Black Sabbath – Sabbath Bloody Sabbath (Album Review)

By the time 1973 rolled around, Black Sabbath was already a legendary powerhouse with few peers and Sabbath Bloody Sabbath, their fifth studio album, further solidified that position and is, without a doubt, one of their best releases. It’s also fair to say that it was their last great release, particularly from the original lineup. While that’s a subjective take, their subsequent records weren’t as cohesive, complex, or experimental. Add those elements into Sabbath Bloody Sabbath and what you’ve got is an idealistic album structure where every song blends perfectly within the record’s sequencing. Yes, there are standout tunes, but this exceptional release is first and foremost an album experience, one that should be enjoyed from the very first note to the last.

Adding to the exceptional music, the album’s artwork, by Drew Struzan, is stunning. While artwork in the modern era of streaming takes a back seat, the primary music format in 1973 was the vinyl record and artwork such as this was, in many ways, just as important as the music that was contained within. While the Apple Music stream, an Apple Digital Master (derived from the 2009 remastering sessions), sounds extraordinarily good, this is one album that everyone, including myself, should own, as it still eludes my physical music library.

Nevertheless, those of you who prefer a digital or streaming music collection will find much to appreciate in the 2009 digital remaster. Every musical element is perfectly positioned in the mix, and at no time is any aspect concealed, unless that was the intention. Additionally, the punch and power of the 2009 remaster is utterly perfect, meaning that the dynamic energy from the band shines through. It’s one of those times when I dare say that you’ll be happy with the streamed release and won’t feel the need to seek out a physical copy, aside from the lack of immersive artwork via pure digital offerings, that is.   

Sabbath Bloody Sabbath launches the album with one of Sabbath’s greatest and most sinister guitar riffs. It not only sets the mood for the entire album, but is amongst Tony Iommi’s greatest. The thick and thunderous styling ensures this title track is seething with aggression, while the interspersed hypnotic melody culminates in making this one of the most iconic Heavy Metal tunes in recorded music history.

While there’s no shortage of bands that have been influenced by Black Sabbath, if you take a listen to Silverchair’s early recordings, particularly from Frogstomp and Freak Show, you’ll come to appreciate just how much this tune, and Sabbath in general, has changed the course of music history.   

A National Acrobat is a masterpiece with a metal groove that is fuelled by a touch of funk. It is, however, the switching styles throughout that are most notable for the doom-filled riffs ideally meld with the upbeat funky rhythm to give A National Acrobat a thoroughly enjoyable musical bed, one that allows Ozzy Osbourne’s vocals to soar majestically above the mix.

While Metallica would cover Sabbra Cadabra on Garage Inc. in 1998, they melded elements from A National Acrobat with that of Sabbra Cadabra. The result is exceptional, and if you haven’t checked it out, you most certainly should give it a listen as it pays homage to the original songs while making the presentation of both songs uniquely different.

Fluff is one of the greatest tunes ever recorded. A stunningly beautiful instrumental is perhaps the best way to describe it because not only is it Black Sabbath 101, but it’s one of the most musically expressive compositions ever written; one that would stand up against the work of humanity’s most legendary composers. It’s truly remarkable!

Granted, some metal purists may see it as album filler, or a distraction, but don’t ignore this classic tune for it’s essential should one wish to fully understand and appreciate the breadth of Sabbath’s musical prowess.

Sabbra Cadabra is legendary, even though it was Metallica’s killer interpretation from Garage Inc. that would first introduce me to this incredible tune. This edition, however, sees Ozzy’s snarling vocals adjoin the swaggering riff that ensures it’s sonically infectious. The added funk elements further add compelling contrast to Ozzy’s demonic vocals and Bill Ward’s exceptional drumming, complete with dynamic shifts and creative fills, to culminate in one of Black Sabbath’s greatest songs.

Killing Yourself To Live will compel you to get out your air guitar, for this riff-driven number is heavy, brooding, and is perfectly aligned with Sabbath’s overall themes and style. The mix is rather interesting as Ozzy’s vocals are somewhat distant from the musical bed, but it adds to the overall sense of dislocation from societal norms and expectations.

Who Are You? is wonderfully experimental. While some may lament the use of synthesisers, when used as a creative tool to achieve a sound, it can be a benefit rather than a distracting element. That is certainly the case for Who Are You? as Sabbath didn’t overuse the technique. The result is an otherworldly dystopian number that is slightly unsettling but perfectly suited to Sabbath and the album as a whole.

Looking For Today flows perfectly from the darker tone of Who Are You?, particularly considering the song’s upbeat energy and pop-rock styling. Still, again, as with much of the music heard on the album, it isn’t simply a matter of rock and roll, played hard, and turned up to 11, for the layers of musical elements, and associated arrangements, showcase a band at the apex of their creativity.

Spiral Architect closes the album on a lush, string-laden, style that is not only ambitious but feels cinematic in scope. As the song builds, and the riff comes into the mix, Spiral Architect comes into its own and is amongst the greatest songs Black Sabbath has ever recorded. Interestingly, if you’ve checked out the popular Apple TV+ show, Severance, I dare say that you’ll hear a slight correlation to the string element that made it into the television show’s theme.

