Queen – A Night At The Opera (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Neil Young & Crazy Horse – Zuma (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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Nazareth – Hair Of The Dog (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Released in 1975, Moxy’s self-titled debut is a classic recording, offering a raw and energetic display of classic hard rock elements. It’s one of those albums that is best heard in its intended linear structure for as powerful as the individual songs are, the musicianship, throughout, is top-notch, thereby creating a tight, cohesive sound that propels the album forward with relentless energy. There certainly isn’t a bad song to be heard on Moxy, nor is there a B-side. Perhaps it is the concise (sub-40 minute) runtime of the album, but if you put the time aside to appreciate this record, from start to finish, you won’t be disappointed.

Part of the appeal is the fluidity throughout as each song is perfectly positioned within the album’s overall structure. The result is that you really shouldn’t judge an album by its cover for the stark design, while striking, doesn’t detract from the album listening experience. In many respects, one could suggest that Moxy put all their creativity into the music, rather than the artwork; an aspect that has been repeated numerously with black cover art designs adorning exceptional albums throughout the years. Regardless of intent, one thing is for certain, Moxy would have looked magnificent on the shelf at a local record store and, thankfully, this classic album has once again been reissued on vinyl. While I don’t have a copy of that 2022 reissue, mainly because it costs AUD$94, the Lossless Apple Music Stream is stunning.

As for the provenance of the streamed version, Apple and the record label haven’t provided that information, but it’s reasonable to assume the stream is derived from one of the CD reissues as it isn’t an Apple Digital Master and is delivered at the CD equivalent 16-bit 44.1 kHz. While that may be a deterrent to some, ignoring the stream would be ridiculous for it’s superbly mastered with plenty of headroom that allows you to pump the volume and rock out. This is one example where there would be little benefit to having a remastered edition for it’s already, sonically, impressive. The soundstage is well developed, with clarity and depth that allows each musical element space to breathe, whilst also ensuring the entire record is presented as a rock powerhouse. Of course, you don’t have to take my word for it, take a listen to the stream below, as you peruse my thoughts on each of the eight songs, and I’ve no doubt you’ll be impressed by the music emanating from your sound system.

Fantasy is a musical masterpiece and is the perfect song to boldly open this exceptional release. Whether it’s the overall rhythm, Buzz Shearman’s extraordinary vocals, or the catchy guitar riffs, Fantasy is, without a doubt, one of their all-time greatest tunes.

Sail On Sail Away shifts the tone to a bluesy-country twang, before launching into a killer rock number that further showcases Moxy’s musical diversity and skill. I know I use this term too often, as do so many others, but when you listen to Sail On Sail Away, you can’t help but note that they don’t make music like this anymore. While I’m not suggesting that all modern music should replicate the music that came before it, imagine if we could have more music like this in the modern era. There are some notable examples, such as Rival Sons and The Cold Stares, but they’re the exception rather than the standard. My only criticism of Sail On Sail Away is that the fadeout is a little too abrupt, otherwise, it’s an incredible tune.

Can't You See I'm A Star is an anthemic rocker that exudes charisma and attitude. With its driving rhythm providing a solid foundation for the addictively good guitar riffs and Shearman's commanding vocals, even the most hardened of critics will be drawn in when listening to Can't You See I'm A Star.

Moon Rider kicks things up a notch with some of the very best guitar riffs you’re likely to hear from the 70s. It’s so compelling that I’d suggest it, and the entire album, offers some of the very best rock and roll of the 70s. Exceptional!

Time To Move On is lyrically catchy but as incredible as Shearman’s vocals are, they are the reason why this song will leave you speechless. It is the musical bed and overall performance of the band that truly shines and no more is that evident than during the spectacular mid-song jam session.

Still I Wonder, with its infectious groove and memorable hooks, will grab you from the very first moment. Yes, it’s a little more of a straightforward rock number, compared to the other songs on the album, but that isn’t a critical perspective for the song is magnificent. It just isn’t as multilayered as many of the other songs from the album. However, if all you’re after is a killer rock and roll tune, that you can play your air guitar along to, you’re going to love this hard rock number.

Train is a hard-hitting rocker with a relentless rhythm and gritty guitar riffs. Propelled by thunderous drumming and blisteringly determined guitar playing, amongst other musical aspects, Train is somewhat of a hidden gem and one that keeps getting better the more you listen to the album, especially as it pertains to the closing guitar solo and Shearman’s magnificent vocal delivery throughout the final moments of the tune.

