Icehouse – Primitive Man (Album Review)

Released in 1982, Primitive Man became a landmark album for the Australian band that had been formerly billed as Flowers. While the name change may confuse newcomers, this second release under the name Icehouse, led by frontman Iva Davies, is not only an evolution but includes Australia’s unofficial national anthem; Great Southern Land. 

Adding more sophistication and production qualities, when compared directly to their debut album, Primitive Man offers music lovers a sensory experience that explores a variety of musical styles. The pristine production enhances the clarity of each instrument and allows the atmospheric and electronic elements to shine. Perhaps most importantly, Primitive Man, as with all of Icehouse’s recordings, sounds exceptional via both legacy and modern formats. Although, I will say that the 2017 vinyl reissue, pressed from the 2012 digital remasters, has a slight edge over the digital counterpart. It’s simply the analogue warmth (distortion) of the format that is the differential aspect here as it just smooths the overall presentation of the album. 

Visually, Primitive Man is striking and as solid as the stream or CD releases can be, none are quite as impactful as when this album is released on the larger vinyl canvas. While I’ve yet to compile a list of the best album covers of all time, Primitive Man would certainly be at the top of the list for Icehouse’s artwork has always been exceptional, but Primitive Man certainly plays into the overall thematic elements of the album and is a perfect visual counterpart to the audible journey. 

Further reflecting on the music itself, while not entirely void of new wave rock influences, that were a focal point of their debut, Primitive Man certainly focused more on the synth-pop elements that would further catapult the band to mainstream success. While newcomers to the band would be advised to check out White Heat: 30 Hits; make sure you check out the music that makes up not only this album but Icehouse’s entire back catalogue as the album-only songs as as pivotal to the band’s success as the hits. Hence, join me as we take a look at the songs that make up this landmark Australian release. 

Great Southern Land is Icehouse’s magnum opus. While it wasn’t the only standout hit from Primitive Man, it has remained in the social consciousness since its release, for there likely isn’t an Australian who hasn’t heard this incredible tune. Perhaps they don’t know the artist or never purchased the album or the single, but one thing is for certain, every Australian knows the song when they hear it. Few songs are so influential in this way that when a tune such as Great Southern Land comes along, you need to sit up and take notice. Characterised by a haunting melody, atmospheric instrumental backing, and sweeping arrangements, Great Southern Land captures the soul from the very first note to the last. While some may lament the use of synthesised elements, to do so would be at their peril for this classic tune is representative of some of the very best synthesised music in all of recorded music history. 

Uniform appears after a longer fadeout than one would normally expect, but the slow build ensures that it isn’t a jolt to the senses following the melodic Great Southern Land as Uniform has a rhythmic dance vibe that is quite different to the album’s opening tune. Nevertheless, Uniform is a fantastic song from the era and while it likely isn’t a standout for many people, Primitive Man wouldn’t be the same without it. 

Hey, Little Girl again shifts the tone for it’s a more relaxed and introspective inclusion. At this stage, I’ve been enjoying Primitive Man for well over three decades and I truly have a love/hate relationship with Hey, Little Girl. In some ways, it reminds me of Love In Motion; another song that I have mixed feelings about. It isn’t that these tunes are bad, anything but, I’m just not a fan of ballad-styled tunes when Icehouse records them as I feel Davies’ vocals become a little too campy throughout. It’s not the synth-pop element either as I simply adore the musical bed and the short instrumental passage about three-quarters of the way through the song. Nevertheless, Hey, Little Girl is one of Icehouse’s most popular tunes and yes, dear reader, I do enjoy it as part of the album’s structure; I’m just unlikely to play it outside of the album’s intended sequencing. 

Street Cafe is one of my all-time favourite Icehouse songs for its soft rock at its very best as Davies knocks his vocals out of the park on this track. Add to that the chosen guitar licks, and shifting rhythm between the verse and chorus, and you’ve got what can only be described as the perfect track. 

Glam is a thoroughly enjoyable dynamic tune infused with energy and a danceable rhythm. Featuring a combination of electronic and rock elements, Glam quickly becomes an earworm (an enjoyable one) that you’ll find yourself humming along to all day.  

Trojan Blue opens with atmospheric synth textures and a slower tempo that perfectly suits the second half of the album. It’s a beautiful song and while never destined to be a hit, it’s most certainly a hidden gem.

One By One is a mid-tempo track with a pulsating rhythm that is addictively good. Yes, it’s another album-only tune, but it’s songs such as this that ensure Primitive Man is a memorable album experience. 