No matter which way you look at it, Sabbath Bloody Sabbath is a beautifully complex masterpiece and if not their greatest release, is certainly amongst the very best the English rock legends ever released. It has a timeless quality that has transcended the decades but resides in that very special place of being amongst the greatest albums to come out of the 70s, particularly 1973.

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Bee Gees – Life In a Tin Can (Album Review)

Released in 1973, Life In A Tin Can is one of the Bee Gees’ most overlooked releases. From the moment disco fever took over, following the release of Main Course in 1975, most everything prior to that release was ignored by the broader music-loving public. While no one would ever wish that the Bee Gees hadn’t changed their approach, their earlier releases, with their original styling, are amongst some of the greatest recordings in all of music history. Granted, one really can’t take Life In A Tin Can seriously with its downright dorky album artwork, but it’s one of the Bee Gees’ greatest releases in their pre-disco era.

Life In A Tin Can is, ultimately, intriguing for as much as it builds upon the band’s origins, it incorporates more country and soft rock elements as the Gibb brothers embraced a more Americana style for this particular release. While some may lament that aspect, the shift in styling works remarkably well and in many respects, just as Mr. Natural can be seen as a further precursor to the band’s shifting sonic styling, Life In A Tin Can was vital to the evolution of the Bee Gees. Yes, we all want our favourite artists to keep pumping out the same music that first drew us to them, but when you have the creative genius of the brothers Gibb, to expect them to restrict themselves to a single style is incredibly short-sighted.

Sonically, Life In A Tin Can is masterfully recorded with no glaring issues to mention. Similarly, the Lossless edition, via Apple Music, offers a thoroughly pleasing reproduction that will satisfy most music listeners. That, however, can be said for much of the Bee Gees back catalogue (aside from Spirits Having Flown) that is available on Apple Music, for despite not being presented as an Apple Digital Master, you’d swear the available CD-quality stream is utterly perfect.

Saw A New Morning is a lovely album opener with a beginning instrumental presentation that ensures this is one of the album’s highlights. This soft rock number, underscored by acoustic guitars, warm harmonies, and a touch of country-rock is thoroughly pleasing to the senses and while it isn’t likely that you’ll find yourself singing along, you’ll undoubtedly find yourself captivated by the orchestral arrangement and the Gibbs incredible vocal presentation.

For uber fans, there’s also a touch of musicality, from this song, that would make its way to the hidden gem, Edge Of The Universe from their 1975 release, Main Course.

I Don't Wanna Be The One flows seamlessly from Saw A New Morning and despite being considerably different, given it’s a melancholic ballad, the shift is so masterfully done that your senses won’t skip a beat and you’ll only notice a difference should you be paying attention to the tracking of the album. While I may have mentioned that Edge Of The Universe is a hidden gem, and it most certainly is, I Don’t Wanna Be The One is another of those Bee Gees deep cuts that seldom get the attention or respect they deserve. Yes, the subdued arrangement may not appeal to all fans, but it’s also fair to say that I Don’t Wanna Be The One is amongst the greatest vocal recordings the Bee Gees ever made.

South Dakota Morning embraces a country-western styling, complete with a lap steel guitar that helps to create that rustic element that would remind anyone of the melodic tunes from the Eagles or Willie Nelson. While short, in duration, South Dakota Morning is a beautiful song that is not only worthy of the Bee Gees but is amongst the greatest recordings of the era. Seriously, if you know a Bee Gees fan, one that hasn’t ventured beyond their hits, send them a link to this song for its cinematic quality will quickly grab their attention and they’ll likely fall in love with the Bee Gees all over again.

Living In Chicago is simply stunning. From the delicate opening to the subdued orchestrations and harmonies that underlie the entire song, Living In Chicago is another hidden masterpiece in the Bee Gee’s celebrated back catalogue.

While I Play picks up the pace and leans further into the Americana and country music styling. It isn’t a bad song, far from it, and the musical bridge is notable, but it isn’t the strongest song on the album despite its toe-tapping influence.

My Life Has Been A Song is a lovely tune with Barry’s vocals being delivered beautifully with just the right amount of calm and vibrato, but it’s the chorus that takes My Life Has Been A Song to another level entirely for it’s got that earworm quality about it.

Come Home Johnny Bridie is a solid country-folk number. It’s neither a standout, nor a notable album-only tune, but despite having a touch of what could be considered Beatlesque styling, had the Fab Four recorded a country album, Come Home Johnny Bridie is an ideal filler track and sometimes that is all that’s needed for an album to be considered a top tier release.

Method To My Madness closes the album out beautifully. The vocal presentation is extraordinarily pleasing and while the vibrato in the vocal will impress, the slight variation in the musical bed adds to the song’s overall appeal. The result is that Method To My Madness is an idealistic closer that will encourage you to play the record again, for Life In A Tin Can can seldom be listened to once.

Life In A Tin Can may not have enjoyed commercial success, but that’s seldom a measure of quality. Instead, Life In A Tin Can is quietly ambitious and upon retrospection stands as one of the Bee Gees’ most creative works. Yes, the shift in direction, from baroque pop and orchestral ballads to a more American-influenced country and soft rock presentation would have varied public opinion, but the experimental shift works incredibly well as the subdued nature of the album is hauntingly beautiful, so much so that Life In A Tin Can can be considered a Bee Gees masterpiece.

