Feargal Sharkey – Feargal Sharkey (Self-Titled) [Album Review]

Feargal Sharkey’s self-titled debut is an impressive mid-1980s pop release. While many may have been familiar with Sharkey, from his time as the frontman of The Undertones, this initial solo release presents a significant departure from his punk and new wave roots. Embracing high production values, soulful melodies, and emotionally charged performances, Sharkey showcased that he could reinvent himself and deliver a standout release with timeless appeal.

Featuring a mix of ballads, pop-rock, and synth-driven numbers, this self-titled release is as uniquely interesting as the album artwork would lead you to believe. It also helps that one-half of the Eurythmics, David A. Stewart produced the album thereby showcasing that the Eurythmics’ stylistic shift with Be Yourself Tonight, and their subsequent success, wasn’t limited to a single instance.

As it pertains to the sonic qualities of this release, the CD-quality Lossless stream, from Apple Music, is adequate. As the album has yet to be remastered, what you’re hearing is the original CD-equivalent master, but it sounds a little thin. Granted, that is the sound of the 80s and early digital releases, so you’ll likely find yourself needing to add a touch of EQ to bring it in line with your subjective preferences. A slight increase in the treble and a little more oomph in the bass will likely yield results that would find you rocking out; even if this is a pop record!

A Good Heart is, without a doubt, the album’s standout track and is arguably the greatest song that Sharkey ever recorded. It’s a heartfelt anthem with a romantic yearning and offers a perfect combination of shimmering synths, touching lyrics, and a powerful chorus that is amongst the best 1980s pop has to offer.

You Little Thief is a sharp and bitter counterpoint to A Good Heart, yet the seamless flow of the album is maintained. With a driving rhythm, jangly guitars, and Sharkey’s passionate vocal delivery, You Little Thief is a highlight that is made more memorable by the incredible musical bed and soaring saxophone performance.

Ghost Train is an absolute masterpiece and a hidden gem. Its slower pace, layering Sharkey’s emotive vocals over a mix of subdued synths and addictively good percussive elements, ensures Ghost Train is one of the greatest Jazz pop songs in all of recorded music history.

Ashes And Diamonds is a run-of-the-mill album-only tune that is perfectly positioned within the era. That shouldn’t, however, be seen as a criticism for it is songs such as this that make this self-titled debut one of the best records from 1985.

Made To Measure is a mid-tempo pop-rock number and, as with Ashes And Diamonds, while it may not be a standout, the album would have suffered had it not been included for it adds variety to the album’s sequencing.

Someone To Somebody is a soulful ballad with some magical guitar licks that emphasise the delicate nature of Sharkey’s vocals. It’s a truly beautiful song.

Don't Leave It To Nature returns the album to an upbeat tempo, blending funk-inspired basslines with synth-pop elements and some killer harmonica thanks to Jimmy 'Z' Zavala. The song’s lively energy and memorable hooks make it one of the more danceable moments on the album and a highlight of production styles within the 80s.

Love And Hate with its darker, moodier tone, showcases the diversity of Sharkey but the production is so solid that despite the tonal shifts, the album experience remains paramount. If nothing else, you’ll find yourself toe-tapping and head-bopping along to what can only be called a hidden gem; a recurring theme of the album, once you get past the hit singles.

Bitter Man offers a dynamic mix of sharp lyrics and an infectious beat as Sharkey’s vocal delivery oscillates between vulnerability and strength. That said, the chosen mix and panning between left and right channels, while done respectfully, may drive some a little insane. After repeat listens you’ll find your mind grabs onto a singular element rather than randomly picking layered audible elements from the mix.

It's All Over Now closes the album with a song that features lush instrumentation and a powerful vocal performance. As far as covers of this classic song go, this is better than The Rolling Stones’ rendition and is, in my opinion, far better than the original from The Valentinos. Regardless, it makes for a fitting conclusion to the album; one that will encourage you to play the record again and reflect on the music you’ve just heard.

Ultimately, Feargal Sharkey’s self-titled debut album is a testament to his ability to reinvent himself as a solo artist. Combining emotionally resonant lyrics, with impeccable production values, the album’s mix of heartfelt ballads and dynamic pop tunes ensures its place amongst the very best recordings of the era. Yes, it has that mid-80s pop sheen, but it’s a memorable artefact of its time; one that is worthy of inclusion in every music lover’s collection.

