AC/DC – Fly On The Wall (Album Review)

Released in 1985, AC/DC’s Fly On The Wall marked a significant moment in the band’s career as it was the third album to follow their mammoth release, Back In Black (1980), and was released during a period of downturn in interest from fans the world over. Comparisons aside, Fly On The Wall was successful in its own right with sales exceeding one million units. While it’s an album that isn’t always heralded by fans as one of their best, Fly On The Wall is somewhat of a hidden gem that features their landmark hard-rocking sound via this electrifying and gritty release that is amongst the greatest hard rock albums from the 80s.

Part of the hidden appeal, considering there isn’t necessarily a standout tune on the record, is the continued high-production values for this was an era when music, especially rock music, began to shift to a more shrill tonal quality that would plague many of the era’s greatest rock and roll albums. Yet, amongst this industry shift, AC/DC never changed their styling and the result is an album that rocks as hard as any other they released. Additionally, Angus and Malcolm Young did a masterful job in the Producer’s chair, ensuring that their vision for the album came through loud and clear. It also helps that the album artwork is visually appealing with its comical design that looks as fresh today as it would have been upon release.

Sonically, as is the case with the majority of AC/DC releases, it’s a powerhouse and the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is no exception for the bombastic nature remains while every aspect is clearly presented within the chosen mix and overall mastering of the album. Brian Johnson’s vocals are raw and exceptionally detailed within the soundstage; a sonic presentation that will envelop you from the very first note to the last. One of the best examples of this can be heard on Danger; where every musical element can be heard clearly but it isn’t shrill and is so sonically pleasing that you’ll be looking to turn up the volume despite being able to enjoy the record at lower volumes.

While some will always lament the fact that AC/DC has basically played the same song over and over, decade after decade, music lovers and fans alike can be confident that AC/DC never changed their style and adopted the “new” recording styles for if they had, an album such as Fly On The Wall would have been a shrill nightmare that would have seen everyone needing to turn down the treble and boost the bass. Thankfully, that isn’t an issue here, so turn up the volume, sit back, and let’s take a look at the songs that make up this, often, overlooked, masterpiece.

Fly On The Wall kicks the album off, perfectly, with an energetic opener featuring sharp guitar riffs, bold percussive elements, and Johnson’s unmistakable growl.

Shake Your Foundations would also make it to Who Made Who, the soundtrack accompanying Stephen King’s film Maximum Overdrive. That version, however, differs slightly from this one as it was remixed and cut down slightly in runtime. As to which I feel is the stronger version, that would be this original album release for despite the remix presenting Johnson’s vocals more prominently, it pales in comparison to the original as the musical bed is somewhat recessed and the song, subsequently, doesn’t rock as hard as the Fly On The Wall original does. Propelled by a driving beat, bluesy rhythm, and sing-along chorus, it’s a wonder that Shake Your Foundations hasn’t remained more prominent within AC/DC’s back catalogue as it’s an exceptional tune.

First Blood is a mid-tempo blues rocker with duelling guitars that weave together seamlessly. It’s quintessentially AC/DC and sometimes you don’t need to forge a new path to stand out, for I’d take songs like First Blood over a shifting style any day of the week.

Danger has a brooding tempo that shows a different side of AC/DC; one that could offer a more blues-focused appeal than the hard rock styling most commonly associated with the band. However, one can understand why it wasn’t a hit amongst fans, at the time, but I have a feeling that modern audiences would be much more receptive to this mood-driven eerie number.

Sink The Pink is, arguably, the song that would appeal to most of AC/DC’s legacy fans for it combines their renowned playful attitude with an infectious groove and some hard rocking licks.

Playing With Girls is a fast-paced rocker that leans heavily into AC/DC's cheeky, tongue-in-cheek persona. While the core riff is straightforward it, combined with the song’s energy, keeps the momentum going and is a standout on this release.

Stand Up is a magnificent tune and is one of Simon Wright’s greatest drum performances with the band, having taken over that role upon Phil Rudd’s departure. In truth, Wright performed magnificently throughout the album and while his style is slightly different to Rudd’s, his appointment didn’t detract from the music at all. I’d even go as far as saying that his inclusion was an enhancement. Nevertheless, Stand Up is a raw, back-to-basics, tune that will have you coming back for more.

Hell Or High Water is a hard-hitting anthem with a relentless rhythm. AC/DC doesn’t get much better than this as Hell Or High Water will appeal to all fans of the band.

Back In Business is a killer mid-tempo rocker with a powerful riff and a driving rhythm section. Its anthemic quality adds to the album, as well as AC/DC’s incredible back catalogue, in such a way that you’ll experience an earworm as that catchy chorus will remain front and centre in your mind well after the album has concluded.