Out Of The Darkness is an uplifting rocker with a driving beat and soaring melodies, featuring powerful vocals and an electrifying guitar performance. It’s so good that you’ll either feel compelled to play the album again or sit and contemplate the music you’ve just heard; the definition of a perfect album closer.

Moxy may have been a debut release but it’s also a classic slice of 70s hard rock that still holds up today as there isn’t a B-side to be heard. From its infectious hooks to its blistering guitar work, it's an album that should be played loud and enjoyed to the fullest. If you haven’t already, consider adding it to your music library for this is one release worth owning.

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Linda Ronstadt – Prisoner In Disguise (Album Review)

Released in 1975, Linda Ronstadt’s Prisoner In Disguise stands as a testament to her unparalleled vocal prowess and eclectic musical range. Building upon the success of her previous albums, Ronstadt continued to explore various genres, from country rock to folk-pop, with remarkable depth and authenticity.

In addition to her exceptional vocal talent, Ronstadt's impeccable taste in song selection also deserves praise for each song matches her artistic style and vision. There’s little wonder as to why Prisoner In Disguise was a success and has had a long-lasting appeal to music lovers of just about all genres. The production is similarly impeccable with Peter Asher in the production chair, Val Garay engineering the record, and Doug Sax undertaking the mastering. The combined talent of these individuals, and the musicians, in conjunction with Ronstadt, ensures that this is a timeless album that will appeal to humanity for decades to come.

More than that, however, the cover art design does a phenomenal job of capturing this music lover’s attention and, there’s no doubt that the striking cover art would have stood out in any record store, the world over, upon release. Unfortunately, this seminal release is long out of print on vinyl with the last reissue being in 2008 with the Mobile Fidelity Sound Lab release. Digital formats have faired a little better with various CD reissues, being released up to 2014. Since then, however, one is expected to source the album from digital download stores or music streaming services. The version I have access to is the Hi-Res Lossless Apple Music stream, an Apple Digital Master, and it is sublime. While I can’t comment about the sonic quality in relation to any other edition, when music sounds this good I decide to leave well enough alone and simply enjoy the album. That all said, if you have the time, join me as I take a look at the songs that make up this exceptional release.

Love Is A Rose opens the album with a lively and infectious energy. Ronstadt's vocals soar above a catchy melody, delivering lyrics that speak to the complexities of love. The song features a country-rock vibe with prominent acoustic guitar and driving rhythms, setting the stage for the eclectic mix of musical styles to come. Written by Neil Young, his rendition is enjoyable but Ronstadt’s interpretation, with a bolder country twang and a slight increase in tempo, suits the song far better than Young’s original does.

Hey Mister, That's Me Up On The Jukebox is a cover of James Taylor's song that showcases Ronstadt's ability to infuse her unique style into a folk-pop classic. The stripped-down arrangement puts the focus squarely on Ronstadt's emotive vocals and poignant storytelling and it’s the mix that impresses me most as the layered musicality is nothing short of magical. Taylor’s original is magnificent, but Ronstadt has recorded an incredible rendition and made it her own.

Roll Um Easy is a standout tune with a laid-back groove and soulful vibe. Ronstadt's sultry vocals glide effortlessly over the smooth instrumentation, creating a mesmerising sonic landscape that will draw you in from the very first note to the last.

Tracks Of My Tears is an idealistic soulful interpretation of Smokey Robinson And The Miracles' classic tune. Ronstadt’s emotive vocals are front and centre, conveying the heartache and longing expressed in the lyrics with raw intensity. The lush orchestration adds depth and texture to the song, elevating it to timeless status. Whether or not you’re a fan of the original, one thing is for certain, Ronstadt recorded this song beautifully and in the process, made it a classic.

Prisoner In Disguise is a hauntingly beautiful ballad that showcases Ronstadt's vulnerability as a vocalist. The poignant lyrics, combined with Ronstadt's expressive delivery, create a sense of emotional resonance that lingers long after the song ends. J. D. Souther’s vocal harmonies are a perfect addition to the mix, one that ensures the lush arrangement adds to the song's atmospheric quality.

Heat Wave is a high-energy cover of the Martha Reeves & The Vandellas classic. Ronstadt's powerhouse vocals, along with the infectious rhythm and catchy melody make it impossible to resist for Ronstadt's electrifying performance injects new life into this timeless hit. Yes, the original is spectacular, but as with most of the songs Ronstadt covered, she performed them so well that they rival, and in this case, surpass the original.

