bad song but I'm more interested in the polish that often accompanies studio recordings. That said, this is a strong live performance with plenty of energy.
High Rise Bombers – Radio Show is a great song and that jam session mid-song is superb.
Eric Gradman Man & Machine – Bright Boy has an addictive beat and is overall an exceptional song.
Skyhooks – This Is My City is a great way to close this compilation. It ensures that I'll listen again as Skyhooks can do no wrong in my opinion.
For those of you calculating the track listing, some will wonder why there are only 43 songs reviewed, rather than the 45 included on the album. Sadly, likely due to contractual permissions, Daddy Cool's Boy You're Paranoid and The Indelible Murtceps' Blue Movies Made Me Cry are missing from streaming services. This discrepancy is yet another reason why owning the CD is a good idea as you're not limited to accessing the music you love by outside influences that are out of your control. Despite this, (When The Sun Sets Over) Carlton is an incredible compilation of Australian artists from the 70s and the reputable Melbourne music scene. While there are a couple of songs that don't connect with my soul, the compilation as a whole does. Subsequently, every song, regardless of my subjective viewpoint, is essential.
(When The Sun Sets Over) Carlton is available on CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes. It's important to note that the aforementioned absent songs are available if you purchase the album.
If the omission of those two songs doesn't worry you, you can also stream (When The Sun Sets Over) Carlton on Spotify and Apple Music.
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