Break These Chains is a killer rock song. If you’re not head-bopping and toe-tapping, or up on your feet bouncing around; you’re listening wrong. While Icehouse has an incredible legacy, Break These Chains is yet another hidden gem that has to be heard firsthand; it’s extraordinary! 

Mysterious Thing flows beautifully in the intended sequencing and adds to the album’s overall atmospheric quality. Album-only tracks are seldom this enjoyable, but if you listen past their well-known hits, you’ll find that Icehouse has much to offer for the music that never hit the radio waves is just as enjoyable, sometimes more so, as some of their better-known tunes.

Goodnight Mr Matthews (USA Re-record) closes the album beautifully. Featuring some of the most magical guitar work I’ve ever been fortunate to hear, Goodnight Mr Matthews will leave you in a reflective mood while also encouraging you to play the album again for it is a rarity when I listen to Primitive Man only once.

Overall, Primitive Man stands as a pivotal album in Icehouse’s discography, showcasing artistic growth and experimentation with a more polished and sophisticated sound. The combination of memorable melodies, introspective lyrics, and innovative production makes this record a timeless classic that continues to resonate with fans; particularly those of us who are nostalgic for the music of the 80s. Synth-pop has never sounded so good!

Check out more Icehouse reviews by Subjective Sounds

Michael Jackson – Thriller (Album Review)

Iconic best describes Thriller, but is it Michael Jackson’s greatest album? 

From a sales perspective and the ability to capture the zeitgeist; absolutely! However, the more I reflect on the album, the more I find that it isn’t as cohesive as the masterpiece that is Off The Wall. It also isn’t as energetic as Bad and while Dangerous rounds out his most successful solo era releases, and is a little too lengthy, it too is a stronger album. 

Don’t get me wrong, dear reader, Thriller is an exceptional release, but once you get past the fanfare and key singles that came from the album, the album-only songs don’t necessarily ensure that Thriller is a fluid album experience from start to finish. Nevertheless, one thing is indisputable and that is that Thriller forever changed the world of music upon its release in 1982. 

As a game-changing cultural phenomenon, Thriller continues to captivate audiences, transcending generations, to this day and remains one of the greatest releases from 1982. Of course, it wasn’t just the music that made Thriller so successful, for it arrived hot on the heels of the MTV era and Jackson took thorough advantage of this new platform ensuring that his music videos were every bit the visual spectacle counterpart to his audible wonders.

In many respects, had it not been for the emerging music video revolution and the Motown 25: Yesterday, Today, Forever television special, where Jackson performed Billie Jean and debuted the moonwalk, one must question if Thriller, Jackson’s sixth solo studio album, would have been the cultural landmark it turned out to be.

Album artwork, certainly in the 80s, played a key role in attracting an audience and while Thriller was successful for a multitude of reasons, the iconic cover art would have been stunning when seen on the shelves of your local record store. It isn’t far-fetched to suggest that the artwork alone could have sold the album for it has a unique quality that allows it to stand out from the crowd. With a level of visual sophistication, you immediately get a sense that what you’re about to hear is something very special. While we shouldn’t judge a book, or a record, by its cover, it is often true that compelling artwork mimics intriguing music and in this case, Thriller doesn’t disappoint. 

However, with over 700 different versions of Thriller, modern collectors face an incredible challenge in finding an edition that best suits their tastes. The good news is that due to its high production, most fans will be content to listen to any version of the album. There are, of course, reasons why one may wish to own multiple copies of Thriller but I find myself content with not only the Hi-Res Lossless Apple Music stream, an Apple Digital Master, but with my 2009 Music On Vinyl (MOV) reissue edition that I’m fortunate to own. Yes, I could track down the various versions, many of which are highly regarded, but I increasingly find myself tiring of such endeavours as it becomes more about finding perfection than simply appreciating the music I love. 

As to which edition I prefer, both have their unique qualities. The Apple Music stream is exquisite and if you haven’t got a physical copy, the stream is likely all you will ever need; it’s that good! However, the vinyl reissue is musically fluid with exceptional dynamics and plenty of bass punch. It’s a lovely all-rounder. The only flaw that I can speak of is that there is a little too much sibilance throughout Side 2 of the record. The sibilance becomes less apparent when playing on my smaller, less revealing system, but it’s something that some of you may find distracting. That said, Jackson does have a small lisp in his vocals anyway, but it’s an issue here as it is amplified a little. Additionally, there are some minor musical elements that sound too distant in the mix on the vinyl reissue, whereas they are much clearer on the streaming counterpart. Again, these issues are not major, and most music lovers won’t even notice them, but if you choose to pick up the vinyl reissue from 2009 as I have, knowledge of this may help you make an informed decision. 

