Album Review: The Eagles - Hotel California (1976)

The Eagles' greatest hits were just that - greatest hits.  I've lost count of just how many different "best of" or "greatest hits" compilations I've seen from the band - for the most part, bar one or two songs, all the songs were the same, from "Hotel California", "Take It Easy", "Lyin' Eyes", and so on.  Even the track listings were nearly identical, but that of course could be explained by the chronological ordering of them.  Listening to 1976's acclaimed "Hotel California", frankly I would be much better off myself sticking to the compilations.  It's not a terrible album as such - you've got the staple hits, "Hotel California", "New Kid in Town" and "Life in the Fast Lane" to back it up, but the rest of the album is replete with slow, mellowed out ditties that motivate nothing and otherwise live out their lives as better-built fillers, not quite outright boring but then again, unlikely to pick you up and invigorate you when the Sandman starts pulling violently at your eyelids.  Apart from the staples I would probably recommend listening to "Victim of Love", and that's about it.  Otherwise, you're not really missing out on much.  Worth listening to now and again, but it won't compel you to get up and start running in any direction, be it for the best or the worst reasons.  Meh.  B

Album Review: Joe Cocker - Mad Dogs & Englishmen (1970)

Joe Cocker does write his own songs.  But it isn't in that capacity, of course, that he is best known for.  When we think of Joe Cocker, we think of  a raspy-voiced covers artist.   And it's a role that he excels in.  That's why he was so much loved.  Covering Beatles songs is what he is undoubtedly most famous for, but of course, he's covered much more than just Lennon-McCartney numbers.  Mad Dogs & Englishmen, a live album from 1970, contains many of the staple Cocker covers, but also features guest artists, including Rita Coolidge and her uncanny rendition of  "Superstar", a song perhaps best known for being performed by The Carpenters.  Stylistically, I will admit that this album is rather repetitive musically speaking, but not that it matters.  Most of the songs here still sound brilliant, and Cocker sounds as if he's singing them with heartfelt enthusiasm.  Not bad, given that the album was a recording of a purportedly rushed tour.  Leon Russell was perhaps the weakest point for me on this album, but even then I couldn't complain too much about him - I do think "Dixie Lullaby" is a great song, even if some of his others sounded a little too drained and paced for my liking.   A great cover of Bob Dylan's "Girl From the North Country", "Cry Me a River", "The Letter" and an excellent rendition of The Band's "The Weight" are my favorites on this record, but in spite of the overall monotony of the album, the vast majority of the songs here are certainly commendable and worth taking the time to listen to.  In conclusion, I can safely say that this is one of the better live albums that I have heard in a long time.  A-

Album Review: ZZ Top - Afterburner (1985)

Big-bearded boogie rockers ZZ Top really struck the jackpot when they released Eliminator in 1983.  It preserved the boogie-woogie bluesy sound they had maintained since the early 1970s, and supplemented that sound with synthesizers, creating in the process a hard rock/boogie/new wave/blues concoction for the 1980s.  And what a brilliant album it was.  I loved it, I love it now, and I will always love it.  And after reading reviews for its follow-up album, Afterburner, I quickly felt rather disappointed.  For me, this was a continuation of Eliminator - the ongoing use of synthesizers, the "Eliminator" hotrod on the cover, even the sound wasn't a huge derviation from that of its critically acclaimed predecessor.  But I insist, I absolutely insist that Afterburner is a great album.  "Sleeping Bag", "Stages", "Woke Up With Wood", "Planet of Women" and "Delirious."  Bugger it, I may as well list every damn song on the album.  They're all good.  Well, 'Dipping Low (in the Lap of Luxury) may be a tad lackluster.  I hope you come to the same conclusion that I have, and never mind what other reviews might dare to say about this record.  It's fantastic. A+

Album Review: Bob Dylan - Blood on the Tracks (1975)