Send For The Man is an ideal closer with its heavy, blues-infused, sound, featuring a grinding riff and thunderous rhythm that ensures the record ends on a high note; one which will compel you to listen to the album again for Fly On The Wall can seldom be listened to once.

Fly On The Wall may be a polarising release within AC/DC’s discography, but it shouldn’t be as the band’s signature hard rock energy is present throughout as it accompanies the infectious riffs and anthemic choruses they’re best known for. Hence, if you’ve overlooked this release, and have never given it a proper listen, I implore you to give it another shot for you may just fall in love with the album’s raw, unfiltered, and rebellious spirit; I know I have!

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Baltimora – Living In The Background (Album Review)

Released in 1985, Baltimora’s Living In The Background is a hallmark of mid-80s dance-pop, drenched in the bright synthesiser-driven sound that dominated the era. With infectious beats and enigmatic energy, this debut captures a fleeting but impactful moment in music history and is one record that deserves more recognition than it often receives.

What isn’t as impactful as the music, however, is the chosen album artwork. While three different versions have been made available, throughout the years, the most appealing one is the original Italian edition with its superhero artwork. Unfortunately, the Australian streaming edition is perhaps the worst version and it honestly makes me wonder what record company executives were thinking when releasing different album covers for different regions as they’re seldom more appealing than the original artwork.

Thankfully, the music surpasses the dorky album cover. While not presented as an Apple Digital Master, the CD-quality Lossless Apple Music stream is thoroughly pleasing with an enveloping dance-pop soundstage that will see you on the dance floor, boogieing along from the very first note to the last. Even sitting back and listening intently, you get the sense that this record was well recorded, mixed, and mastered for the stream isn’t lacking in any aspect; it simply sounds, and feels, right.

Tarzan Boy is a bona fide 80s anthem. The song’s iconic “ooh-oh-oh-oh-oh-oh” refrain is instantly recognisable and is anchored by a spacious and energetic melody and pulsating beat. Tarzan Boy is, subsequently, one of the greatest songs of the 80s, but a top-tier album isn’t just a result of a single song, for the rest of the tunes, on this release, are equally compelling.

Pull The Wires shifts gears considerably as it blends a somewhat melancholic tune with an ethereal sonic presentation. Despite the sharp contrast from the vibrant energy presented with Tarzan Boy, Pull The Wires not only flows perfectly but it’s a magnificent song that showcases just how complex the pop framework of the era was.

Living In The Background is an ideal title track and is a masterclass in 80s production. The extended intro builds anticipation with layered synths and a funky bassline before the charismatic vocals take centre stage against the song’s danceable groove. While not as bold as some of the other dance-floor numbers, Living In The Background is a multi-layered piece of musical art that gets better the more often you listen to it.

Woody Boogie with its quirky rhythms and cartoonish vocal interjections bring a playful energy to the album. Add to that the track’s infectious tempo and you’ve got a dance-pop masterpiece that would set any dance floor alight.

Chinese Restaurant blends the eclectic with a vivid audio soundscape that results in an abstract musical experience that is both engaging and enigmatic. It’s another of the album's songs that becomes more rewarding the more frequently you listen to the record.

Running For Your Love closes the album on a high note with a spirited track that blends soaring melodies with a driving rhythm. The sense of urgency heard, throughout the song, will leave you energised and eager to revisit the album as once you get the Living In The Background party started, it is hard to switch gears; so enjoy!

Ultimately, Living In The Background is a vibrant snapshot of 1980s pop culture and for those of us who lived through the era, the nostalgia is strong with this release. That said, the album isn’t dated to the era and sounds just as fresh today as when it was initially released. Whether you’re an 80s aficionado or a casual listener, Living In The Background is an album worthy of your time.

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A-Ha – Hunting High And Low (Album Review)

Released in 1985, a-ha’s debut album, Hunting High And Low, marked the arrival of one of the most influential synth-pop new wave bands of the 80s. Featuring a rich tapestry of melodic hooks, passionate lyrics, and a lush production, Hunting High And Low not only captured the zeitgeist but is a remarkably cohesive debut; one that has a timeless appeal.

Part of the album’s success is due to the song selection for Hunting High And Low plays akin to a greatest hits release. Most casual fans would be more than happy to attain this record, along with their compilation Headlines And Deadlines, and call it a day. Some may even call them a one-hit wonder, as it pertains to the album’s release, but a-ha have gone on to release some severely underrated and notable music. However, no post-debut release would resonate with music lovers as much as this legendary debut has.

Also appealing is the visual aspects of the album’s cover art. Yes, it is indicative of the era, particularly regarding clothing and hairstyles, but renowned photographer Just Loomis’ composition ensured it would be a standout in record stores and within one’s music collection for decades to come.