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America – Hat Trick (Album Review)

Released in 1973, Hat Trick is amongst the greatest records the folk-rock trio, collectively known as America, ever released. While Hideaway remains my favourite America album, Hat Trick came across my radar around the same time when EMI Australia reissued those records as part of the Legendary Masters series. As such, these two records were my only exposure to America for quite some time, and unlike the modern era, when you purchased an album in the pre-streaming period, you generally listened to it until it melded with your soul. Hat Trick did just that and truth be told, I’ve lost count of how many times I’ve listened to this exceptionally underrated album throughout the years.

Part of the appeal is due to the album’s artwork, which features a photograph within a photograph styling and remains highly appealing. Unfortunately, I’ve only ever experienced it on the CD-sized canvas and despite enjoying the larger size when presented via the Apple TV 4K, this is one record that would look exceptional should one be fortunate enough to own the vinyl release. For those who are interested, Warner Records, in conjunction with Music On Vinyl (MOV), recently reissued Hat Trick in 2021. I’ve no idea what that pressing is like as it flew under my radar at the time. That said, MOV reissues are often amongst the very best reproductions available to vinyl music lovers, so it may well be a consideration.

As with Hideaway, the non-Apple Digital Master CD-quality lossless stream, from Apple Music, is sonically pleasing, so much so that you’ll ponder if you need to seek out a “better” copy. It really is quite lovely, but for those who are looking for even higher resolution options, Qobuz has a 24-bit/192 kHz edition available. Regardless, when an album is recorded, mixed, and mastered this well, format and delivery method matter far less for you’re in for an audible treat that is nothing short of extraordinary.

Perhaps most interesting is that Hat Trick failed to generate significant interest from the music-loving public; particularly considering how well their self-titled debut (January, 1972), and Homecoming (November, 1972) were received. While I’ve no idea why the album failed to be as successful, and Holiday (June, 1974) would see the band regain some ground, I have heard in passing that the record label was not sold on “Muskrat Love” being the lead single, an aspect the band demanded, and hence support upon release was significantly dropped. While I can neither prove nor disprove this possibility, the music industry is littered with similar stories. It’s a shame because Hat Trick is a hidden gem that has rarely been acknowledged outside of the album’s existence within the band’s back catalogue.

Of course, the lack of interest amongst the music-buying public could also be attributed to the slightly more experimental style when compared directly to their first two records. The chosen singles weren’t necessarily the strongest songs from the album and the record is absent of a hit such as “A Horse With No Name”. However, if we consider Hat Trick to be a coherent album experience, then this album knows few peers.

Muskrat Love is a beautifully soft ballad. While the lyrical context is a little whimsical and quite frankly, quirky, it’s a solid tune nonetheless. As the album’s lead single, one can understand why Hat Trick may not have been received as well as the band’s previous releases, but I for one find this song to be a charming addition to America’s catalogue of exceptional music.

Wind Wave has an incredible opener with an evolving sound that builds via its layered production. Dreamy would be one way to describe it for Wind Wave is a moody atmospheric piece that will stay with you long after the album has ended.

She's Gonna Let You Down flows seamlessly from Wind Wave and is absolutely stunning. The lush, yet melancholic, piano-centric tune is a pleasure to the ears, but it’s the vocal delivery and harmonious presentation that’s the ultimate standout in this cinematic-styled tune.

Rainbow Song is an upbeat number that plays into America’s folk roots with vivid imagery. If nothing else, Rainbow Song is a toe-tapping head-bopper that is well-balanced with rich vocal harmonies and jangly musical elements.

Submarine Ladies includes a little psychedelia. To say it’s exceptional would be an understatement for Submarine Ladies is not only perfectly suited to the era, it’s amongst the greatest songs America ever wrote and recorded. There’s also a touch of Glen Campbell's influence to be heard but the soundscape is so multilayered that you’re sure to hear new elements upon each subsequent listen.

It's Life is another hidden gem that has seldom received the recognition it deserves for it’s quintessentially America; albeit with a touch of rock and roll.

Hat Trick is a lovely tune that blends pop sensibilities with America’s harmonious folk origins. It’s an ideal title track and despite a runtime of well over eight minutes, this symphonically experimental tune, with a touch of progressive rock, is amongst the very best timeless recordings in America’s extensive back catalogue. It’s another of those songs that make me question how Hat Trick was overlooked at the time for there isn’t a dull moment to be heard throughout this song or the entire album.

Molten Love is a smooth mid-tempo tune with a touch of R&B to add to the song’s overall warm production, thereby offering a unique blend of folk and soul. While it isn’t a standout, it’s another perfect album-only number that enhances Hat Trick.

Green Monkey is a killer tune and Joe Walsh’s guitar performance amplifies the song as his rock edge works remarkably well with the trio’s harmonious and layered production qualities. Despite being the third, and last, single from Hat Trick, one can’t help but wonder if Green Monkey would have been a far better lead single.