Back in the 1960s Bob Dylan was one of the "go-to" guys for all of one's folk music and songwriting needs.  Songs like "Blowin' in the Wind" "Masters of War" and "The Times, They Are-A-Changin'", all key musical musical milestones on the highway of American musical folklore, easily asserted his place in music history as a lyrical genius, even though he was never a brilliant singer.  But of course, nobody listens to Dylan for his vocal qualities.  I could never envision Bob covering other people's songs - writing songs was his forte, singing them certainly wasn't.  But as the years went by, his ability to make music got better and better, to the point where his lyrical prowess was merely supplemental, and no longer merely his sole selling point.  And then one day, Dylan decided to go electric.  Folkies hated it.  But it was key developmental point in him expanding upon his generic repertoire, delving into other genres such as country and gospel, as well as blues and jazz.  An icon of the sixties, his brilliance didn't stop there - indeed, the timeline of his career is peppered with numerous high points as well as his less stellar efforts.  In 1975, Dylan released one of his best, Blood on the Tracks.  There's some stellar tracks on this record - opening with the famous "Tangled Up in Blue", the record soon moves on to some of my personal favorites, in particular, "Idiot Wind."  "Meet Me in the Morning", "Buckets of Rain", "You're Gonna Make Me Lonesome When You Go" and "Lily, Rosemary and the Jack of Hearts" also get a good thrashing from yours truly.  All up, a great album, one of Bob's best, and an absolute necessity for anybody who fancies taking up collecting Bob Dylan albums.  Nobody has it in for you, Bob, except for perhaps the die-hard folkies, but hey, as they should know damn well better, the times they are a-changin'.  A

Album Review: The Bee Gees - Main Course (1975)

Main Course from 1975 is a landmark album for The Bee Gees for a number of reasons.  Firstly, getting R & B producer Ardi Mardin onboard helped to infuse a more R & B sound into the mix.  Secondly, the opening track, "Nights on Broadway" is best known as the debut song of Barry Gibb's now legendary falsetto.  Both of which, of course, went onto to cement that signature Bee Gees sound.  Saturday Night Fever from 1977 perhaps encapsulates and exemplifies this best - "Nights on Broadway" was never as well known as "Stayin' Alive" or "Night Fever", both songs which we tend to recall when the name "Bee Gees" is invoked.

But moving on to the "main course."  What else can be said about this album?  The first time I heard this album my impressions were initially lukewarm, but having given it a second chance, my opinion has shifted in a more favorable direction.  I can even overlook Robin Gibb's quivering vocals on this one, and I've never been a fan of his voice -  he sounded much more suited to a folk trio than a pop band.  Top song on this album goes to "All This Making Love" because of its pseudo-Beatlesque sound.  And I love that, because I love The Beatles.  Other songs to consider are "Jive Talkin", "Nights on Broadway" and "Fanny (Be Tender With My Love)."  "Winds of Change" deserves a playthrough as well.  So go and play it.  How was it?  Delicious.  A-

Album Review: Genesis - Invisible Touch (1986)

For me Genesis is an extension of Phil Collins, and not the other way around.  I grew up listening to Phil Collins, ever since I was maybe four or five - about the time this album and his solo record, No Jacket Required were doing the rounds of the radio airwaves.  I don't think this post, or any of the other posts on this blog for that matter, would exist had it not been for Phil Collins instilling within me a passion for popular music at a young and formative age.  And no matter how much Phil gets bashed by people for whatever reason, I'll still stand by him and his music.  But his work with Genesis - the Genesis that I know and am most familiar with, is for the most part as interesting as his earlier solo work ever was.  Some might perhaps argue that it's better.  But there's no denying that the landmark album being reviewed here, Invisible Touch, is a good album.  A good number of the songs here have all received radio airplay - "Invisible Touch", "Throwing it All Away" and "Land of Confusion" for instance, will all inevitably find themselves on an 80s playlist at some point.  But there's more to the album than the staple numbers - "Anything She Does" is certainly worth listening to.  All up, this is an album worth owning.  I certainly liked it.  A-

Album Review: The Alan Parsons Project - Eye in the Sky (1982)