Check out more reviews by Subjective Sounds

Eurythmics – Be Yourself Tonight (Album Review)

Released in 1985, Be Yourself Tonight marked a bold shift for the Eurythmics as they embraced a more accessible and soulful sound while retaining their core artistic integrity. Seamlessly blending rock, pop, soul, and R&B influences, along with Annie Lennox’s commanding vocals and David Stewart’s innovative production, Be Yourself Tonight solidified the Eurythmics place amongst the greatest 80s pop pioneers.

The album artwork may be on the plain side, but one advantage was that it was easily restructured to fit the Compact Cassette releases and the CD and Vinyl editions upon release. That aspect may not appeal to many, but for those of us who could only choose one format, in this case, the artwork design wasn’t truncated; particularly if purchasing the Cassette. It isn’t, however, nearly as complex a decision as we find ourselves in today whereby there are various masterings available for this classic release; all with pros and cons.

With four different versions, on Apple Music alone, to choose from, it would be logical to suggest that music lovers should be overjoyed with choice. That, however, couldn’t be further from the truth as determining the best version requires a series of comparisons and comparison is the ultimate thief of joy.

So, you may be asking, if it isn’t enjoyable to compare, why do it?

The simplest answer is that the various masterings of Be Yourself Tonight sound considerably different. Sometimes that difference is an improvement, other times it can result in a sonic presentation that lacks appeal, meaning you won’t come back to an album that you would otherwise adore. Think of it this way, salt can enhance food, but too much can make it inedible. The same applies to music and as much as I would like a singular master to exist (preferably the first one) that isn’t the way the music industry works. With that in mind, however, it’s fair to say that there isn’t a perfect master of Be Yourself Tonight.

While there are only three masterings available (as the fourth release on Apple Music is the 2005 Remaster with bonus tracks) that doesn’t make the comparison any easier. The 2018 Remaster is the only one to get the coveted Apple Digital Master tag and is available as a Hi-Res Lossless stream. The other editions are what is suggested as the original 1985 release as well as the 2005 remaster; both of which are presented as CD-quality Lossless files. It’s important, however, not to get hooked up on the numbers alone as higher is not always an indication of better and mastering quality is far more impactful than higher data rates.

There are undoubtedly many who wouldn’t care about which version is which, but if you love music as I do, then it’s important to make sure you’re listening to the one that represents the music as close to your subjective preferences as possible. As such, after much comparison, I find that I prefer the 2018 remaster to the other editions, with the original 1985 release a close second. The 2005 release, unfortunately, is mastered hot and, subsequently, loses some of the record’s ambience and atmosphere, thereby making some of the songs a little too brittle to be thoroughly enjoyed. Naturally, that is my subjective perspective and your viewpoint may well be different to my own. The only way you’ll truly know for yourself is to listen, but if you don’t wish to compare then stick with the 2018 remaster as we take a look at the songs that make up this legendary mid-80s release.

Would I Lie To You? Kicks the album off with a fiery, upbeat, anthem. Driven by a funky guitar riff and an energetic horn section, you’ll be hooked from the very first note to the last. Lennox’s powerhouse vocals dominate the track, but it’s the culmination of all elements, into an irresistible groove, that made it a chart-topping hit, and a timeless classic. It’s also an idealistic opener as it sets the tone for the entire album.

There Must Be An Angel (Playing With My Heart) is an exuberant pop masterpiece. The lush orchestration, combined with Lennox’s ethereal vocal (particularly in the chorus), is simply captivating and ensures that it’s one of the album’s defining moments. It has a Stevie Wonder vibe to it and while he had no hand in the writing, or production, of the song, his harmonica solo takes this song to another level of excellence.

I Love You Like A Ball And Chain harkens a little back to the Eurythmics core experimental roots, but is brought up to date with its gritty electric blues undertones. Lennox’s vocals are raw and impassioned, supported by Stewart’s razor-sharp guitar riffs and pulsating rhythm, thereby showcasing the duo’s versatility and making for a dramatic listening experience.

Sisters Are Doin' It For Themselves (With Aretha Franklin) is a timeless declaration of independence and equality and when you’ve got two of the most powerful voices in all of recorded music history, belting out this incredible song, it becomes nothing short of iconic. With a driving rock beat and gospel-inspired arrangement, Sisters Are Doin' It For Themselves is, without a doubt, one of the greatest songs of the 80s.