Willow Tree Lullaby is a beautiful acoustic folk-focused ballad that offers a respite from the newer and more experimental pieces for those who would find Hat Trick too far removed from America’s origins.

Goodbye is a perfect closer, one that will compel you to play the album again or stay within America’s impressive discography. No, it isn’t a standout, but every song need not be a hit to make an album thoroughly enjoyable.

Hat Trick is first and foremost an album experience, not just because it lacked a series of killer singles. While it’s a little more experimental and sees the band evolve from their folk-rock origins, it isn’t so far removed that fans, both casual and dedicated, should ignore this release for doing so is to miss out on one of the greatest albums from the 70s, particularly 1973.

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Genesis – Selling England By The Pound (Album Review)

Released in 1973, Selling England By The Pound is amongst their most renowned releases yet sales figures would suggest otherwise as Genesis would see peak sales success in the 80s and early 90s with a series of incredible albums with Phil Collins at the helm. However, as it pertains to the Peter Gabriel era, Selling England By The Pound is the band’s most successful and once you hear it, really listen to it, and accept it into your soul, you’ll likely consider it a masterpiece that has few peers.

Phil Collins did, however, perform lead vocal duties on “More Fool Me”, but for all intents and purposes, Selling England By The Pound is a perfect example of the band’s original lineup, consisting of Peter Gabriel, Tony Banks, Steve Hackett, Mike Rutherford, and Phil Collins (primarily on drums, percussion, and backing vocals).

As incredible as the music is, however, Betty Swanwick’s artwork The Dream is simply magnificent and complements the music perfectly. It’s artwork like this that is well suited to the era as the larger vinyl canvas is ideal, allowing the album artwork to be displayed with pride.

While a vinyl edition has failed to make it to my record collection, I was fortunate to have owned the 2014 High Fidelity Pure Audio (HFPA) Blu-Ray edition that featured not only the stereo mix in 24/96 kHz High-Resolution Audio but also the 5.1 surround mix. As to which mix of the album I preferred, I honestly can’t remember. Our memory, as it pertains to sound quality, is usually very unreliable. That said, what I do recall is that the stereo presentation on the Blu-ray Audio disc was rather clinical and jarring on the senses, particularly at less-than-modest volumes. As such, it caused some listening fatigue that I’m happy to report doesn’t exist when listening to the lossless Apple Music stream.

So what’s different between the stream and the Blu-ray Audio disc? After all, aren’t they both derived from the same mix/master? Well, yes, it’s supposedly the same mastering only the lossless Apple Music stream is delivered at CD-quality resolution by comparison. That could be a factor, but it’s more likely that my setup was different at the time, more resolving, and it simply didn’t suit my listening tastes. In fact, it was one of those times when audiophile gear didn’t live up to the hype as I could never seem to get CD reproduction sounding the way I would like it to as it was always too clean and clinical. First-world problems, I know, but sometimes less is more and as I’m aging I’m finding comparing editions, and gear, to being a pointless exercise that is best left to those with the patience of a saint. Sometimes happiness comes from contentment and I’m content.

Still, it’s somewhat surprising, given Apple Music’s approach to delivering immersive audio, that none of Genesis’ releases are currently streaming in surround sound. As to why Warner Music et al has yet to deliver the 5.1 mixes to the streaming giant is anybody’s guess. Yes, Apple would likely want each album presented as an Atmos mix, but there are numerous examples where traditional 5.1 mixes have been successfully added to the service, thereby allowing fans to enjoy the surround mix without seeking out an out-of-print and often ludicrously priced SACD release on the secondhand market. Regardless, I honestly can’t recall how the surround mix sounded but, in any case, you’d be much better off checking out Mike’s YouTube Channel Life In Surround for he’s got far more knowledge in this area than I could ever hope to have.

All that said, I find that I’m delighted with the Apple Music stream for the 2007 stereo mix on that platform is stunning; so much so that the other weekend when I was listening to the album while reading, I had to put my book down, sit, and enjoy the record as it commanded my attention. While purists will lament streaming services and their perceived quality, give it a shot, you may be surprised. I know I have been throughout the years as I find far more sonic consistency with Apple Music than I ever did with attaining and comparing physical releases.

Now, for those who are wondering, no, I don’t have experience with the original mix, hence the 2007 remix of Selling England By The Pound is my only experience as it pertains to this classic album and let’s just say I’m more than happy with that particular edition. Do I need to check out the original mix? Some will say yes, but, again, constant comparing takes the joy away from the music-listening experience and when you’re happy, you should leave well enough alone.

Dancing With The Moonlit Knight is a magnificent opener with Peter Gabriel’s a cappella approach being idealistic as the musical bed builds slowly in the background. The level of elemental details and layered elements is stunning as the song traverses from its balladry to the more aggressive and sweeping rock passages.

I Know What I Like (In Your Wardrobe) has an atmospheric, and somewhat quirky opening, yet it’s so good! With its laid-back, near psychedelic, styling that incorporates oriental sitar-like guitar elements, I Know What I Like (In Your Wardrobe) is one of the standouts from the album, perhaps a reason why it was chosen to be released as a single, yet it works seamlessly within the album’s linear structure. So seamlessly, in fact, that you’ll come away from Selling England By The Pound as if it were a cinematic experience.