Before taking a look at the songs that make up Thriller, I wanted to take a moment to acknowledge the 2008 reissue and its series of remixes with various artists. Yes, it was officially sanctioned, but I don’t classify it as being true to the Thriller album experience. Subsequently, this review will focus on the core nine tracks that make up the original release of the album. The subsequent bonus material that was on the 2008 reissue remains readily available for those of you who are interested. The 2001 Special Edition is a little more uncommon and truthfully, I never appreciated the bonus songs, and interviews, tacked onto the backend of the album. It really should have been released as a separate disc, but alas, that is one edition that I’ll never experience the Fear Of Missing Out (FOMO) over. Finally, the Dolby Atmos mix on Apple Music is adequate. At this stage, I’ve been listening to Thriller in stereo for over four decades and the surround mix offers me nothing new. In my mind, Thriller should always be a stereo-only release.

Wanna Be Startin' Somethin’ is a superb funk-styled opening track that is a fantastic complementary counterpart, in Jackson’s catalogue, to Don’t Stop Till You Get Enough. With a dynamic rhythm and mix to match, Jackson’s vocal delivery is as catchy as the infectious melody. If you’re sitting still while listening to this song, you’re listening wrong as your body wants to move involuntarily to one of the greatest album openers of all time. 

Baby Be Mine offers a smooth disco-styled flow that slows the tempo somewhat. It should by all metrics be a jolt to the senses, especially following the album’s energetic opener, but the sequenced flow ensures that Baby Be Mine is not distracting in its chosen position.

The Girl Is Mine (with Paul McCartney) is playful and a little gimmicky, yet that is similar to the style these two master musicians had utilised previously with Say Say Say. Still, the interplay between these two legends is simply wonderful and while The Girl Is Mine is far from my favourite Thriller era tune; Thriller simply wouldn’t be the same without this light-hearted pop song. 

Thriller is a synthetic disco-funk masterpiece that is eerie, captivating, and a true musical marvel. The spooky atmosphere, incorporating Vincent Price’s unique voice-over, ensures that Thriller is not only the perfect title track but a song that remains part of the social consciousness to this day. In fact, Thriller doesn’t sound dated at all; thanks to the exceptional production. That aspect alone is surprising, especially considering 80s-era sound effects were applied to the mix, but good music will always stand the test of time and Thriller is timeless. 

Beat It is arguably the heaviest rock and roll song the King Of Pop ever recorded and is so good that I also consider it to be one of the greatest rock and roll songs of the 80s; an unlikely candidate, yes, but it’s right up there with the best of the best. Of course, it doesn’t hurt having the one and only Eddie Van Halen performing one of the greatest guitar solos ever recorded. Add Jackson’s dynamic vocal presentation, and the song’s anti-violence message, and you’re left with a song that can only be described as an anthemic rocker.

Billie Jean is dance meets funk with a touch of soul and R&B. Much like the other landmark songs on this release, as soon as you hear the first note, you know it's a Michael Jackson song. The captivating bassline and infectious rhythm further ensure Billie Jean will remain an earworm long after the album has concluded.

Human Nature is a soothing ballad that shifts the tone for the rest of the album. While it’s a lovely tune in its own right, and a perfect song for the album, I find that it’s one that I rarely seek out on its own. It isn’t that I dislike it, anything but, it just isn’t a standout when a record, such as Thriller, has so many other exceptional songs.

P.Y.T. (Pretty Young Thing) is so bad it’s good. It really is the embodiment of 80s pop with a touch of disco that our senses thoroughly enjoy, for it’s impossible not to dance along to this classic tune. 

The Lady In My Life is a simply gorgeous song to close the album on as Jackson’s tender vocal reaches right into your soul, encouraging you to spin the record again.

Thriller is ultimately a testament to Michael Jackson's versatility and ability to create music that resonates with a broad audience. While I don't rank it as his greatest release, and feel it is overrated, it is successful because it’s extraordinarily good. From energetic dance tracks to soulful ballads, Thriller offers a diverse range of musical experiences that will stay with you well after the album has ended, thereby making it an exceptional release in the world of music and one of the best albums released in the 80s.

Check out more Michael Jackson reviews by Subjective Sounds

ABBA – ABBA: The Album (Album Review)

Released in 1977, ABBA’s fifth studio album, The Album, stands as one of the Swedish pop group’s most iconic and enduring records. Filled with infectious melodies, harmonious vocals, and a blend of disco and pop influences, The Album was destined for classic status due, primarily to its masterful collection of songs, but also its production qualities.  