Conditioned Soul slows the tempo somewhat, but the more laid-back styling allows Lennox’s exquisite vocals to soar above the musical bed. The result is a delightfully pleasant multi-layered tune that is one of the best album-only songs you’re ever likely to hear.

Adrian is a solid tune from the album, but as good as the combination of Lennox and Elvis Costello is, Adrian isn’t a standout.

It's Alright (Baby's Coming Back) is a bright and infectious pop tune that’s brimming with optimism and catchy hooks. While it didn’t set the charts on fire, as the fourth and final single from the album, this is one of the standout tunes from Be Yourself Tonight and is amongst the Eurythmics’ greatest recordings.

Here Comes That Sinking Feeling presents a sonically stark contrast with its dark and brooding atmosphere that creates an unsettling, yet captivating, mood that makes it a hidden gem.

Better To Have Lost In Love (Than Never To Have Loved At All) is a triumphant closing track, backed by lush instrumentation and a compelling arrangement. The song’s steady rhythm, combined with shimmering orchestral elements, and Lennox’s heartfelt performance, is ideal and will encourage you to either reflect on the music or play the album again for this may be a studio release but it plays like a greatest hits compilation.

Be Yourself Tonight is a pivotal album in the Eurythmics’ discography, showcasing their ability to evolve while maintaining their artistic integrity. From chart-topping hits to deeper cuts, each track contributes to the album’s rich tapestry of sound and is a must for any 80s-focused music lover. This release not only broadened the Eurythmic’s fan base but it has stood the test of time and remains a quintessential 80s record and an enduring legacy to the musicianship of Annie Lennox and David Stewart.

Check out more reviews by Subjective Sounds

Elton John – Ice On Fire (Album Review)

Released in 1985, Ice On Fire marked Elton John’s first collaboration with producer Gus Dudgeon, following a long hiatus, with their previous joint effort being on the gem that is the 1976 release, Blue Moves. As with their final coupling, almost a decade earlier, Ice On Fire can take a moment to get used to, but if you’ve got the patience to give it repeat listens, it becomes one of Elton John’s greatest releases; certainly as it pertains to his 80s era recordings. Driven by a blend of tender ballads, synth-driven pop, and a touch of rock, Ice On Fire was, by far, his strongest release since The Fox in 1981.

While Ice On Fire represented a return to form, following a few albums that failed to excite fans and music lovers, it’s the mix of memorable melodies, introspective lyrics, and energetic performances that helped to bolster the album’s status. That said, due to its heavy use of synths, the production of Ice On Fire can sound a little dated, but fans with an ear for nostalgia will undoubtedly fall in love with the album all over again.

Regarding the album artwork, there isn’t much to discuss. It’s better than much of Elton’s output during the 80s but is still lacking compared to his classic 70s releases. What isn’t lacking, however, is the CD-quality lossless Apple Music stream. Yes, it is derived from the 1998 CD remaster, but that particular reissue is noted for largely maintaining the album’s dynamic range, thereby ensuring that it’s a lovely facsimile. As you listen, you’ll note that every musical element is perfectly positioned within the mix and despite the 80s production quality, this is Elton John through and through.

This Town opens the album with an upbeat number that is brimming with 80s swagger and while it’s, most certainly, a product of its era, it’s simply magnificent. Driven by a funky rhythm, sharp horns, and Elton’s idealistic vocals, what you’ve got is a catchy tune and a perfect start to the album.

Cry To Heaven slows the tempo for what can be best described as a poignant ballad. As the song builds, the orchestral elements ensure the song comes alive, but at no time does it detract from Elton’s exceptional vocal performance. Cry To Heaven, unfortunately, isn’t amongst Elton’s most recognised tunes and it’s a shame as this ballad is one of his greatest.

Soul Glove flows seamlessly, despite its funky groove-laden vibe. If you are toe-tapping and head-bopping along you’re listening correctly as Soul Glove is an ideal mid-tempo dance number.

Nikita is, arguably, the most well-known track from the album and for good reason; it’s a synth-pop masterpiece! With a catchy sing-along lyrical structure, and an unforgettable melody, it’s difficult to not be drawn in by this classic Elton John tune.

Too Young is a soulful ballad that feels like a throwback to Elton’s 70s-era works but with modern production values. Roger Taylor and John Deacon, from Queen, contribute to the song on drums and bass guitar and the boldness they add to the recording results in Too Young being a standout album-only tune.