Firth Of Fifth is one of Genesis’ most impressive tunes and Tony Banks didn’t disappoint with that classical piano introduction that is a masterstroke of brilliance. The sharp intro of Gabriel’s vocals and the band’s musical bed, around the minute mark, is perfectly positioned for it turns the song into a symphonic masterpiece that is simply unforgettable and doesn’t stop impressing until the very last note has been played. Firth Of Fifth is, ultimately, one of those songs that makes Selling England By The Pound the landmark album it is and it’s a core reason as to why I consider this to be Genesis’ greatest album.

More Fool Me is the only song from this album to be sung by Phil Collins. While he does a solid job with this tune, it’s also fair to say that the stripped-back introduction wasn’t ideally suited to his vocal style. Collins is far more appealing on the pop-oriented material that would make him a household name in the 80s. Still, More Fool Me is a nice little tune that works well within the album’s linear structure.

The Battle Of Epping Forest is epic and is amongst Genesis’ most ambitious story-driven numbers. While here, at Subjective Sounds, literal interpretation is not always at the forefront of the musical experience, it is difficult to ignore The Battle Of Epping Forest as it’s progressive rock theatre at its very best. Could it have been more succinct, yes, but if it had been, I dare say it wouldn’t be the same for there’s a certain level of appreciation that forms for this song, the more often you listen to the album.

After The Ordeal is a stunning instrumental that acts as a palate cleanser following the complexity of The Battle Of Epping Forest. While easy to overlook, After The Ordeal should not be ignored for it’s a beautiful interlude that showcases just how incredible the band were, from a purely instrumental perspective. I don’t know about anyone else, but I could certainly do with an entire album of Genesis’ instrumental compositions as songs like this leave me in awe.

The Cinema Show seamlessly transitions the senses from After The Ordeal. Like many of the songs from the record, The Cinema Show is another example of Genesis at their finest; symphonic, poetic, and emotionally stirring. As the song builds, adding layers of musical textures, The Cinema Show becomes a dazzling performance and is a textbook-perfect mix for there isn’t a single element that is overshadowed by any other. They simply don’t make music like this anymore is an appropriate comment when reflecting on The Cinema Show.

Aisle Of Plenty is a brief closing track that concludes the album perfectly with a reprise of Dancing With The Moonlight. It’s an ideal bookend to a sensational album, one that will compel you to play the record again for, from the moment you allow it, Selling England By The Pound will meld with your soul and never let go.

Selling England By The Pound is more than just a collection of songs, it’s a complex and beautiful high watermark in the history of progressive rock and is, arguably, the defining album from Genesis’ classic era. While some may point to the incredible success Genesis would have post-Gabriel, Selling England By The Pound remains quintessentially Genesis and is, arguably, their greatest creative output for their 80s and early 90s releases, as successful as it was, is too easily confused with Phil Collins’ solo career, yet this album is uniquely unique; a technical term, yes, but an apt assessment.

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ABBA – Ring Ring (Album Review)

As far as debuts go, ABBA’s Ring Ring is highly compelling, offering a glimpse of a band that would ultimately take the world by storm. Naturally, at the time, it would have been just another release, by another band, but with the benefit of retrospect, we can see the origins of ABBA’s undeniable sonic characteristics that would continue to appeal to music lovers the world over.

While Ring Ring may not have the spit and polish heard on some of their later albums, there’s a natural charisma to this debut that remains captivating and, in some ways, as bewitching as the record’s artwork. Okay, so the cover art may be a little corny by modern standards, but the mirrored snapshot works exceedingly well in capturing your attention. It’s also far more appealing on the larger vinyl canvas; an impactful aspect that no streaming service can match.

While I thoroughly appreciate the Apple Music stream, presented as an Apple Digital Master, I’m also fortunate to own the 2020 vinyl reissue of The Studio Albums. I am pleased to report that that too is sonically beautiful and, as it pertains to track listing and artwork, it honours the original Swedish release whereby the Swedish version of Ring Ring (Bara Du Slog En Signal) is positioned as the album’s opener and the additional track on international versions, She’s My Kind Of Girl, remained absent as in it’s position on the original release was the English language version of Ring Ring.

Yes, dear reader, for those of us interested in the artist’s original intent, the plethora of reissues has complicated things. Interestingly, no matter which version you listen to, they’re all sequenced perfectly. It’s as if it was always meant to be that way. Still, the confusion associated with the various releases does little to appease one’s mind for the ultimate edition of Ring Ring is still a, somewhat, elusive proposition. With that in mind, however, this review will focus on the more readily available 12-track international edition, minus the bonus tracks that are included in the Bonus Tracks release; you’ve got to draw the line somewhere and I feel the core 12-track international release is ideal as it pertains to the flow and overall sense and style of Ring Ring.

As to which is sonically preferred, based on the two editions I have access to, I’ll give the stream a slight advantage, mainly due to the lack of surface noise and convenience it offers. Regardless, either of these options are about as good as you’re ever likely to hear Ring Ring sound and, yes, I have experience with earlier vinyl reissues that weren’t up to par and the CD Deluxe Edition, from 2013, that’s noticeably more shrill and fatiguing to listen to. Contrast that with the aforementioned versions and I can easily listen to Ring Ring for hours on end.