The Album was, ultimately, perfectly positioned between Arrival and Voulez-Vous as ABBA was riding a wave of international success, thanks to a string of chart-topping hits including Dancing Queen, Fernando, and Mamma Mia. The Album while still whimsical in places, showcased a further musical evolution with a more mature and diverse sound that incorporated elements beyond the confines of the traditional pop style ABBA was known for. Songs like Eagle introduced a cinematic and symphonic quality to their repertoire, while tracks like Take A Chance On Me and The Name Of The Game continued to embrace the disco trend that was sweeping the globe. This versatility not only allowed ABBA to appeal to a broad audience, transcending genre boundaries and resonating with fans of all ages, but is also the very reason why their music is enduring.

Speaking of being timeless, the production qualities for The Album ensured that the record not only sounded modern for the time, but in a miracle that I can’t fully explain, certainly not well, The Album doesn’t appear to have aged at all. Similarly, the cover art, designed by Rune Söderqvist, is exquisite, timeless, and is amongst the very best of ABBA’s career. The entire production is so high that this album really could have been released in the modern era and no one would be the wiser. That said, the various masterings of The Album have left some, myself included, perturbed. Thankfully, I feel that I’ve now got two versions of the album that I can appreciate. The 2020 vinyl reissue, from The Studio Albums boxset, is enjoyable, but I much prefer the sonic qualities of the Apple Digital Master, streamed from Apple Music. 

Blasphemy, I hear vinyl fans saying, but there’s a key difference between the two editions; beyond the fact that one is digital while the other is analogue (albeit digitally remastered and then pressed to vinyl). The vinyl counterpart, by comparison, simply has too much bass that results in a muddier low end. Seriously, I never thought I’d be complaining about too much bass when it came to ABBA’s music as that is normally a shortfall of prior masters, but it is off-putting enough to note. The Apple Music stream, however, is cleaner with just the right amount of bass. It simply sounds right, clear and crisp (without being fatiguing). As much as it pains me to admit it, given the price I paid for the box set, the stream is my go-to edition for this classic album.

Eagle is majestic! Featuring soaring vocal harmonies and a lush orchestral arrangement, Eagle is a song that will capture your soul from the very first note to the last. While it may not have set the charts on fire when released as a single, it’s one of their greatest recordings and in many ways could be considered their magnum opus.

Take A Chance On Me is an irresistible pop gem. The catchy chorus and dynamic vocal interchange between Agnetha and Frida ensure that it has remained a standout in ABBA’s exceptional catalogue of music.

One Man, One Woman is a beautiful melancholic ballad that is sure to pull at the heartstrings. Frida’s lead vocals are superb, as is the unique musical accompaniment. However, One Man, One Woman is a song that, depending on the mastering of the album you’re currently listening to, can be a little too shrill to the senses. Nevertheless, the aforementioned vinyl release and the Apple Digital Master don’t suffer from this aspect in the same way that the 2001 remasters do. 

The Name Of The Game blends pop and disco elements seamlessly creating a unique structure. Moving from a slow introspective beginning to a catchy, more upbeat chorus, The Name Of The Game will keep you engaged throughout as it ebbs and flows.

Move On is underrated, but most likely because it plays akin to a tune that would have ideally been suited to ABBA’s earlier career releases. Even with that in mind, Move On showcases ABBA’s continuous evolution to compose incredible music and is a lovely addition to ABBA: The Album. 

Hole In Your Soul is a spirited energy-packed tune with a rock-inspired sonic presentation. With an infectious rhythm, and incredible lyrical harmonies, Hole In Your Soul will grab your attention and not let go until the very end. That said, the vocal pitch can be a little high and nagging on the senses. It’s particularly noticeable on certain remasters, as previously mentioned, but is restrained via the Apple Music stream. 

Thank You For The Music has become an anthem for music lovers worldwide; despite being one of the corniest songs ever recorded in all of music history. The truth is, we all love it and we know we do. So let’s not hide our appreciation for this song; let’s sing out loud Thank You For The Music!

I Wonder (Departure) is a beautiful tune and is one of ABBA’s most coveted hidden gems. Simply stunning!

I'm A Marionette shifts the album’s musical style, but it seamlessly flows from I Wonder (Departure). With a more upbeat presentation, I'm A Marionette is a thrilling theatrical tune that further showcases ABBA’s willingness to experiment with different styles, thereby ensuring that their catalogue of music not only evolved throughout the years but remained fresh and relevant to music lovers across various eras. 