Regarding the sonic prowess of this classic release, the recording, mix, and mastering are exceptional and are amongst the greatest in all of recorded music history; particularly within the new wave and synth-pop genres. As it relates to the 2015 Remastered Hi-Res Lossless Apple Music stream, an Apple Digital Master, it’s exquisite with a full-bodied and detailed sonic presentation that ensures every musical element is clearly presented within the chosen mix. Remastering is at times looked down upon, even here at Subjective Sounds, but you know when an album just sounds right and in this case, the Apple Music stream doesn’t disappoint. It’s so good that I don’t feel compelled to pick up a physical release, for sonically I don’t feel there is any improvement to be achieved.

Take On Me is an ideal album opener and is, arguably, a-ha’s most iconic track; a dazzling combination of pulsating synths, infectious hooks, and some incredible vocal performances. The song’s driving energy perfectly encapsulates the spirit of the mid-80s and, ultimately, sets the tone for the entire album.

Train Of Thought introduces a slightly darker tone to a-ha’s dynamic instrumentation, but the song’s sense of urgency grabs your attention and doesn’t let go until the very last note has been played. Morten Harket’s vocal delivery is particularly noteworthy for its understated, yet emotive, thereby adding perfectly to the song’s overall style.

Hunting High And Low is a quintessential title track for this sweeping ballad is stunning. Harket's vocal range and emotional intensity will touch your soul as the orchestral arrangement builds the song’s dramatic atmosphere; one that will stay with you long after the album has ended.

The Blue Sky returns the album to a-ha’s core synth-pop styling and while this upbeat breezy number is a solid tune, it’s not the standout that the previous songs have been.

Living A Boy’s Adventure Tale is a magnificent tune with a mix of whimsy and melancholy. Every musical aspect, from the unconventional structure and dreamlike quality, to the ethereal synth layers and emotive vocals, is perfectly presented and in many respects, Living A Boy’s Adventure Tale is so good that it could be considered the very best song a-ha ever recorded. It honestly surprises me that it wasn’t considered for a single, it’s that good!

The Sun Always Shines On T.V. is one of my favourite songs on the album and while it’s borderline campy, as some of a-ha’s music is, the lush orchestration and powerful synth elements, that build to the addictively good crescendo, are simply incredible and showcase just how talented a-ha were from the get-go.

And You Tell Me is a brief minimalist interlude. While it serves more as a palate cleanser than a fully-fledged song, it adds a touch of intimacy to the album’s bolder soundscape.

Love Is Reason is a more conventional pop song featuring a bright melody and rhythmic energy that will see you toe-tapping and head-bopping along.

I Dream Myself Alive is a solid energetic number and while its position as an album-only tune isn’t in question, it also isn’t anything to write home about as it lacks a certain level of musical magic that has been heard throughout the rest of this debut.

Here I Stand And Face The Rain closes the album on somewhat of a haunting note, particularly as it pertains to the song’s unique opening. Nevertheless, Here I Stand And Face The Rain is the perfect bookend to the album as it permits reflection of the music you’ve just heard whilst simultaneously compelling you to listen to the album again.

Hunting High And Low is a remarkably cohesive debut release that balances commercial appeal with artistic depth. Its mix of high-energy synth-pop anthems and introspective ballads demonstrates a-ha’s versatility and ambitions; traits that have resulted in not only superstardom and timeless appeal, but characteristics that helped the album, and band, to define the sound of 1980s pop music.

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Van Halen – 1984 (Album Review)

Released in the year that adorns the album’s title, Van Halen’s 1984 (MCMLXXXIV) stands as one of the most iconic and commercially successful records of the 80s with sales exceeding 10 million units.

While there’s no shortage of exceptional Van Halen music, regardless of frontman, 1984 would be the final album from the band’s classic era to feature David Lee Roth on vocals and in one respect 1984 can be seen as an album that captures the band at the height of their success; certainly from the perspective of the Roth years. This sixth studio release also marked a significant shift in their sound with a genre-defining fusion of hard rock, pop, and synth-laden melodies. That shouldn’t deter longtime rockers, however, as the core Van Halen hard rock styling remains present throughout and there are really only three of the nine album tracks that are synthesise-focused. Nevertheless, the shift perfectly captured the imagination of 80s music lovers; some of which likely wouldn’t have given Van Halen a second thought had the band not leant into the sounds of the era.

Speaking of imagination and while not directly related to the music, the album’s cover art is among the greatest ever released and looks magnificent on a vinyl-sized canvas. The Apple Music version has gone one step further by turning the purported candy cigarette into a smoking one via their animated album artwork feature. It’s certainly unique and despite the cover art being controversial, I’m glad to see that it hasn’t been modified by cancel culture because it is true to the era and the original intent. Plus, you can’t help but appreciate the contrast between good and evil whereby the childlike angel has a devilish side; a true representation of us all, wouldn’t you agree?