Ring Ring is corny, cliché, and quintessentially ABBA. Sometimes an addictive pop number is all that’s required and the lighthearted musical styling offers a perfect opening to the record and showcases ABBA’s knack for crafting, catchy, timeless tunes.

Another Town, Another Train may slow the tempo a little, but despite the more sombre styling, Another Town, Another Train, hints at the emotional depth and acoustic arrangements that would meld into ABBA’s more ballad-folk-styled ambitions. Regardless, this is a magnificent tune and showcases just how incredible the four core members were together, even in their early days.

Disillusion focuses on the vocal aspects of the recording and is amongst Agnetha Fältskog’s finest recordings. Coincidentally, Disillusion is the only song to have been penned by Fältskog that was recorded by ABBA for a studio release. Stunning is certainly one way to put it for while it may not be one of ABBA’s most well-known hits, and has never been included on a compilation release, it’s without a doubt, one of the greatest ballads ABBA ever recorded and deserves far more respect and attention than it often receives for this heartfelt performance is a standout.   

People Need Love is a solid tune with an upbeat tempo, harmonious vocals, and a positive perspective; an aspect that isn’t always at the forefront of music, but is a message that is needed now, more than ever, as contemporary society marches towards an uncertain future.

I Saw It In The Mirror is a tune that you’ll likely find yourself turning down if other people are within earshot. It isn’t a fundamentally bad song, it’s just that the vocal presentation is jarring and isn’t great while the tempo is also a little too slow for my liking.

Nina, Pretty Ballerina is one of the greatest songs ever written and recorded. Call it a guilty pleasure, but each time this song comes on, I’m captivated from the first note to the last. Yes, on some masterings of this song, the chorus can be too shrill, thereby making it marginally unlistenable, but thankfully the Apple Music stream has no such audible issues and you’ll find yourself toe-tapping and head-bopping along to this classic tune. The playful melody, vivid storytelling, and excitement of the song make it a standout on not only Ring Ring but also within ABBA’s illustrious career. The only disappointment is that it has been somewhat forgotten, outside of this album’s linear structure, that is.

Love Isn't Easy (But It Sure Is Hard Enough) is a solid tune that will see you toe-tapping and head-bopping along, but its strength lies in the fact that it isn’t pushing new ground, instead playing into the sound that would ultimately make ABBA famous; with a touch of country influence, for good measure.

Me And Bobby And Bobby's Brother is another of ABBA’s cringeworthy recordings, but I’ll be damned if I don’t have a smile from ear to ear every time Me And Bobby And Bobby's Brother comes on. Sometimes the corniest of songs are the most memorable and while it may not be a landmark release, for there are so many from ABBA, it’s a thoroughly enjoyable tune.

He Is Your Brother is uplifting and the song’s message of unity is thoroughly appreciated. It’s also a song that I need to remind my children to listen to for most siblings, regardless of gender, could benefit from solidarity at certain points in life.

She's My Kind Of Girl is an incredible tune that, as mentioned earlier, was originally omitted from the original Swedish releases. With a Hollies’ feel to the recording, She’s My Kind Of Girl will likely appeal to many who have an appreciation for 60s-era recordings.

I Am Just A Girl is beautiful! Fältskog, yet again, shines on this delicate number. It's so memorable that you’ll find yourself returning to the album for this song alone as it becomes a pleasurable earworm that will stay with you long after the album has concluded.

Rock'n Roll Band closes the core album structure on an energetic note with a rock and roll flair that will encourage you to spin the record again for Ring Ring can never be listened to only once.

Ring Ring is a wonderful opening chapter for the storied career of ABBA, and while it may be ranked as my seventh favourite studio album by the Swedes, it’s only that the latter albums are so incredible that Ring Ring takes somewhat of a backseat. Nevertheless, every time I play the record I thoroughly enjoy every moment and can say with all honesty that it’s as good a place as any to introduce newcomers to the band; although the same could be said for ABBA Gold. Either way, it’s ABBA, you can’t go wrong!

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Buffalo – Volcanic Rock (Album Review)

When Buffalo released Volcanic Rock in 1973, they staked their claim as Australia’s first, truly, heavy rock band, giving local audiences a taste of the riff-heavy, doom-tinged energy that bands such as Black Sabbath were renowned for. Following their impressive debut, Dead Forever, Volcanic Rock cranked everything up with a louder, heavier, and bolder production. To say Volcanic Rock is the band’s greatest creative output would be an apt assessment for the extended jams and primal grooves are raw, unrelenting, and uniquely Australian, thereby ensuring that this is a landmark release worth celebrating.

Visually stunning, yet knowing the tone of the era, one can only imagine the raucous the artwork for Volcanic Rock would have created between conservative parents and their teenage children. Perhaps it was a good thing that Buffalo flew, somewhat, below the radar for if they had been more successful, you can almost guarantee that social expectations would have deemed the cover art inappropriate thereby requiring different artwork to be issued. That said, I think we can all agree that Volcanic Rock’s artwork is significantly more tame than their 1974 follow-up, Only Want You For Your Body.