Some of the young 'uns out there will hear the name "The Alan Parsons Project" and immediately think of a funny quip they heard in an Austin Powers film.  Well, Scott Evil was spot on about them being a band.  And an interesting band they are.  Deriving their name from their founder, Alan Parsons, who was perhaps better known for his engineering work on albums such as Pink Floyd's Dark Side of the Moon.  But even the famous Abbey Road engineer felt the urge to make some music of his own.  And he did.  The result was The Alan Parsons Project.  This particular album from 1982, Eye In The Sky contains, in my opinion, some of their better material.  If you are familiar with the basketball team the Chicago Bulls, the introductory instrumental "Sirius" will spring to mind as soon as you hear it.  "Sirius" itself is a prelude to another song, the title track, "Eye in the Sky", one of their better known songs.  But there's better songs to be heard on the album apart from the obvious two - "Children of the Moon", "Mammagamma" and "Gemini" also deserve your ear's attention.  All in all, not a bad album, one that turned out to be much better than I initially thought it would be.  B+

Album Review: Cyndi Lauper - She's So Unusual (1983)

Cyndi Lauper made great Greatest Hits albums, they more or less contain everything you really need to hear from Cyndi.  Well, almost.  There is also the matter of her very first solo record, She's So Unusual.  Recorded and released in 1983, it launched her career at a faster-than-light velocity and made her a pop music superstar, and for a good reason - this is easily one of the best albums I've ever heard and is significant to me simply because it holds the distinct honor of being one of the few albums that I can listen to start from finish every time.  It is magnificent.  One great song finishes, only to be followed by another.  This occurs a total of ten times throughout the album.  The most definitive Cyndi songs can be found right here - "Time After Time", "Girls Just Want To Have Fun" "She Bop" and "All Through The Night" are all here.  And whatever you do, don't overlook the Prince-penned "When You Were Mine."  Very teenybopper stuff back in the day, yes, that much is certain.  But it also takes itself seriously as a creative musical endeavor.  When teenage girls can agree in unison with music critics on something, you must be doing something right.  A+

Album Review: Peter Cetera - Solitude/Solitaire (1986)

Fun fact for the day - former Chicago singer Peter Cetera apparently obtained his singing style after learning to sing whilst his jaw was wired shut after being socked in the mouth.  The result was a distinct vocal style that for me, found its rightful place within the power ballad of the 1980s.  Good examples of this would be "Hard Habit to Break" or "You're The Inspiration" from his Chicago days.  But it isn't the stuff he did with his former band that is the center of attention here.  I'm talking about his solo album Solitude/Solitaire from 1986.  Brilliant album.  Very Cetera, very electronic, very well made, very 1980s.  And everybody who's seen The Karate Kid series of movies would know very well the song, "Glory of Love."  Well, it's on here too.  And those who have at least some degree of familiarity with Amy Grant will perhaps know of "The Next Time I Fall."  Both great songs.  Both great singers.  But beyond these better recognized tracks lies a bounty of equally appreciable recordings.  "Big Mistake", "They Don't Make Them Like They Used To", and "Queen of the Masquerade Ball" all deserve your attention.  My final advice would be to ignore "Daddy's Girl."  But otherwise, magnifique.  A

Album Review: Metallica - Metallica (1991)

Heavy metal music is usually dark.  It is often angry, brutal, inclined to protest and occasionally meloncholic - in short, it appeals to the dark side of the force.  You will know this quite well when you stumble across Metallica's breakthrough 1991 album, the self-titled Metallica.  Unfairly derided for being a deviation from their thrash roots as well as being a sellout album - perhaps the latter is true, but of course, Metallica wouldn't be the music icon that it is today without it.  It was a necessary move, and despite my undying affection for their 80s albums, a move I feel paid off handsomely.  And what a great album it is - it is certainly heavy, the tempo has been dialed down somewhat and it feels more raw, more powerful.  Which I love.  It is nothing short of an emotional tour de force.  And it is easy to discern this angst and anger on tracks such as "Sad But True", "The God That Failed", "The Unforgiven" and "Don't Tread on Me."  Plus many, many more.  If you want an album that connotes anger and power, listening to this album should be a priority.  A+