What is devilishly good, however, is the sonic prowess of the Apple Music stream. Delivered as an Apple Digital Master, this digital edition simply sounds right with no glaring issues to discuss. You’ll be immersed in the stereo soundstage that is both wide and deep as well as leaving you in awe with the power in the mid to low-end range of the audio spectrum. Treble fans need not be concerned, however, as this isn’t a muddy presentation, anything but, but you won’t get an overall sonic glare in the high end; unless you’ve dialled your sound system in to be bright, that is.

As to which master has been used for the Apple Music stream, that is anybody’s guess as there is no information available. Nevertheless, when music sounds this good, via a stream, let’s blast the tunes on the stereo as we take a look at the songs that make up this legendary release.

1984 is an ideal opening track that sets the tone for the album with its synthesiser-drenched atmosphere. While it may be a musical prelude, it creates the perfect build-up to the album’s first full-length song, Jump.

Jump is undoubtedly the band’s most famous song and for good reason as the catchy upbeat synthesiser riff dominates the song. While it could have been suggested that synthesiser-based music would have dated quickly, even upon reflection, four decades later, Jump hasn’t aged a day and sounds as compelling as it would have been when released in 1984. It just goes to show that a good song, with a killer riff, will always be timeless, regardless of the technology used to construct the music. Plus, the synthesised elements weren’t overused and Eddie Van Halen’s guitar solo not only adds to the overall mix but showcases that an anthemic pop-rock hybrid is not only possible but is delectable to the senses.

Panama is a quintessential Van Halen song, blending heavy guitar riffs with David Lee Roth’s larger-than-life vocal delivery. While it may play second fiddle to Jump, sometimes a straightforward hard rock number is all that’s required and in this case, Panama shines with the spirit of classic Van Halen.

Top Jimmy may not be as commercially impactful as the other songs from 1984 but it certainly adds to the overall album experience. Part of its musical appeal is due to the complex bluesy riff that drives the song forward, but Roth’s vocal delivery isn’t the greatest on this tune. While it could be due to the mix, it sounds as if Roth was recording from a studio across the road as he sounds distant, if not uninterested, throughout.

Drop Dead Legs features a killer mid-tempo groove with Eddie Van Halen front and centre. The song’s sleazy, blues-infused rock, very well could have come straight out of ZZ Top’s wheelhouse, but despite being a deep cut it’s thoroughly enjoyable and it is songs such as this that remind us that each song need not be a hit for the album experience to be thoroughly entertaining.

Hot For Teacher is a fast-paced rocker showcasing the band’s virtuosity and sense of humour. The song’s playful lyrics, about a schoolboy’s crush on his teacher, are delivered with Roth’s trademark cheeky charisma. Eddie Van Halen’s guitar work here is particularly stunning with its speedy, yet intricate, styling. However, it’s Alex Van Halen’s explosive drum intro, mimicking the sound of a revving engine, that steals the show as it’s different to what we’d normally expect from a song introduction.   

I'll Wait returns the album to the synth-driven sound that, as much as I can appreciate the hard-rocking tunes, I prefer. It’s a styling that simply works well for Van Halen. Hence, I’ll Wait is one of my favourite songs from the album and while it didn’t quite set the charts on fire, as the second single from the record, it did perform admirably.

Girl Gone Bad is one of the more aggressive tracks on 1984, with Eddie Van Halen’s rapid-fire guitar riffing reaching a frenetic pace, yet blending perfectly into the complex arrangement. With the more intricate nature of the song, Girl Gone Bad is, arguably, Van Halen’s foray into progressive rock while maintaining a balance with the band’s heavier rock roots. One thing Girl Gone Bad is not, however, is dull, for each time you listen to this track you’ll take away yet another element as the multi-layered production is incredibly intricate.

House Of Pain closes out the album with a raw, hard-hitting, riff-heavy, tune that dates back to the band’s early days; ensuring long-time fans that they didn't completely turn their back on their original sound. While it’s a great tune, one thing that has always bothered me is I don’t feel it’s a strong closer. It neither compels me to listen to the album again nor sit and reflect upon the music I’ve just heard. It simply exists.

Overall, 1984 is an album that blends the innovative with the familiar, making it a creative high point for Van Halen. The inclusion of synthesisers may well have alienated some of the band’s hard rock fan base, but it expanded their reach and solidified their position as rock giants of the era. With the diversity heard on 1984, Van Halen crafted a record that appeals to both purists and pop-rock fans alike, ensuring its place as an era-defining album.