While Volcanic Rock was never a commercial success, as with many albums that didn’t see the respect they deserved upon release, Buffalo and Volcanic Rock would achieve a cult following; particularly amongst those with a penchant for early heavy metal, psychedelic rock, and doom metal releases. The album’s raw production and extended track lengths may also have deterred casual listeners but this style of powerful rock is steeped in tradition and remains a sonic treasure to those of us who appreciate music that is somewhat on the fringes of mainstream rock and roll.

Sonically, the album is starting to show its age and despite being remastered by Gil Matthews in 2005, the Apple Music edition is non-committal as it pertains to which master has been given to the streaming giant. The two bonus tracks, Sunrise (Come My Way) (Single Version) and Shylock (Live Version) are missing from digitally delivered versions and the publishing seems to have reverted to Phonogram Pty Ltd, a Universal Music company, rather than Aztec Music; the label that reissued the album in the mid-naughts.

While I don’t have any major issues with the digitally available version, the cymbal crunching can get a little jarring on the senses, particularly if your system leans towards the treble range of the musical spectrum. Granted, this could be an aspect of the original recording, but sometimes mastering is a critically important element and it would be good to know if one offers a less crushed high-end than the other. Maybe I should just head down to Utopia Records and pick up a copy, for the 2005 reissue is still in print. Until then, the streaming edition is my go-to, so join me as I take a look at the songs that make up this legendary release.

Sunrise (Come My Way) opens the album with some killer licks that instantly set the mood for the music that’s about to come. Thick and creamy with a perfect amount of distortion and low-end power ensures Sunrise (Come My Way) is a memorable number that highlights Dave Tice’s incredible vocal delivery. Part metal, part blues rock, but 100% menacing, Sunrise (Come My Way) is amongst the greatest rock and roll numbers that you’ve likely never heard of; especially if you’re not overly familiar with the Australian music scene.

Freedom continues the ominous sonic presentation and is pure rhythmic gold with some of the very best guitar licks you’re ever likely to hear. Yes, there’s a Pink Floyd meets Black Sabbath feel to Freedom, but don’t let that deter you for this song is uniquely Buffalo; a slow tempo blues-based metal masterpiece.

'Til My Death is such a cool tune. You’ll be compelled to get out your air guitar and sing along to Tice’s otherworldly lyrics, for he takes this performance to another level. In addition to that, the chosen mix is pure perfection as Tice’s vocal sits atop and apart from the grungy musical bed, thereby allowing each sonic element to stand on its own merit. If you’re looking for a modern-day equivalent, may I suggest you check out the recordings of Wolfmother or Ash Grunwald.

The Prophet is another exceptional groove-oriented cut with a mid-tempo thunderous rhythm and blistering lead guitar work from John Baxter. Add to that Tice’s howls and snarls, sounding like a man possessed, and what you’ve got is a highly compelling album number.

Intro: Pound Of Flesh is the start of, arguably, the most ambitious moment on Volcanic Rock, for this dramatic, tension-filled instrumental is stunning as it leads into the idyllic Shylock.

Shylock is the masterpiece that you’ve been waiting for, for every tune, thus far, has been leading up to what can be best described as one of the greatest metal numbers ever recorded, in all of recorded music history. It will not only compel you to listen to the album again, but it will simultaneously make you wonder why Buffalo was never a household name. It’s manic, unhinged, and unforgettable and is undoubtedly one of Buffalo’s finest moments.

From start to finish, Buffalo’s Volcanic Rock is an impressive statement in the history of Australian hard rock and heavy metal. It’s ferocious, unfiltered, and confident in its heaviness and while it could be suggested that Buffalo were merely mimicking their overseas influences, that would be to the detriment of the musical experience for they ultimately forged their own path, one distorted riff at a time.

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Paul McCartney & Wings – Band On The Run (Album Review)

As it pertains to Paul McCartney’s Wings era recordings, Band On The Run is one of two masterpieces, the other being Wings At The Speed Of Sound. Yes, each album from Paul McCartney & Wings features a series of notable tunes, but these two releases are true album experiences from the first note to the last.

Released in 1973, Band On The Run was the third studio release under the Paul McCartney & Wings banner and is, arguably, a significant improvement over Wild Life and Red Rose Speedway; in no small part due to the inclusion of recording engineer, Geoff Emerick. Coincidentally. Emerick won the Grammy Award for Best Engineered Album, Non-Classical, for his work on Band On The Run. While Wings had always been somewhat of a band affair, Band On The Run was even more a McCartney-focused production for he took on additional roles as drummer and guitarist, following the absence of Denny Seiwell and Henry McCullough, with both leaving the band prior to the recording of the album.

Of course, music is only one part of the equation. Anyone who appreciates physical releases will attest that the album artwork is one of the most important aspects of an album’s release, for it aims to connect us, more deeply, with the music contained within a particular record. In this case, McCartney & Wings didn’t disappoint as it’s one of the most compelling visual accompaniments from the era, featuring a sense of wonder that will see you staring at the album’s artwork throughout the entire runtime, wondering just who the band is running from.