Wrap Her Up (feat. George Michael) is a high-energy number brimming with flamboyance and was an ideal collaboration with Michael who was, during this era, still a member of Wham! and had yet to commence his solo career. While Michael’s falsetto is not nearly as incredible as Barry Gibb’s trademark is, it works incredibly well and has 80s synth-pop written all over it. That isn’t a bad thing, however, as the pulsating beat and infectious chorus will reach into your soul and not let go until the final note has played.

Satellite is perfectly positioned within the album’s linear structure and leans heavily into the 80s aesthetic with shimmering synths and electronic textures. However, while there isn’t a bad song to be heard on the album, Satellite is the poorest recording. It isn’t a bad song, it just sounds either over or under-produced. I respect the confusing aspect of that statement, it’s just that there’s a good song hidden here, one that needs to be either stripped back or further developed and, to be honest, I’m not sure which approach would be best. Perhaps it should have been omitted from the album instead.

Tell Me What The Papers Say is a solid mid-tempo rocker that offers a biting critique of media sensationalism. Yes, the driving beat and layered instrumentation date the song, but there’s enough lyrical relevance to the current era that it will still appeal to a modern audience.

Candy By The Pound is upbeat and funky but rather than being an 80s-era number, I’d suggest it could have been a tune straight out of the 50s or 60s. Nevertheless, it’s a great song that offers an infectious rhythm, with a dance floor feel, that culminates in a feel-good lighthearted number.

Shoot Down The Moon is an ideal closing ballad with an incredible vocal performance from Elton. Yes, it may be a haunting ballad, but between Taupin’s poetic lyrics and Elton’s stripped-down delivery, Shoot Down The Moon is another of Elton’s hidden gems; one that deserves more credit than it often receives.

If this is the first time, or one of the few times, you’ve listened to Ice On Fire, give it another play-through as it’s an album that reveals its charms with repeat listens. While it might not satisfy those longing for Elton’s 70s-era releases, it provides an intriguing snapshot of his mid-80s evolution. For fans willing to embrace its quirks and somewhat 80s production, Ice On Fire is a rewarding mix of hits, hidden gems, and moments of heartfelt artistry that is worthy of inclusion in any record collection.

Check out more Elton John reviews by Subjective Sounds

Dokken – Under Lock and Key (Album Review)

Released in 1985, Dokken’s Under Lock And Key is a glam metal classic and a defining moment in the band’s career. Featuring the classic lineup of Don Dokken (vocals), George Lynch (guitar), Jeff Pilson (bass), and Mick Brown (drums), the album blends melodic hooks and killer rock licks with technical prowess. While there is no shortage of exceptional 80s glam metal releases, Under Lock And Key is one of the most impressive and timeless examples available to rock and rollers.

Turning our attention to the album artwork, it’s adequate. It’s far from the worst 80s album covers but it’s a little bland. Thankfully, the sonic prowess of this release steps things up and is thoroughly enjoyable. Yes, the Apple Music stream delivers the record as a CD-quality lossless stream, but that’s not necessarily a bad thing as it sounds exactly like one would expect. There’s no indication if this is a remaster. Still, based on the sonic cues, I would say that it’s likely that it’s the original CD mastering and, as such, turning the volume up will have you rocking out, rather than feeling fatigued by an overly hot master.

It may not be to everyone’s taste, but this is another prime example of how important tone controls are to music lovers. Some will lament their use, but I don’t share that perspective as I’d much rather tweak the sonic qualities of a record to suit my subjective taste. Regardless, the overall production quality strikes a perfect balance between polished sheen and raw power, ensuring a timeless appeal that will make any music lover happy. With that in mind, let’s take a look at the songs that make up this classic release.

Unchain The Night opens the album with a brooding, atmospheric guitar intro that sets the tone for the entire record. Following the exceptional introduction, the track transitions into a mid-tempo rocker with soaring vocals and intricate guitar work to accompany the killer rhythmic base of the song.

The Hunter was the first single released from the album and is a fantastic rocker, but as strong as it is, I’m not sure it was the best choice for a single release as Unchain The Night has that earworm quality that may have resulted in greater charts success. Nevertheless, The Hunter is a standout that balances intensity with an accessible rhythm.