From start to finish, ABBA’s The Album is a masterful collection of tunes that demonstrate the group's ability to craft diverse yet cohesive music. From the soaring heights of Eagle to the introspective moments of One Man, One Woman and the infectious pop sensibilities of Take a Chance on Me, every song on this album showcases ABBA's talent and enduring appeal. It's no wonder that The Album remains a cherished classic in the world of pop music, captivating generations of fans with its timeless melodies and heartfelt lyrics.

Check out more ABBA reviews by Subjective Sounds

Elton John – The One (Album Review)

Released in 1992, The One is Elton John’s twenty-third studio album and while his classic era was well behind him, and this release is not quite as polished as Sleeping With The Past, there’s something for fans to appreciate when listening to this album; if you give it time to grow on you, that is!

Arriving during a period of personal and professional rejuvenation, for John, The One was a return to form for the master musician. With his trademark piano-driven rock and pop sound that features heartfelt lyrics, the music contained within did, and continues to, resonate with listeners throughout the world. As eluded to earlier, The One isn’t an album that is likely to immediately connect with your soul. You feel as if something is missing, yet can’t quite put your finger on it. However, the more you listen to the album, the more the songs meld into a piece of audible art and The One subsequently becomes one of John’s greatest releases.

As with most of John’s reissues, the digital counterparts come with additional songs. I’m certainly not a fan of that approach and prefer to listen to and appreciate the music in its original sequencing. While I have listened to both bonus tracks, Suit Of Wolves and Fat Boys And Ugly Girls, I feel neither adds value to The One and as a result, I’ve chosen to share with you a playlist of The One that omits that bonus material.

Simple Life is a beautiful opener and while it may hark back to the sound signature of the era, it isn't dated and still sounds fresh. John’s vocals are, as is usually the case, filled with warmth and sincerity, but the entire composition of the song is nothing short of perfection; perhaps a tad long, but perfect nonetheless.

The One shifts the tonality somewhat, but as the title track, this is one of John’s most magical ballads. His vocals perfectly combine with the song’s lush orchestration to add depth and intensity. The One is, without a doubt, one of the standout tracks from not only this record, but John’s entire career.

Sweat It Out is a little more upbeat with a vibrant and captivating style. What’s more interesting, however, is the sonic elements placed within the mix. Such additions have the possibility of becoming too complex, but each musical aspect was included to enhance the music rather than detract from the song itself; a rarity, certainly!

Runaway Train (feat. Eric Clapton) is one of the greatest songs John and Clapton have ever recorded, in their respective careers. Yes, it is that good!

Whitewash Country shifts the style somewhat and initially, it’s as if John were recording another country music-inspired tune before the pop-rock elements kick in. Any song following Runaway Train was always going to be challenged, but as an album-only tune, Whitewash Country is solid. It was never destined to be a standout, but it flows well enough within the album’s linear structure.

The North is a beautiful song and a hidden gem that has never achieved the recognition it deserved.

When A Woman Doesn't Want You may be an album-only tune, but it’s stunning as John’s vocals are filled with raw emotion that combine with the song’s soulful and catchy melody.

Emily starts well, but John’s vocalising of the verses is a little off. It’s not the worst song he’s ever recorded, but I doubt anyone would seek Emily out on its own, outside of listening to the album as it just isn’t noteworthy.

On Dark Street has a rock-infused sound, with a catchy chorus, that will see you toe-tapping and head-bopping throughout.

Understanding Women has a killer synth introduction with witty lyrics and a bouncy melody that would have been a hit had it been released in the mid-80s.

The Last Song is one of the greatest closing tunes I’ve ever had the pleasure of hearing. It’s also one of John’s most beautiful vocal performances for it leaves you wanting more, thereby making it a fitting conclusion to a magnificent album.

The One is a remarkable addition to Elton John's extensive discography where he successfully balances introspective and emotional ballads with more upbeat and rock-oriented tunes. His signature piano-driven sound and heartfelt lyrics are on full display throughout, and his vocal performances are nothing short of outstanding. The One, ultimately, captures a mature and reflective John, making it a must-listen for both longtime fans and newcomers alike.