Due to this compelling aspect, it’s fair to say that this is one release that could best be appreciated via a larger vinyl canvas. Alas, a vinyl edition has, thus far, eluded my grasp, but that need not matter too much as I was fortunate to have owned the Paul McCartney Archive Collection CD reissue and the streamed album artwork, via the Apple TV, is a somewhat adequate counterpart. At least, the streamed edition didn’t replace the original album artwork with that of the 50th Anniversary reissue.

Physical releases aside, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is exquisite. While it lacks a touch of clarity and extension within the treble range, which was present on the CD reissue, the stream is most certainly smoother and a little more analogue sounding, with a slight roll-off in the top end of the treble range. It isn’t a drastic difference, but if you’re looking for a lovely facsimile that you can pump the volume on, the stream will most certainly please.

Despite generally focusing on two-channel audio, when you’ve got a classic album like this, redone in Dolby Atmos, you've got to check it out, and I’m certainly glad I did. While the stereo mix is perfect, the latest surround mix (from 2024) is a toe-tapping head-bopper that expands the album’s presentation, thereby making it an even more immersive experience. It’s done so well, and is so pleasurable, that I could see myself preferring this mix to that of the stereo release.

Interestingly, while the Atmos mix was released for the 50th Anniversary of the album, it was not issued physically; a shame considering Giles Martin and Steve Orchard did such an incredible job with the Atmos mix. Nevertheless, the stream is divine and only the purist of audio enthusiasts will lament the absence of a physical disc. If, however, you’re after a more detailed review of the Atmos mix, and how it compares to the previous surround releases for Band On The Run, may I recommend you check out Jonathan Cornell’s excellent review at Immersive Album Audio.

While some may wonder what my thoughts are regarding the Underdubbed Mixes, I’ve not given it much attention as I tend to favour original mixes, despite my interest in the Atmos mix. I also won’t be referencing the non-album single Helen Wheels as I don’t feel it’s a particularly strong song or well suited to the album. I do, however, acknowledge that for those of you in the United States, the inclusion of this song is how the album was originally experienced, but I’d prefer to stick to the original linear structure from the UK release.

Band On The Run is an incredible opening tune with a dreamy mid-tempo approach that leads into an upbeat number bursting with Beatles-esque styling that’s both intricate and melodically rich. It is, without a doubt, one of the greatest songs McCartney has ever penned, and the layered structure and soaring harmonies further confirm the incredible nature of this toe-tapping, head-bopping, masterpiece.

Jet is a brash and infectious rocker that will capture your attention from the very first note. Built around a catchy riff, consisting of fuzzy guitar elements, punchy vocals, and arena-sized ambitions, Jet will light up any sound system, but is particularly appealing should you have an Atmos-compatible setup.

Bluebird shifts the tone of the album to that of an acoustic ballad that, depending on your perspective, will infuse a breath of fresh air into the album following the intensity of the previous tracks. That said, it flows seamlessly and the laid-back rhythm, accompanied by perfectly layered musical elements, ensures that this pure and simple song is a pleasure to listen to and is one of the many highlights from the album.

Mrs. Vandebilt, with its irresistible groove, slightly offbeat lyrical style, and joyful energy, is simply unforgettable and will likely result in a pleasurable earworm well after the album has ended. Overall, it’s a fun tune and is 100% McCartney, in that regard. What more could we ask for?

Let Me Roll It is simply magnificent! Whether intentional or not, Let Me Roll It feels like a homage to John Lennon with McCartney delivering the lyrics in a similar manner to his former bandmate. It isn’t only the vocals, however, that have the Lennon feel for this is one song that could have easily suited inclusion on Lennon’s Imagine. Regardless of the similarities, the crunchy bluesy guitar riff and chosen percussion are stunning, ensuring that Let Me Roll It is not only a standout within McCartney’s back catalogue, but it’s worthy of being included as one of the greatest songs from the 70s.

Mamunia is another of McCartney’s lighthearted tunes with a laid-back groove, whimsical lyrics, and perfectly layered harmonies. While not as immediately arresting as some of the other songs from the record, Mamunia is deeply charming and, with a touch of reggae inspiration, is perfectly suited to the era as well as the flow of the album.

No Words is a solid pop-rock tune that holds the structure of the album together, but it isn’t the strongest song on the record and is unlikely to be one that you will return to, outside of the album’s linear structure.

Picasso's Last Words (Drink To Me), with its fragmented structure and theatrical styling, shouldn’t work, yet it does. It showcases McCartney’s musical innovation and experimentation and the callback to earlier tracks is simply extraordinary. When someone says they don’t make music like they used to, this song and its unique approach to creating a piece of musical art is a wonderful example of just how true that statement (sometimes) is.

Nineteen Hundred And Eighty Five closes the album with an explosive, piano-driven number that encapsulates the excitement heard throughout the entire record.

Ultimately, Band On The Run is more than just an incredible album, it’s amongst the very best works McCartney has ever had a hand in producing and is one of the greatest records in all of recorded music history. With its ambitious songwriting, stylistic diversity, and flawless tracking, Band On The Run is one of those classic records that is, absolutely, worthy of the respect it receives.

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