Album Review: Fine Young Cannibals - The Raw & The Cooked (1988)

The soundtrack to my 1989, FYC's second and final album, The Raw & The Cooked is replete with some of the finest ditties to have ever come out of pop music.  Roland Gift fills the niche of a lead singer with the distinct and inimitable voice - it can be difficult to ascertain to understand what he is singing about, and indeed, a lyrics sheet would certainly come in handy.  But like Bryan Ferry, David Bowie and Barry Gibb, there's nobody else in the business who sounds like him, or comes close to sounding like him.  When this first came out, this was the closest I'd get to listening to hard rock - I loathed the stuff at the time, preferring the new wave, synthpop, and pop rock genres, which of course were all the style at the time.  But my 20 year standing affection for hard rock has not relegated my interest in this album to the back burners one iota - this remains one of the best albums I've ever heard.  Just listen to songs like "She Drives Me Crazy", "Good Thing", "Don't Look Back", and "I'm Not the Man I Used to Be" and you'll understand why I like this album like I do.  It's quintessential late 80s listening for you.  A+

Album Review: Van Halen - 5150 (1986)

David Lee Roth's departure from Van Halen after the release of 1984 meant that the band were tasked with filling a rather large pair of shoes.  Diamond Dave had many things going for him - looks, charisma and energy, among other things, but like all artists who've carved out a unique brand for themselves that cannot possibly be replicated by any other individual, his departure inevitably asked for a change of direction for the band.  Bringing on board Sammy Hagar from Montrose, Hagar brought a very different style and persona to that of his predecessor.  For some, this would begin the era known derogatively by Roth supporters as 'Van Hagar.'  The way I see it, comparing them is like comparing apples and oranges - both are singers, great singers at that, but they are stylistically worlds apart.  And personally, I love both.

Hagar brought to Van Halen a refreshing, more heavier sound that, rather than sullying the legacy left behind by the now solo David Lee Roth, carved out a completely new Van Halen.  5150 from 1986 is the "debut" album for the new Van Halen.  But what a way to kick off a new era for the band.  Look at the songs on this album - "Why Can't This Be Love?", "Best of Both Worlds", "Dreams" - three of the best songs I have ever heard from the band.  And let's not forget the emotive, synthesized, "Love Walks In."  Either.  The low point here is probably the title track, "5150", but don't let that stifle your indulgence.  One of their best, no matter what the detractors might say.  A

Album Review: David Bowie – Reality (2003)

In light of the unexpected (and shocking) death of legendary rocker David Bowie, it feels somewhat obligatory on my part as a budding music critic (of sorts) to write up a review on an album by one of the world's most innovative, artistic and irrefutably brilliant musicians.  And I'm more than happy to oblige.  I loved David Bowie.  I loved his chameleon-like artistic proclivities.  I loved his musical sensibilities.  But most of all I loved his climatic and authoritative voice.  And I cannot help but feel somewhat guilty for finding the most gratitude in listening to his music after his death.  But of course, I guess, we are predisposed to take even the greatest musical titans for granted until the day that they cease to be, in which we quickly come to realize that we've just lost something irreplaceable.  And what we are left with - memories, the music that has been, the legacy of an immeasurable talent now lost to time - subsequently forces us to cherish and relish them until ourselves succumb to our own mortality and head for that great gig in the sky.  It seems you really don't know what you've got until it's gone.  Anyway, back to the review.