Many Rivers To Cross is one of countless covers of this Jimmy Cliff classic, but keeping with a stripped-down arrangement allows Ronstadt's emotive vocals to take centre stage, conveying the song's themes of perseverance and resilience with raw intensity. It really is one of the best covers I’ve ever heard of this classic tune and given the number of renowned artists that have performed this number, that’s saying something.

The Sweetest Gift is a beautiful tune that features Emmylou Harris. The combination of these two powerhouse vocalists imbue the song with a sense of warmth and sincerity, thereby making it a standout moment on the album.

You Tell Me That I'm Falling Down masterfully combines elements of folk and soft rock, with Ronstadt's emotive vocals soaring over a lush backdrop of acoustic guitar and subtle percussion. The introspective lyrics and haunting melody create a further sense of melancholy that will resonate with listeners on a deeper level.

I Will Always Love You is a beautiful cover of this Dolly Parton classic. Naturally, however, Whitney Houston’s rendition will forever be the go-to edition for that interpretation bests both this and Parton’s original. Nevertheless, I Will Always Love You is such a magnificent tune that there is always room for more and Ronstadt certainly doesn’t disappoint as the arrangement puts the focus squarely on her emotive delivery, allowing the beauty of the song's melody and lyrics to shine through.

Silver Blue closes the album on a high note that will encourage you to spin the record again. Ronstadt's powerful vocals and impeccable phrasing perfectly complement the musical bed thereby making this an album-only tune that will stay with you well after the album has ended.

Throughout Prisoner In Disguise, Ronstadt effortlessly transitions between musical styles, seamlessly blending elements of rock, folk, and country into a cohesive and compelling sound. Whether she's belting out rock anthems or delivering heartfelt ballads, Ronstadt’s dynamic vocal range shines brightly, captivating listeners with each note. With its enchanting melodies, soul-stirring lyrics, and impeccable performances, this album continues to captivate audiences decades after its release, solidifying Ronstadt's status as one of the greatest vocalists of her generation.

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

Released in 1975, Journey’s eponymous debut marked the beginning of a musical journey that would contribute to the sound of arena rock in the late 70s and 80s, yet this album is somewhat different in that it is jazz meets progressive rock; a combination that gives the record a compelling uniqueness.

While the sonic presentation of the album has a greater focus on the instrumental aspects, than their later albums would, this release laid the groundwork for the band’s subsequent rise to fame and set the stage for their signature blend of melodic rock, soaring vocals, and intricate instrumentation. It wasn’t, however, a commercial success but is amongst their greatest recordings and is a top-tier release from the mid-70s.

From the first track to the last, the complex musical arrangements and extended instrumental sections have created an album experience that should be heard within that context. While we’ll delve into the individual songs shortly, this is one album that is best heard in its intended linear structure. Perhaps this was apparent at the time of release for the only song to be released as a single was To Play Some Music; a tune that is good, but not great and is, arguably a poor showcase of Journey’s ability to convey human emotion through audible art.

While there are few criticisms to note, it wouldn’t surprise me if some listeners don’t enjoy this release due to the extended song lengths that, admittedly, could have been shortened. Nevertheless, Journey is an experience in and of itself and the lossless Apple Music stream goes a long way to ensuring that you’ll thoroughly enjoy the music. Every aspect of the mix is clear and the soundstage is well-defined. Perhaps the strongest praise that can be made is that it just sounds right; a very technical declaration, naturally, but one that signifies just how well this album was recorded, mixed, and mastered. Apple Music doesn’t indicate the provenance of the album but it’s fair to say that this CD counterpart is about as good as the album is going to sound sans a remastered/reissue campaign. Additionally, the sonic presence of the album is so well delivered that I simultaneously don’t want a remaster as, again, it sounds just as it should; perfect!

With all that in mind, dear reader, join me as I explore the songs that make up this exceptional, yet underrated, release.

Of A Lifetime opens the album with an incredibly dynamic fusion of rock, jazz, and progressive elements that set the tone for the entire record. Gregg Rolie’s vocal is the perfect accompaniment to the musical bed, as is Neal Schon’s sensational lead guitar riff, but it’s the combination of all musicians that makes this song one of the very best that Journey has ever recorded.