Check out more Elton John reviews by Subjective Sounds

Elton John – Sleeping With The Past (Album Review)

Elton John's career has been nothing short of legendary, with a discography that spans decades and genres. In 1989, he released Sleeping With The Past, an album that would be a departure from much of his 80s output and one that would ultimately see him return to the top of the charts. With a focus on the rhythm and blues sounds of the '60s and '70s, Sleeping With The Past is true to its namesake and John and Bernie Taupin didn’t disappoint for this release not only pays homage to a bygone era but embraces it and presents it to a new audience to reflect upon. 

Speaking of new audiences, while John may be somewhat winding down his career, particularly the touring aspect, he’s never been more popular. As such, his record label decided in recent years to reissue his legacy recordings, beyond just that of his classic 70s-era music, on vinyl. Subsequently, Sleeping With The Past was reissued in 2017, although I’ve yet to pick it up on vinyl; a shame considering it is also one of my all-time favourite Elton John albums. 

In the meantime, I will endure listening to this masterpiece via the lossless Apple Music stream that is derived from the 1998 remastered CD release. It’s adequate but is unlikely to fill your soul for you’ll hear the music, but you won’t necessarily feel it. Plus, the bonus tracks, Dancing In The End Zone and Love Is A Cannibal just aren’t great. As such, I’ll be sharing with you a playlist of the core album tunes, for I feel the album is stronger sans the bonus material. 

Durban Deep launches the album with an interesting 80s twang and as much as I adore Sleeping With The Past, I have to admit that Durban Deep isn’t the strongest opener. It isn’t fundamentally bad, but it does sound as if it were a song left over from one of John’s lackadaisical mid-80s releases. That said, the more you listen to Sleeping With The Past, the more you’ll find yourself enjoying Durban Deep as it signifies the exceptional music that you’re about to hear. 

Healing Hands is where Sleeping With The Past really starts, for me at least. It’s a highlight from the album with its catchy upbeat melody that melds perfectly with John’s compelling vocals. Yes, it has a very late 80s sound, especially with the addition of the backing vocals, but good music is good music and Healing Hands is a timeless classic.

Whispers is a beautiful, stripped-down ballad, that will draw you in from the very first notes. John’s emotive singing also captures your attention and while much of his 80s output, post The Fox in 1981, failed to impress, Whispers showcases that an artist with the skill of John can return at a later date, with an astonishing selection of songs, and once again leave the fans speechless.

Club At The End Of The Street shifts the tone of the album and takes a more upbeat approach compared to Whispers, yet the contrast isn’t nearly as jarring as you would think. It’s, therefore, an example of perfect track sequencing, for the senses thoroughly enjoy the placement of this catchy pop-rock tune.

Sleeping With The Past harks back to the Motown era of yesteryear; a core inspiration for the entire album. While it may not be a song that is immediately identifiable with John’s legacy, Sleeping With The Past is the perfect title track for it encompasses all intended musical influences.

Stone's Throw From Hurtin’ is blues meets country and further showcases the versatility that has been a cornerstone for John throughout his entire career. Stone's Throw From Hurtin’ was never going to set the charts on fire but is perfect as an album-only tune with some killer guitar licks. 

Sacrifice is, undoubtedly, a standout with poignant lyrics and a haunting melody that has become one of John’s signature tunes. 

I Never Knew Her Name is a fun, energetic, and upbeat song that returns us sonically to the underlying Motown vibe.

Amazes Me is a lovely mid-tempo tune with lyrics that are not only evocative but are emotionally charged, thereby allowing John to do what he does best; tell stories via songs. 

Blue Avenue is a beautiful closer. John’s soothing vocals, combined with his calming piano backing, ensure this track is a standout that will encourage you to spin the album again. 

Sleeping With The Past not only paid homage to the music of a bygone era, but it's simultaneously some of the very best music Elton John ever recorded. As a result, much of John’s 80s output can be overlooked as each song from Sleeping With The Past adds a layer of richness to the album, making it a memorable addition to Elton John’s illustrious career; one that is up there with his greatest legacy releases. 

Check out more Elton John reviews by Subjective Sounds

Andy Gibb – Flowing Rivers (Album Review)

Released in 1977, Flowing Rivers is Andy Gibb’s debut studio album and is a timeless classic that showcases Andy's remarkable vocal prowess and undeniable songwriting skills. Carrying the weight of expectations that naturally come with being part of such an illustrious musical lineage, Andy not only rose to the occasion but also carved out a unique niche with this remarkable collection of songs.