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Scorpions – Love At First Sting (Album Review)

Released in 1984, the Scorpions’ Love At First Sting is an album that not only epitomises the energy and musicianship that was prevalent in 1980s hard rock, but it would be the album that would solidify the Scorpions’ position as one of the biggest rock acts of the era. Building on the success of their previous records, and over a decade of well-received (but sometimes controversial) releases, the Scorpions would deliver their ninth studio album; a record that plays akin to a greatest hits release, for Love At First Sting is more than a mere collection of songs.

Where Love At First Sting really shines is in the mix of soaring guitar solos, Klaus Meine's unmistakable vocals, and a balance of power ballads and fast-paced rockers, that were commercially successful. While there’s no shortage of editions of Love At First Sting, with over 200 at the time of writing, the latest remaster and associated reissue (from 2015) is a bit of a double-edged sword. Yes, some will love the bonus material and demo tracks and while I’m not suggesting they should be omitted, I prefer album reissues to retain the original track listing and have any bonus material added as a separate disc. That isn’t the case for Love At First Sting as the demos are tacked onto the back end of not only the streaming editions but the CD re-issues. Yes, there is a two-disc set, replicated on streaming services, that contains a live performance from Madison Square Garden (in 1984), but it’s irritating that the concert remains intact while the core album is inundated with five additional demo songs. I know, first-world problems, but it’s an aspect that drives this music lover mad.

Thankfully, Apple Music et al allow for the omitting of songs that aren’t of interest and in the heyday of the compact disc player, these technological wonders had a program function that allowed the listener to program a set of songs that would be played, omitting those they didn’t wish to hear. Modern, high-end, CD players still offer this functionality, but it is no longer considered the norm across the board. We’ve truly gone backwards, it seems, in our attempt to march to the modern technological beats. What I can say, however, is that the 2015 remaster of Love At First Sting is exceptional. While not presented as an Apple Digital Master, the lossless CD-quality stream is thoroughly enjoyable with an enveloping soundstage that not only rocks but allows for separation between all elements. Some may criticise the heavy-handed compression and volume increase applied to this newest remaster, but I wouldn’t say it’s detrimental to the album for it may be loud, by comparison to the original releases, but it’s sonically pleasing enough that if you don’t already own a copy of this classic album, you’ll likely find this remaster to be more than adequate.

To facilitate a consistent overview of Love At First Sting, I’ll be sharing a playlist of the album’s original linear structure for you to enjoy as we take a look at the songs that make up this legendary release. Additionally, for those of you seeking a physical release, the vinyl reissues maintain the original tracking and when you have Helmut Newton’s photography adorning the cover art, those larger canvas releases undoubtedly look spectacular in any record collection.

Bad Boys Running Wild opens the album with a rock styling and guitar lick that is not only aggressive and full of rebellious energy but draws you into the sheer power of the song. It also has stadium filler written all over it for Bad Boys Running Wild is not only a classic Scorpions rocker but it’s a song that will appeal to the wild spirit of rockers everywhere.

Rock You Like A Hurricane is an iconic rock anthem of the 80s and, arguably, the Scorpions’ most famous song. It has all the elements of a classic: a catchy riff, a larger-than-life chorus, and a blazing guitar solo. Additionally, the song’s tight structure and sing-along hook make it irresistible. Rock You Like A Hurricane is one of those songs that no matter your musical tastes, will connect with your soul from the very first note and won’t let go until the last note has been played. Exceptional!

I'm Leaving You continues the rhythmic rocking nature of the album as it flows seamlessly from Rock You Like A Hurricane with a catchy chorus, thoroughly pleasing guitar work, and a high-energy vibe.

Coming Home slows the album slightly with its calm and melodic introduction. Not only is the musical bed exceptional, but before the song crescendos, Meine’s vocals will impress just about anyone. Yes, his vocals later in the song are equally impressive, but the delicate nature of the song's opening is to be celebrated. As the song progresses, Rudolf Schenker and Matthias Jabs provide some of their best intertwining guitar work, alternating between powerful chords and intricate solos. However, it is the launching into a fast-paced rocker, from calmer beginnings, with a touch of Iron Maiden influence, that truly turns this song into a hidden gem and one of the most incredible sonic journeys in the Scorpions’ extensive back catalogue.

The Same Thrill is a high-octane rocker driven by pounding drums from Herman Rarebell and aggressive guitar riffing. While it may not have the commercial appeal of songs such as Rock You Like A Hurricane, there are undoubtedly fans who would adore this tune for they prefer the Scorpions’ harder-edged sound.

Big City Nights is a classic 80s rock and roll number. The mid-tempo groove, catchy riff, and anthemic chorus make it appealing and it, therefore, isn’t surprising that it was released as the album’s third single and performed respectfully in the US.