In The Morning Day is a bluesy rock number that includes an infectious groove and catchy melody. Rolie’s vocal is perfectly suited to the song, and the era, but don’t get too comfortable because around the midway point, In The Morning Day turns into a high-spirited psychedelic number that, despite shifting the tone of the song, is thoroughly enjoyable.   

Kohoutek slows the tempo somewhat with an audible journey that is best heard firsthand for the atmospheric aspect, along with the multiple layers of the song, require significant unpacking that words alone cannot adequately convey. Kohoutek is also the most progressive jazz tune, bordering on jazz fusion, from the album and the shifts may, or may not, appeal to everyone. My only criticism is it makes the song a little long, but if we focus on the jazz aspect, and the associated jamming elements of the genre, then the length and complexity make perfect sense.

To Play Some Music is, as I eluded to earlier, a solid tune but one that I wouldn’t consider being single material. It isn’t bad, it’s just an album-only tune.

Topaz opens with a marvellous sonic presentation, the musical shifts, throughout, are a little rougher than I’d ideally like for if you allow yourself to listen in a relaxed manner, you’ll likely be shocked when the tempo shift occurs. Yes, you get used to it the more you listen to the album, but it’s still there and mildly bothers me each time I listen to this song.

In My Lonely Feeling / Conversations is a musical marvel and Aynsley Dunbar’s drumming on this tune is sensational. Of course, the whole band is on fire with Schon’s lightning guitar riffs and Rolie’s smooth vocals being amongst the highlights of what can only be referred to as another of Journey’s most underrated tracks.

Mystery Mountain is the perfect album closer, one that blends the elements of rock, jazz, and blues, thereby creating a song that is not only memorable but one that will encourage you to listen to this self-titled debut again, for Journey can never be listened to only once.

Overall, Journey's self-titled debut is a strong introduction to a band that would go on to become one of the most successful rock acts of the late 20th century. While it may not have achieved commercial success, it did lay the groundwork for the band's future success and remains a testament to their musical talent and creativity. With its blend of melodic rock, virtuosic instrumentation, and emotive vocals, Journey is a classic album that deserves a place in every music lover's collection.

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Fleetwood Mac – Fleetwood Mac (Self-Titled, 1975) [Album Review]

Released in 1975, Fleetwood Mac, the band’s second self-titled album, marked a pivotal moment in Fleetwood Mac's history as it presented a transition from their blues roots to a more commercially successful sound that included a new lineup that featured Lindsey Buckingham and Stevie Nicks alongside remaining band members, Christine McVie, John McVie, and Mick Fleetwood. While everyone points to Rumours as their magnum opus, and from a sales perspective it is, Fleetwood Mac is a far stronger album with a slower overall styling that really embraced the mid-70s soft rock scene.

It’s important to note that this is the second eponymous album by Fleetwood Mac, the first being their self-titled debut release from 1968. While it is far from common to have two self-titled releases, given the lineup and structural changes of the music Fleetwood Mac had made with this 1975 release, it makes perfect sense as they were essentially relaunching the band.

While early 70s era Fleetwood Mac fans would undoubtedly have been perturbed with regard to Bob Welch’s departure, and another lineup change, the dynamic interplay between the remaining and new band members is remarkable. Buckingham's guitar work is masterful, blending intricate fingerpicking with powerful riffs, while Christine McVie's keyboards add depth and texture to the arrangements. Stevie Nicks' distinctive vocals soar on tracks like Rhiannon and Landslide, infusing them with emotive intensity. John McVie and Mick Fleetwood, however, should not be overlooked for a song is only as good as its rhythmic backbone; one in which these two master musicians constructed perfectly.

Naturally, the songwriters and musicians are the focal point of the record, but credit has to be given to legendary producer Keith Olsen who co-produced and engineered this release. His production style can be heard throughout, yet it doesn’t detract from Fleetwood Mac themselves. The result of this collaboration is an album that, so many decades later, remains a wonder, in and of itself, for it strikes a perfect balance between the raw energy of the band's live performances and the studio sheen that was characteristic of the era.

With well over 7 million copies sold, Fleetwood Mac was a monster of an album that would only be outsold by Tango In The Night (over 15 million), and Rumours (over 40 million), and has subsequently been reissued countless times. With almost 300 different known editions, it’s somewhat impossible to declare which version is the best. Therefore, this is one time when I appreciate the lossless Apple Music stream for I need not concern myself with tracking down the very best version as my ears have already told me that I thoroughly enjoy the edition delivered via the streaming service.