From start to finish, each of the album's ten tracks carries a unique charm that will immediately captivate you with unforgettable hooks and a vocal delivery that oozes with sincerity. Yes, you’ll hear audible correlations to the Bee Gees when listening to Andy Gibb, but fans of both artists will likely attest that the association is merely complementary and that Andy’s recordings give fans a window into a different style that the Bee Gees simply could not present. From that perspective, Flowing Rivers is a unique masterpiece that shouldn’t exist in the shadows of the Bee Gees for it’s a notable release on its own. 

As it pertains to the availability of the album, sadly physical music fans are not covered as an official reissue, outside of the Japanese music industry, hasn’t been released since the late 90s. Yes, Flowing Rivers can be purchased via iTunes et al, but an artist with such a legacy deserves to have their music remain in print and it’s a travesty that Andy’s back catalogue is only available via digital means. 

Turning our attention to the lossless Apple Music stream, it’s almost certain that this release is derived from prior CD reissues and while it’s adequate, it isn’t going to set your sound system on fire. In reality, Flowing Rivers could be improved with a delicate remaster; not one that merely reduces the overall dynamic range and increases the volume. The album simply needs a little more oomph in its presentation and while some will point to EQ settings, they can often be too harsh; particularly those within the digital realm. The result is that you’re more likely to add a blanket of muddiness to the overall presentation than you are to address any of the existing shortcomings. A skilled mastering engineer is what’s ultimately needed to make this record sound even better than it already is. Nevertheless, it’s all about the songs that ensure Flowing Rivers is so compelling, so join me as I take a look at each song from the album.

I Just Want To Be Your Everything was a chart-topper the world over and there is little doubt as to why, as Barry Gibb penned this masterpiece with the infectious rhythm and catchy melody he’s renowned for. That said, had it not been for Andy’s smooth vocals, you’d find it impossible to sing along to. The result is that I Just Want To Be Your Everything is one of the best songs from the Gibb family camp. 

Words And Music is a lovely and timeless ballad. Describing it as magnificent would be an understatement. It’s certainly one of Andy’s greatest recordings and as music lovers, we are so fortunate to have such incredible music to appreciate and carry with us throughout our lives.

Dance To The Light Of The Morning is a fun and lively tune that highlights Andy’s versatility, but it’s ultimately an album-only tune that was never going to be a standout. While Dance To The Light Of The Morning is unlikely to compel you to listen to Flowing Rivers, the album wouldn’t be the same without it.

Too Many Looks In Your Eyes has a beautiful arrangement that highlights Andy’s emotive vocal throughout. When I suggest that the album and Andy Gibb’s music are hidden gems, it’s songs such as this one that I am referring to, for Too Many Looks In Your Eyes is one of the greatest songs from the 70s. Had it been released as a single, I’ve no doubt it would have gone to the top of the charts; it’s that good! 

Starlight has a dreamy quality about it and while it may get off to a slow start, it builds into a magical piece of music that, again, highlights Andy’s incredible vocal prowess.  

(Love Is) Thicker Than Water is one of Andy’s most memorable and enduring classics and features some beautiful guitar licks courtesy of Joe Walsh. It’s pop meets rock and is so thoroughly pleasing to the senses that you’ll find your body moving involuntarily to the rhythm of this masterful tune. Yes, it could be said that it is dated to the era, but good music stands the test of time and from my perspective, it sounds as fresh today as it always has. 

Flowing Rivers was an interesting choice for the title track for it isn’t the strongest song from the album or within Andy’s overall back catalogue. Don’t get me wrong, it’s a solid tune but isn’t worthy of being the album’s title track as it simply isn’t a standout, nor is it memorable. Still, it’s another of those songs that is enjoyable when listened to in the album’s sequencing; you just won’t look for it outside of the album structure.

Come Home For The Winter flows seamlessly from Flowing Rivers but the musical arrangement and pacing of this tune is far more appealing. You get a touch of pop, and classic rock, along with a country twang; the culmination of which becomes an addictively good tune that you’ll appreciate every time you play the album. 

Let It Be Me is a great little tune. Nothing to write home about, but thoroughly enjoyable nonetheless. 

In The End is a beautiful tune to close the album on as it encourages you to listen to the record again as it leaves you wanting more. It’s also contemplative, so should Flowing Rivers be the final album you listen to in the evening, you’ll be whisked away on a musical cloud of relaxation.  

Flowing Rivers is a timeless, and somewhat hidden, gem from the pop music landscape of the late 70s. Andy's incredible vocal talent, combined with the quality of songwriting on this album, cements his status as a pop icon. Yes, the renowned production team of Gibb-Galuten-Richardson (Barry Gibb, Albhy Galuten, and Karl Richardson) had a role to play here but as you listen to the album, each track showcases a different facet of Andy's natural talent, from his ability to deliver catchy pop hits to his knack for heartfelt ballads. Flowing Rivers is, subsequently, an album that shouldn’t be overlooked.