Reality from 2003 is a very good album, given that many artists who claim to have had musical careers spanning five decades are often burned out and mere fractions of the great artists that they once were.  But David Bowie, 56 years old at the time of this album's release, demonstrates aptly that longevity is no inevitable barrier to continuing musical brilliance.  The opening track, "New Killer Star", is as good a song as "Ashes to Ashes" or "Heroes" ever were.  From there it moves on to "Pablo Picasso" and "Never Get Old."  My second favorite on the album, "Days" makes for compulsory listening, and for good measure, I recommend giving "Fall Dog Bombs the Moon" and "Waterloo Sunset" a whirl as well.  A-

Album Review: Motorhead - Ace of Spades (1980)

In light of the recent passing of legendary Motorhead and Hawkwind frontman, Ian "Lemmy" Kilmister on 28th December, 2015, I feel that the time is right to satiate my itching need to write a review for this particular album, which is one of the most highly acclaimed heavy metal albums in history.  Indeed, it is one of the best albums ever made.  Whilst in terms of genre it is considered a metal album, in spirit it is very much a rock 'n' roll record.  Which is fitting, given that Lemmy himself personally saw what he and his band Motorhead had made as being rock 'n' roll.  And the title track, the famous "Ace of Spades", will invariably invoke mental connections with those familiar with Metallica's earliest work, particularly their 1983 debut album, Kill 'Em All.  After all, Motorhead was a huge influence on Metallica's formative years, so it seems logical to assume that songs such as "Whiplash" are indicative of a strong and prominent Motorhead influence.  But even on Ace of Spades, I hear songs that bear resemblance to songs by other bands - "Love Me Like a Reptile" sounds a bit like "Hell Bent for Leather" by Judas Priest.  And "Fast and Loose" reminds me of Thin Lizzy.  All in all, there are some great tracks on this record - my personal favorite is "The Chase is Better Than The Catch."  RIP Lemmy, what a legacy you leave behind.  A

Album Review: Rush - Moving Pictures (1981)

I've known about the Canadian band Rush for a long time now.  Like many other bands, I just never got around to listening to their music.  Well I finally got around to it.  And like many other bands, I'm pleased that I did.  The album that I'm currently reveling in is Moving Pictures from 1981, and what an interesting, and overall pleasing album it is.  When I first began listening to the first track, "Tom Sawyer" my first impressions were "it's different."  Yes it is.  But its a favorable kind of different.  I love the synthesizers on this album.  I love the seemingly randomized, perhaps disorganized, nature of tracks like "YYZ" - that's not a particularly articulate description really, but it shall suffice I guess.  All up, there are some great sounds being made on this album, and not just those being put out by synthesizers, either.  If I were to describe this album in one line, I suppose I would say, "It sounds like a utopian, futurist spin on Black Sabbath."  Correct me if I'm wrong.  Good job, Rush, you've won me over with this album.  My faves - "Red Barchetta" and "Limelight."  A-

Dave's Random, Boredom-induced, Artistically Questionable and Rather Cliché and Unoriginal List of Favorite Albums From the 80s

Some might argue my taste in music sucks. And they're probably right. And you're probably thinking I've ripped this list off from somewhere else. That is definitely wrong - nobody apart from me likes Afterburner by ZZ Top. But I'm bored. So here is a list of 1980s albums that I think are just the cat's posterior:

1980. AC/DC – Back in Black

Brian Johnson's debut with Acca Dacca after the untimely death of Bon Scott is proof that appendicitis can result in a lucrative, long and successful music career with one of hard rock's titans. Featuring classic tracks such as “Hells Bells”, “Shoot to Thrill”, and “You Shook Me All Night Long”, the album would go on to become one of the best selling albums in history, and it isn't difficult to see why, either.

Runner-up: Icehouse – Flowers

1981. The Police – Ghost In The Machine

Drifting away from the reggae infused sound of their earlier works, Ghost in the Machine moves into the synth-driven new wave era with charming ditties aplenty. “Spirits in the Material World”, “Invisible Sun”, “Everything She Does is Magic” are just some of the better known tracks on this album...bugger it, just go listen to the bloody thing.

Runner-up: Van Halen – Fair Warning

1982. Roxy Music - Avalon

The uber cool Bryan Ferry and chums end Roxy Music's recording career on a very high note with the epic Avalon. Something of an acquired taste, but once you get used to it, you'll soon find yourself making a mental note to yourself to save your copy should your house ever happen to burn down.