In My Dreams is a melodic masterpiece. The infectious chorus, tight harmonies, and Lynch's flashy yet tasteful solo make it one of Dokken’s most memorable songs. Yes, it has an 80s sheen, but those of us who live with a nostalgic mindset will find it highly compelling and it’s amongst the greatest rock songs released in the era.

Slippin' Away slows the pace slightly with this reflective ballad that provides a lovely contrast amidst the harder-edged tracks. Don Dokken’s vocals are magnificent and are complemented perfectly by the understated instrumentation that is ideally mixed, thereby allowing the vocals, and guitar solo, to soar above the musical bed.

Lightnin' Strikes Again brings back the energy with this high-tempo number that showcases Lynch’s blistering guitar skills. The aggressive riffing and thunderous rhythm section drive the song, embodying the band’s heavier side, but it’s Don Dokken’s vocals that are the standout here, showcasing just how exceptional his vocal range is.

It's Not Love, with its groove-oriented riff, stands out as one of the album’s most distinctive tracks. Despite the song’s raw energy and gritty guitar work, It’s Not Love is a melodic pleasure to listen to.

Jaded Heart is another incredible ballad showcasing Don Dokken’s ability to convey deep emotion. While some reject ballads, I extoll their inclusion for it showcases just how exceptional the vocalists of our favourite metal bands are as it’s not always about driving the vocal to the very end of a vocalist’s capabilities. Add to that the lush arrangement and Jaded Heart becomes not only a standout on the record, but it’s one of the best songs Dokken ever recorded.

Don't Lie To Me is a catchy mid-tempo rocker with a driving rhythm that will see you head-bopping and toe-tapping along. It’s 80s glam rock at its very best!

Will The Sun Rise has an incredible interplay between the rhythm section while Lynch’s guitar textures create a rich sonic palette on this story-focused tune. The chorus is most certainly a highlight, as is the guitar solo, and as far as album-only tunes go, this is an absolute masterpiece.

Til The Livin' End closes the album out with a bang, delivering an all-out rocker. It is, however, sequenced poorly in that it sounds out of place following the melodic nature of Will The Sun Rise. Yes, the relentless guitar riffs and pounding drums make it a solid conclusion to Under Lock And Key, but it also sounds a little less produced than the other songs on the record. Nevertheless, Til The Livin' End will compel you to play the record again for Dokken can seldom be listened to once.

Under Lock And Key, ultimately, captures Dokken at their peak, blending hard rock grit with melodic finesse. George Lynch’s guitar work is a masterclass in 1980s metal, while Don Dokken’s vocal performances bring the songs’ emotional core to life. Under Lock And Key is, subsequently, not just another album; it’s a testament to an era blessed by glam metal’s dominance. As such, if you’re a fan of the band, era, or genre, Under Lock And Key is a must-listen for it showcased Dokken as a powerhouse amongst many glam metal acts.

Check out more reviews by Subjective Sounds

Dire Straits – Brothers In Arms (Album Review)

Released in 1985, Dire Straits’ Brothers In Arms was not only a defining moment in the band’s career, but it was a landmark release. With its blend of poignant songwriting, intricate guitar work, and state-of-the-art production, the album resonates as a timeless masterpiece with an equally compelling piece of cover art that blends perfectly with the music.

While the fanfare surrounding this record is absolutely justified, it’s an album that has long divided music lovers and audiophiles for there are so many different versions (masterings) that one needs to question if it is the sonic quality, or the music itself, that should be at the forefront when listening to Brothers In Arms.

Here at Subjective Sounds, you’ll get both perspectives, but I do lean towards the music rather than sonic prowess alone. Let’s start with the formats, and then discuss the music, shall we?

With over 500 versions of Brothers In Arms listed on Discogs, one would rightfully find selecting a definitive edition to be tricky, if not impossible. While I obviously can’t review every release, I’ll give you my thoughts based on the versions I’ve been fortunate to have listened to.

The releases include:

• The Mobile Fidelity Sound Lab 2015 release (MFSL 2-441)

• The 20th Anniversary Vertigo (9871498) Hybrid SACD edition

• The Apple Music 16-bit/44.1kHz ALAC lossless stream

What’s most interesting, however, is that the Hybrid SACD contains not only the CD version of the album but also the HDCD, SACD Stereo 2.0 mix, and the SACD 5.1 Surround Sound Mix. That single disc has so many different versions on it that it really showcases just how well the Hybrid SACD format could be utilised for a mass market release; a release that could appeal to all music lovers, rather than just audiophiles.