Check out more Andy Gibb reviews by Subjective Sounds

Neil Diamond – I'm Glad You're Here With Me Tonight (Album Review)

Neil Diamond's 1977 release, I'm Glad You're Here With Me Tonight, is a remarkable blend of heartfelt ballads and pop-rock anthems. This record showcases Diamond's signature style along with his ability to convey raw emotions through his distinctive voice. With 11 tracks that traverse love, longing, and introspection, this is one timeless gem from Diamond's extensive discography.

It’s, however, disappointing that I'm Glad You're Here With Me Tonight has been out-of-print for decades, with the last official physical reissue being released on both CD and Vinyl in 1988. While purists and collectors will suggest seeking out a used copy, I prefer to make my own memories with music and subsequently look forward to classic albums being reissued. While one can never say never, the massive reissue and remastering campaign of much of Diamond’s back catalogue (circa 2014-2016) was primarily focused on delivery via the iTunes Store and other Hi-Res digital download stores such as HDTracks. While I don’t have a problem with that, for the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite, I do wish legacy formats weren’t omitted for music lovers should always be given a choice. That said, the Apple Music stream is so good that I dare say, from a sonic perspective, there is no need to look elsewhere. Although, I do really want this album on the larger vinyl canvas if for no other reason than the incredibly well-designed album artwork. 

God Only Knows is one of the greatest songs ever written and as an original Beach Boys tune, from their acclaimed 1966 album Pet Sounds, nothing really compares; that is, until you listen to Diamond’s rendition. Yes, dear reader, I’m going to frustrate many dedicated fans of the Beach Boys, but as lovely as their original is, I do feel that Diamond recorded the song with the highest level of respect and covered it in such a way that it not only pays homage to the original but it becomes his own. Diamond also sings the song in a slightly lower register and the more lush orchestration plays a key role in my preference here for Diamond’s interpretation simply sounds right. If nothing else, God Only Knows is the perfect opening track for the album. 

Let Me Take You In My Arms Again is a warm and soulful love song. Diamond is, of course, renowned for this style of music, but I never tire of it for songs like Let Me Take You In My Arms Again are instant classics.

Once In A While presents a shift in tempo, but captures the essence of nostalgia. They don’t make music like this anymore is an apt assessment, but music lovers also don’t need imitators when we have such emotive and poignant ballads to appreciate til the end of time.

Let The Little Boy Sing is a catchy, upbeat, jazzy song that brings a sense of hope and optimism. It may be an album-only tune, but don’t let that deter you for it’s the strength of the filler material that ensures this album is one of the very best released in 1977.

I'm Glad You're Here With Me Tonight is a lovely title track that is a declaration of love. While love songs are a dime a dozen, Diamond ensures his sincerity shines through and that aspect alone is a partial reason for his success over the years. Linda Press’ backing vocals are also beautifully mixed into this song, although I do wish she was featured more prominently. 

Lament In D Minor / Dance Of The Sabres is nothing short of a masterpiece. The lengthy instrumental introduction showcases Diamond's versatility, blending classical elements, with a contemporary rock sound, to add depth to the album's overall presentation. It’s also one of Diamond’s most overlooked tunes and that’s an incredible shame for I consider it to be not only one of his greatest, but one of the best songs in all of recorded music history. 

Desirée is iconic! Diamond is absolutely captivating as he delivers this passionate and dramatic love song. 

As If has an air of simplicity with a folksy charm, but it isn’t great. It’s not so bad, however, that it detracts from the overall album experience, but it just doesn’t sing to me as the other songs from the album do. 

You Don't Bring Me Flowers (Solo Version) is simply beautiful, and as incredible as Diamond’s duet with Barbra Streisand is, from his 1978 album You Don’t Bring Me Flowers, this original composition is still magnificent.

Free Man In Paris is a cover of Joni Mitchell’s original. My only quibble with the song is the unnecessary first minute. If it could have started at the one-minute mark, I feel it would have been a stronger closer.

Overall, I'm Glad You're Here With Me Tonight is an incredible album that effortlessly weaves through various emotions, from love and longing to optimism and celebration. Diamond's powerful vocals and compelling songwriting shine throughout, as do the cover songs, thereby making this album a must-listen for fans and a timeless addition to Diamond's remarkable discography.

Check out more reviews for Neil Diamond by Subjective Sounds