As Soon As The Good Times Roll is a bold mid-tempo number and a quintessential album-only tune. While it is unlikely that this song will be anyone’s favourite tune, what is certain is that it’s a solid B-side and one that continues to drive the album forward as it offers a nice contrast to the more adrenaline-fuelled tracks.

Crossfire is one of the more musically complex songs on Love At First Sting, featuring a slower, more deliberate pace. Rarebell’s drumming is particularly noteworthy here, adding a military-like precision to the track, but with a mix where the guitars and vocals are more subdued, until the song launches into its powerful solo, it offers one of the greatest musical experiences on the album and within the Scorpions back catalogue. Crossfire is most certainly a hidden gem, for it’s worthy of greater recognition than it has ever received.

Still Loving You closes the album with one of the Scorpions’ greatest ballads. As someone who adores the power ballad, Still Loving You is amongst the greatest ever recorded with Meine delivering one of his most passionate vocal performances. As the closing song on the album, it not only offers a reflection of the music that has just been heard, but leaves a lasting impression while also encouraging you to play the record again, for classic albums such as this can seldom be listened to only once.

With a mix of hard-hitting rock anthems and emotional ballads showcasing the Scorpions’ versatility and ability to balance commercial appeal with genuine musicianship, Love At First Sting is not only an essential album in the Scorpions’ discography, but it is amongst the very best albums released in 1984. Add to that a plethora of catchy hooks and an accompanying high-energy guitar-driven sound with exceptional rhythm and vocals and what you’ve got is a timeless classic.

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Metallica – Ride The Lightning (Album Review)

While Metallica Killed ‘Em All with their first album, they were determined to Ride The Lightning on the second; a record that has not only stood the test of time but remains one of the greatest thrash metal albums ever recorded.

Marking a pivotal moment in the evolution of thrash metal, Metallica’s second studio album, Ride The Lightning, not only cemented the band’s legacy within the genre but showed that they were capable of a more mature and thematically deep album than was presented on their 1983 debut Kill ‘Em All. Retaining the intensity of their debut, Ride The Lightning, struck a perfect balance between speed, aggression, and intricate musicianship that would not only set them apart but would result in a collection of timeless tunes and one of the very best albums released in 1984.

Visually striking, as many of the albums within Metallica’s discography are, Ride The Lightning looks stunning on the larger vinyl canvas and while I’ve been fortunate to have owned various editions of this classic album throughout the years, all are not created equal and in some cases it comes down to the mastering, whilst others come down to the quality of the vinyl pressing; such as the less-than-impressive Blackened Recordings 2014/5 vinyl reissue (BLCKND004-1). What is pleasing, however, is that the 2016 remaster brings about greater consistency across all formats. As such, it no longer matters how you choose to listen to this classic release, but what I can say is that streamers are in for a treat for the Apple Digital Master rocks; despite it being, technically, more compressed than previous editions.

Of course, give it a listen and see for yourself as we explore the songs of this legendary release.

Fight Fire With Fire opens with a killer acoustic guitar intro that quickly erupts into one of Metallica’s most ferocious thrash metal tunes. Blending melody with aggression sees Fight Fire With Fire set a chaotic and intense tone that continues throughout the record; thereby making it the perfect album opener.

Ride The Lightning flows perfectly from Fight Fire With Fire for the guitar riff continues the non-stop assault on the senses. If you haven’t already, this title tune will encourage you to get your air guitars out for it is impossible to sit still as this legendary song is playing. However, it isn’t just the relentless riffing that’s a highlight here, for the shift between the frantic thrash riffs and the slower, doom-laden sections, demonstrates Metallica’s evolution and ability to blend tempo and mood. Ultimately, Metallica’s music doesn’t get much better than this and words seem somewhat meaningless to explain the impact of this song. Hence, you need to experience it for yourself as that’s the only way to truly appreciate and understand Metallica’s impact on not only thrash and metal, but music in general.   

For Whom The Bell Tolls is EPIC! From the tolling bell, to the slower and more methodic tempo that builds tension and atmosphere, to the musical interplay between the band, For Whom The Bell Tolls is one of the album’s most memorable moments and is, undoubtedly, one of the greatest songs Metallica ever recorded.

Fade To Black is a slight departure from their core thrash roots, but when you combine a slight country twang and a more melodic tempo you end up with a power ballad worthy of Metallica. Of course, the song ebbs and flows between the semi-acoustic and full-on electric, adding to the overall appeal and merging this new style with their thrash origins. Yes, some detest 80s power ballads, but this is no ordinary ballad for its masterful composition sets it apart from its 80s counterparts. And, if nothing else, Kirk Hammett’s closing solo seals the deal on this being one of the greatest power ballads ever recorded.