Runner-up: Michael Jackson – Thriller

1983. Cyndi Lauper – She's So Unusual

Arguably the most surprising album on this list, Cyndi Lauper's debut album is actually excellent. Yeah, you might be thinking songs like “She Bop” and “Time after Time” are all you need, but not really. There's the rest of the album to explore, like the Prince-penned “When You Were Mine”, or “Money Changes Everything.” But sadly for me, my CD copy is degrading thanks to the supposedly rare phenomenon of “disc rot.”

Runner-up: ZZ Top - Eliminator

1984. Bruce Springsteen – Born in the U.S.A.

“Hey little girl, is your daddy home?” Given the filthy minds of more modern times, this is perhaps not the most politically correct thing to sing on an album these days, unless, of course, you're Rolf Harris, but for The Boss in 1984, that as-yet politically untarnished 'come on' line that opens “I'm On Fire” shows that Bruce can knock up a love song just as good as he could a number about the plight of the working man. One of those albums that you could quite happily play from start to finish, just like the aforementioned Cyndi Lauper album.

Runner-up: Metallica – Ride the Lightning

1985. ZZ Top – Afterburner

Following on from the excellent Eliminator, The Texas Weird Beards keep on hard rockin' and up the synths in the process. Not as polished as its predecessor, I'm certainly not one to complain, if “Delirious”, “Can't Stop Rockin'” and “Stages” are anything to go by. Oh, and “Sleeping Bag.”

Runner-up: Anthrax – Spreading the Disease

1986. Paul Simon – Graceland

Not an album I like to talk about too much – giving it appraisal can sometimes feel a little too cliché, but damn it, it deserves it anyway. And this album shows that Simon lost little when Simon & Garfunkel ceased to be – and who really needs to talk about a bridge over troubled water when you've got the Mississippi Delta shining like a National guitar?

Runner-up: Slayer – Reign in Blood

1987. Def Leppard – Hysteria

No cliché “greatest albums” list is ever complete without Def Leppard's mammoth Hysteria from 1987. A significant number of songs from this album received airplay, and it isn't hard to 'hear' why. But bugger “Animal” - “Don't Shoot Shotgun” and “Gods of War” are where it's at.

Runner-up: Michael Jackson – Bad

1988. Fine Young Cannibals – The Raw and the Cooked

Roland Gift's somewhat proprietary voice served well as part of the soundtrack to my 1988/1989, as did Toni Childs' Union, which follows behind in second place. A brilliant album from start to finish. And it's a bit of a shame that the band did relatively bugger all following its release.

Runner-up: Toni Childs – Union

1989. Phil Collins - ...But Seriously

The much maligned Phil Collins deserves better, in my opinion. After all, I owe him a great deal for my almost 30 year old appreciation of popular music. And OK, he's made some not so good albums, but then again, I'm still waiting on somebody to deliver that impeccable discography. Indeed, my tumble-weed count so far stands at around 2,374. But hey, I've enjoyed some great music in that time, including this album, Phil Collins' ...But Seriously.

Runner-up: Skid Row – Skid Row

Album Review: The Police - Ghost In The Machine (1981)

Just as I though Synchronicity was the bee's knees, I stumble across this, Ghost In The Machine by The Police, which was initially released in 1981.  Unlike their previous albums, this album progressed away from the reggae-influenced sounds of their previous albums toward a more synth-driven one that would ultimately culminate in the aforementioned album.  And whilst Synchronicity wasn't a bad album at all, Ghost In The Machine has superior melodies, is more catchy, and has better artwork.  With the reggae sound being phased out and substituted for a more synthesized sound more akin to what was fashionable in the 1980s, the results are an amicable transition between an that near trademark skank-driven sound and the ambient, moody synth hum that forms that basis of tracks like "Invisible Sun", "Secret Journey" and "Darkness."  Some might argue that it's successor is the better album - I, on the other hand, beg to differ.  A