Should I wish to further entangle myself, however, in different versions, the 2004 remaster and 2018 Deluxe Edition are also available on Apple Music, but in briefly comparing them I find that I prefer the release labelled with 1975 as the published date. It, coincidentally, is also the release containing the Dolby Atmos version of the album; a mix that I don’t feel compelled to listen to for this album is beautiful in the original stereo mix. Interestingly, however, it isn’t an Apple Digital Master, for that particular labelling has been given to the 2004 remaster. The problem I have with that edition is that it is mastered too loud, whereas my preferred edition, which is shared below, is lovely and smooth with a warmth that one would usually expect from an analogue medium.

Your preferred version, however, may differ from mine but I have found my preferred edition and any further exploration would only cause additional confusion, particularly when you factor in the Atmos release and the plethora of physical counterparts. The good news is that you too can sample the available editions, via streaming, and decide for yourself as to which digital version is more pleasurable. But first, join me as I take a look at the songs that make up this exceptional release.

Monday Morning opens the album with an infectious upbeat tempo that sets the stage for the entire album. Buckingham’s vocals are divine and are amongst his greatest vocal performances.

Warm Ways shifts the tone somewhat, but the mellower lush presentation, following Monday Morning, isn’t a shock to the senses as Warm Ways has an inviting atmosphere. While it isn’t Christine McVie’s strongest song, Warm Ways has a lovely musical accompaniment that is perfectly suited to the era and her vocal styling.

Blue Letter is an energetic rock number with Buckingham on vocals. It may not have been written by any member of Fleetwood Mac, but this Michael and Richard Curtis tune suits the album’s style perfectly.

Rhiannon is one of Fleetwood Mac’s most iconic songs for the mesmerising blend of folk and rock, along with Nick’s haunting and poetic vocals, is captivating.

Over My Head has a magnificent slow build to this breezy pop-rock tune. Christine McVie once again shines as Over My Head has catchy hooks and an infectious chorus that should have made it an instant classic. The backing vocal harmony, however, is a little campy, thereby causing distraction from an otherwise exceptional tune.

Crystal is a song that first appeared on Buckingham Nicks’ debut album; prior to them joining Fleetwood Mac. While this version is different, one thing is for certain, Buckingham’s vocal presentation is second-to-none and the backing vocals, particularly those provided by Nicks, are extraordinary as the musical bed allows your mind to drift into a sonic wonderland. They, most certainly, don’t make music like this anymore!

Say You Love Me has an upbeat, feel-good rhythm, that is amongst Fleetwood Mac’s most recognisable songs. The irresistible melody and sing-along chorus drive the song forward and make it impossible to not be moved by this classic tune.

Landslide is a magical piece of songwriting and audible art. Credit for this tune, naturally, has to be given to Nicks for it is her at her most vulnerable; an aspect that comes through crystal clear in her beautiful performance.

World Turning is a funky folk meets country groove-driven track that has a playful vibe and adds a dose of energy and spontaneity to the album. Despite being an album-only tune, it’s also a hidden gem and one that deserves more attention than it generally receives.

Sugar Daddy is a rock number that showcases the band’s blues roots. While the entire album is exceptional, Sugar Daddy is one song that, while it would be missed, should have been omitted for it sounds more like a demo than a fully-fledged song.

I'm So Afraid closes the album on a high note with Buckingham's searing guitar solos and raw, impassioned vocals. While there’s no shortage of exceptional songs written by Buckingham, I’m So Afraid is a personal favourite as it showcases that Fleetwood Mac can go beyond the blues-based pop-rock that defined their career and take on an even bolder composition that will leave you reflecting on this incredible tune whilst simultaneously wanting to spin the record again. Of course, in the modern era, it is easier than ever to put this song on repeat and it’s worthy of such appreciation because it is one of the greatest, and most underrated, songs Fleetwood Mac ever recorded.

Fleetwood Mac not only rejuvenated the band's career but also laid the foundation for the iconic lineup that would go on to create some of the most enduring music of the 20th century; along with this very record. With a blend of catchy hooks, heartfelt lyrics, and masterful musicianship, Fleetwood Mac is easily one of the greatest albums of the 70s. Whether you're a longtime fan of the band or new to their music, this album is essential listening for anyone who appreciates classic rock.

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