Trapped Under Ice returns the album to a faster, more chaotic pace with aggressive riffing and frantic drumming that create an overwhelming sense of urgency that perfectly mirrors the song’s theme. Trapped Under Ice may be one of the more straightforward thrash tunes on the record, that would have been perfectly suited to Kill ‘Em All, but it doesn’t let up for the entire duration.

Escape has a killer riff and rhythm with a groove that is widely appealing. That said, Escape can be best described as a quintessential album-only tune and as much as I enjoy it, I’ve always felt it wasn’t the strongest song from a vocal perspective. However, had it been an instrumental tune, it would have been exceptional.

Creeping Death is a monumental tune and a thrash masterpiece due to its relentless energy and perfect balance of storytelling, technical prowess, and visceral intensity.

The Call Of Ktulu is, without a doubt, one of the greatest songs ever recorded in all of music history. If you haven’t checked out the live performance from their legendary S&M concert, you really should because it bests this original. The Call Of Ktulu’s strengths are on full display across the song’s sprawling 8-minute runtime. Building tension with atmospheric guitar work and ominous riffs, along with a thunderous percussive element, The Call Of Ktulu isn’t easily forgotten and will compel you to play the album again because Ride The Lightning can seldom be listened to once.

Ride The Lightning is nothing if not a milestone release for Metallica and the thrash metal genre. Its combination of raw power, thematic depth, and technical brilliance set it apart from its peers and showcased Metallica’s growing ambition. It also expanded the boundaries of what thrash metal could be, incorporating new levels of complexity, emotion, and atmosphere without sacrificing the core aggression. No matter which way you look at it, Ride The Lightning was a monumental achievement in metal, and its influence can still be felt today as it’s one of the greatest thrash records ever released.

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Meat Loaf – Bad Attitude (Album Review)

By the time 1984 rolled around, Meat Loaf was at a crossroads in his career. After the massive success of Bat Out Of Hell (1977), the pressures of maintaining that momentum would naturally take its toll. Conflict with longtime collaborator, Jim Steinman, would further complicate matters; despite two of his songs being included on this release. Nevertheless, Bad Attitude, Meat Loaf’s fourth studio album, showcased that he was still capable of delivering powerful rock anthems; even if it was less cohesive than his 70s masterpiece. However, if we consider Bad Attitude as a unique experience from Bat Out Of Hell, rather than a continuation, it’s a thoroughly enjoyable album featuring a timeless collection of bombastic rockers and dramatic ballads.

As with several high-profile Meat Loaf releases, the album artwork for Bad Attitude is spectacular. Not only is it perfectly suited to the era, but it simultaneously harks back to what quickly became a Meat Loaf trademark; the motorbike. Yes, a beautiful woman adds to the allure but it isn’t just outward appearances that matter for you’ll come to see that the music contained within this release is quite incredible, yet it isn’t without fault.

Let’s be frank, Meat Loaf’s music has never truly been recorded, mixed, and mastered to what could be considered perfection. Bat Out Of Hell II: Back Into Hell was a marked improvement and his best-sounding record has to be Welcome To The Neighbourhood but all others are merely satisfactory. Granted, his music had a unique sound signature, but just as Bat Out Of Hell isn’t a sonic masterpiece, neither is Bad Attitude.

Given the album’s lacklustre sales performance, Bad Attitude is often overlooked and while it was remastered and reissued in 2014, it was only for a CD reissue that I’ve yet to hear. Interestingly, when you search on Apple Music et al, you’ll come across two editions of the album. Due to the way they’re listed, you have no idea what the differences are, other than one has more appealing visual colour tones and contrast compared to the album artwork on the other. However, in this instance, don’t let the bolder album artwork confuse you because whatever master that version is utilising, it’s downright atrocious.

While I acknowledge that not every music lover is focused on attaining the very best-sounding version of an album, I do wish each record would have a singular definitive master. That isn’t the case here, so let’s take a moment to compare the two different masterings of the same song; Surf’s Up. Click here to listen to the first version. Pay particular attention to the piano introduction and overall soundstage as the song progresses. Now, let’s play the same song but from what I think is the original CD mastering. Click here to listen to the second version. Different, aren’t they?

It’s elements such as this that can make or break an album and I’d love to say this is an isolated incident, but it isn’t. While I appreciate that both editions exist, particularly the second one which is my preferred version, relying on the Apple Music stream can be a recipe for disaster as there is always the chance that the superior edition could be removed for the inferior one. It’s a constant concern for music lovers who want their music to sound a certain way and never change. And, yes, dear reader, as you get older, and get more used to the way the music should sound, you’re less flexible with regards to substandard sonic presentations.

As it pertains to the edition I’m sharing below, I feel that it is the better-sounding version available on Apple Music as it may not be a recording that will set your stereo on fire, but it sounds right and a few minor EQ tweaks on the stereo can go a fair way to addressing any shortcomings.