Album Review: Pantera - Power Metal (1988)

Coming across an ultra-rare album is one thing, but being able to savor every moment of it is certainly another, especially when what you hear is completely the opposite of what you would have expected otherwise.  I was most fortunate to be able to hear Pantera's very rare and very unknown Power Metal from 1988, their first album to feature Phil Anselmo on vocals.  This "glam metal" album, in my opinion, is the best metal album I have heard in a long time - and that is saying something.  Most people will think it sounds a lot like 1980s Judas Priest, and they would be right.  Just listen to the first track and you can instantly tell, right down to Phil's Halford-esque screaming that would carry on in diluted form into 1990's Cowboys From Hell (an excellent album, I must say).  And the riffs - Dimebag's proficiency with an axe really shines on this record - are at the very pinnacle of 80s metal excellence, and given that Pantera are best known for their 90s work, that is an outstanding achievement.  My picks - all of them really, but play "Power Metal", "P*S*T*88" and "We'll Meet Again" first.  That is, of course, if you can get hold of the album. A+

Album Review: Phil Collins – No Jacket Required (1985)

Phil Collins has being copping flak for a while now, from music critics to satirical animated comedies such as South Park, it appears the former Genesis drummer is seen as being a soft target for a myriad of reasons. And some of this criticism is purportedly viewed as being a catalyst for his seemingly short-lived retirement from the music biz in 2010. But I would like to put it out there that I have nothing against Mr. Collins and his music – au contraire, if it wasn't for hits such as “Two Hearts”, “One More Night”, and the David Crosby duet, “Another Day in Paradise”, I wouldn't have this blog at all. Indeed, “One More Night” is one of the first songs I remember listening to back in the mid-late 1980s, when I was just a kid.  It was a somewhat somber number, emotively powerful, slow-paced but not too tedious, yet when I hear it and the nostalgia kicks in it reminds me of the time when my love of music was being developed in an era in which I really understood the meaning of being happy. But whilst my appreciation of this particular song and its nostalgic properties dates back around 28 years or so, experiencing the rest of the album from which it derives from, No Jacket Required, has been a relatively recent event. And the experience I must say has been a surprisingly pleasant one. Most of the songs on here, I shall admit, have kept the repeat button rather busy as of late - “Don't Lose My Number”, “I Don't Wanna Know”, “Who Said I Would?”, “Doesn't Anybody Stay Together Anymore?” and of course, the very familiar “Sussudio” and “One More Night” are all equal favorites of mine. Less significant, but still pleasing to the ear nonetheless are “Long Long Way To Go” and “Inside Out”, both of which still manage to score a worthy thumbs up from yours truly. Everything else on the album, I must confess, I'm rather apathetic to.  But that's purely my personal opinion. A-

Album Review: The Beatles - The Beatles (1968)

Disappointed somewhat by my initially high expectations of Sgt. Pepper, my views of what a Beatles record should sound like, I can admit, took a rather steep nose-dive. That is, until, I came across the delectable self-titled The Beatles from 1968. Not the best album in music history, of course, and a judgment I wouldn't hesitate to equally confer upon its (in my opinion, slightly overrated) predecessor, but nonetheless one of the finest, whose exclusion from the music collection of any discerning music lover is utterly inexcusable. Melodically a little more palatable than Sgt. Pepper, but less significant culturally and commercially, it still succeeds admirably in its ability to provide something for almost everyone. From the simple and cheerful “Honey Pie”, the proto-metal-esque “Helter Skelter”, the 'out-of-the-blue' structure of “The Continuing Story of Bungalow Bill”, the half-pie orgasmic warbling of “Rocky Raccoon”, to the well-known staples of “Back In The U.S.S.R.” and “Ob-La-Di, Ob-La-Da”, this record fails miserably to delve into a state of musical sterility and outright creative impotence – at worst, it will keep you awake. But at best, it will invigorate the soul.  My biggest gripe is the price, as is the case with all Beatles records.  Buy it if you can afford it. A