As I haven't played this record since purchasing it, I had no idea it was suffering from some prodigious mould growth. I have complained before about people selling records that have obviously been stored in a shed or leaky loft and it seems my copy has suffered this fate. I initially tried cleaning it with isopropyl alcohol but the mould wouldn't shift. I then put both discs through my trusty Disco-Antistat cleaning machine and that seemed to do the trick. The slight draw back is that the Disco-Antistat cleaning fluid leaves a nasty chalky residue that requires further cleaning with isopropyl alcohol to remove it. Having cleaned the vinyl at least 3 times it actually sounds OK now and there is no sign of the fungus any more.
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| Mouldy vinyl is not good |
This album kicks off with three spectacular pop/rock tracks that suggest there will be an embarrassment of riches here. "Turn to Stone", "It's Over" and "Sweet Talkin' Woman" were all worthy singles as they are catchy and perfectly executed. The mariachi horns of "Across the Border" somehow blend perfectly with Richard Tandy's Moog synths and the driving guitars; its a heady but satisfying mix. Side two opens with the excellent "Night in the City" that somehow moves seamlessly between hard rock and beautiful orchestral arrangements. The piano refrain on "Starlight" is reminiscent of early rock and roll and its a really entertaining and dreamy track. "Jungle" and "Believe Me Now" are the kind of tracks that you would only find occupying space on a double album when some padding is needed. Both tracks are entertaining but let's not pretend they are going to make it to any "Best Of" compilation. The first disc concludes with "Steppin' Out" which features Kelly's vocals prominently.
Side three of the album is titled "Concerto for a Rainy Day" and features "Standin' In The Rain", "Big Wheels" and "Summer and Lightning". These are all good songs, but they pale in comparison to 'the big one'. I've heard "Mr Blue Sky" a thousand times but can never get bored of it. The version here is superior to the 2012 re-recording as it is replete with the dramatic coda which I regard as integral to the experience. The song asks me to turn over now, so I will.
Side four kicks off with "Sweet Is The Night" which is probably my least favourite song on the album but it remains a high quality composition. More instrumental filler comes in the form of "The Whale" before the most rock track on the album "Birmingham Blues" emerges. The album comes to a close with the wistful "Wild West Hero" but, as I'm not too keen on country music, this falls a bit flat as a finale to what is a stunning album. 4/5