Bad Attitude (feat. Roger Daltrey) certainly has an 80s synth vibe to it, despite the hard-rocking anthemic styling. There’s also a little Queen guitar lick to be heard on the song, but what is perhaps most disappointing is that Daltrey’s inclusion fails to enhance the song as, in some ways, his vocal is too similar to Meat Loaf’s to truly stand apart. Yes, this title song is a solid and thoroughly enjoyable opener, but when you have these two exceptional vocalists, it isn’t unreasonable to have expected more.

Modern Girl was the first single released from the album and while it didn't set the charts on fire, it did perform admirably in some regions. It’s a shame it wasn’t better received for it’s one of Meat Loaf’s greatest songs, offering a balance between the theatrical and that of a pop-rock masterpiece. While the lyrics may feel slightly dated, in the modern era, the song itself is catchy and energetic, thereby ensuring that it can still be enjoyed by those who are not only nostalgic but are driven towards radio-friendly pop-rock tunes with soaring melodies and lush production values.

Nowhere Fast is one of the two Steinman compositions to be included and was previously recorded by Fire Inc. on the 1984 Streets Of Fire soundtrack release. Meat Loaf’s interpretation has a bolder rock edge and is, arguably the stronger of the two, but retains the 80s synth styling. It suits the era perfectly, even if it isn’t ideal for Meat Loaf. Nowhere Fast is, subsequently, a thoroughly enjoyable album-only number with a killer chorus. Interestingly, the lyrics, aside from the chorus, are different between the two editions. As to why, I’ve no idea as information relating to the change is sparse at best. If you know, please reach out to me as I’d love to know a little more about this variant.

Surf's Up feels like a continuation of the cinematic rock sound from Bat Out Of Hell. Let’s just say that Steinman was a master songwriter of the highest calibre and when Meat Loaf would record his songs, for the most part, they were always exceptional. That is certainly the case here for Surf’s Up is one of the album’s most impressive songs and Meat Loaf’s vocal performance shines here, as he navigates the song’s emotional highs and lows. Add to that the exceptional mid-song guitar solo and you’ve got what can best be described as a masterpiece; an overused term, yes, but one that most certainly applies to this song.

Piece Of The Action is a mid-tempo rocker that flows seamlessly from Surf’s Up while also providing a change of pace. As the song slowly builds, you get the sense that something very special is coming and when the song reaches the first chorus crescendo, you’re given that sonic reward that is essential to mid-tempo rock numbers. With an infectious chorus and a straightforward anthemic 80s rock style, Piece Of The Action is a killer tune; one that is perfectly suited to Meat Loaf’s theatrical storytelling.

Jumpin' The Gun has a driving rhythm punctuated by tight guitars and energetic percussion, but the mix and overall recording isn’t great. It sounds as if it’s a demo and the additional atmospheric elements, while relevant to the era, simply don’t work. Nevertheless, Jumpin’ The Gun can most certainly be appreciated as an album-only tune, for each song need not be a hit for an album experience to be thoroughly enjoyable.

Sailor To A Siren plays into Meat Loaf’s ability to turn songs into mini-operas for the arrangement is dramatic, with soaring guitars and powerful drumming that drive the song forward. Sailor To A Siren may be brimming with 80s cues, but it’s also a stroke of musical genius for it is simultaneously timeless. It may never be one of Meat Loaf’s most recognised tunes, but it’s most certainly one of his greatest recordings.

Don't Leave Your Mark On Me has an interesting, yet offbeat, introduction. It works, however, following the Sailor To A Siren as it builds a large enough gap that the songs can be easily differentiated. While the arrangement of Don't Leave Your Mark On Me is straightforward compared to some of the bolder songs from the album, it doesn’t change the fact that this song is extremely compelling; particularly its chorus. I do, however, feel that it ends prematurely.

Cheatin' In Your Dreams is a beautiful closing introspective ballad that showcases Meat Loaf’s emotional intensity. Pairing his spectacular vocal with a delicate piano arrangement and lush strings ensured an orchestral feel prior to the bombastic energy that arose midway through the song. If nothing else, Cheatin' In Your Dreams will do what all good closers do – encourage you to play the record again.

Bad Attitude may not have reached the towering heights of Meat Loaf’s earlier or later works, but if you’re after a straight-up hard rock album filled with power ballads and rock anthems, look no further than this classic 80s release. While the era was dominated by synth-driven pop and new wave, Bad Attitude is a breath of fresh air as it not only rocks but is a reminder that outside of trends, good music is still prevalent and when combined with Meat Loaf’s larger-than-life persona, Bad Attitude is most certainly an album worthy of any music lover’s collection.

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