While multiple options are (usually) a good thing, sometimes there can be too much of a good thing and in this instance, less is more. Yes, dear reader, I drove myself to the point of insanity, listening to every version and the truth is that I couldn’t pick a winner for each exhibited their own uniqueness and none were what I would consider to be flawed. Certainly, I had my preferences, but I could never quite lock one in; until now.

So, which version did I prefer and why?

I chose to go with the lossless Apple Music stream. Blasphemy, I hear you say. The problem was I was listening for faults and minute elements rather than simply enjoying the music. Plus, when all else fails, sometimes good enough is…good enough.

Nevertheless, I’ll give a brief rundown on my experiences with the two physical versions, for those of you who may, or may not, wish to go through the torturous process of deciding which version you’d subjectively feel is better. And, yes, if you’ve put more money into your turntable setup than your SACD et al gear, that will be the one to go for, and vice versa.

Let’s start with the Mobile Fidelity Sound Lab (MOFI) edition; for it is magnificent. While I don’t condone MOFI’s deceit regarding the master tape sources they used, along with using a digital intermediary, the sonic reproduction, of this release, speaks for itself as you will be enveloped in the soundstage from the very first note to the last. Every musical element is positioned exactly where it should be and regardless of the volume you choose to play the album at, it’s going to sound incredible. While it isn’t necessarily affordable, although what is these days, if you’re after a record that will make your turntable sing, this is one you should certainly consider. You do have to deal with flipping the record over after two songs, however; a by-product of the album being pressed at 45rpm. Of course, original releases truncate some of the album’s greatest songs in order to have had it fit comfortably on a regular 33.3rpm release, so there will always be a tradeoff when it comes to vinyl editions.

As with all MOFI releases, the outer sleeve is thick, so much so that one would need to be determined to damage it before the sleeve would fall apart. It’s a lovely reproduction, even if the gatefold inner artwork is a little on the blander side.

Shifting our attention to the Hybrid SACD, the following summarises my thoughts on this all-inclusive release:

• 20th Anniversary CD is clean, perhaps a little too clean. By that, I mean that the bass response, while present, lacks a sense of emotive energy that is present in all other versions. It’s dynamic, yet a cohesion of musical elements is missing, thereby resulting in a lack of body and tonal warmth. Of course, many will point to the origins of the recording, being that it was one of the first albums to be recorded digitally, but it isn’t that; it simply lacks presence.

• 20th Anniversary HDCD sounds fantastic, especially compared to the CD version found on the Hybrid SACD; but it’s getting increasingly difficult to obtain players that can decode the HDCD layer. Nevertheless, the entire soundstage, bass elements, and treble range of the HDCD sparkles without being fatiguing and while it’s, arguably, not as smooth as the SACD Stereo Mix, it sounds right.

• 20th Anniversary SACD Stereo Mix is smoother than the HDCD version but arguably lacks detail as the treble range is rolled off considerably. While smoothness can also translate to warmth, the SACD Stereo Mix fails to impress me as much as the vinyl counterpart does as turning the volume up showcases its limitations in comparison to the aforementioned vinyl release. At higher volumes, it simply becomes less pleasurable to listen to. It’s my opinion that the 20th Anniversary SACD Stereo Mix is mastered a little too hot.

• 20th Anniversary SACD 5.1 Surround Sound Mix is a different beast entirely and if you’ve been listening to the stereo mix of Brothers In Arms for decades, the surround mix can take a little getting used to. While I appreciate the spectacle of it, with discrete sounds moving about my listening space, I still found myself preferring the stereo mix. It’s important to note, however, that I’m not a surround sound enthusiast, so I would recommend that you check out Mike’s Life In Surround YouTube channel and QuadraphonicQuad where the general consensus is highly positive.

If you’ve got this far I applaud your dedication as the testing and comparing, then writing and/or reading about it, can be about as interesting as watching grass grow. Nevertheless, as it pertains to the lossless Apple Music stream, derived from the 1996 CD remaster, I find myself at ease with its flexibility and convenience. Yes, I went there. Convenience is a must and if you have to flip a record too often, or find yourself constantly trying to decide which of the many versions on the SACD to listen to, then just like me you’ll find a breath of fresh air as it relates to the streamed edition. While it is not as resonant as the vinyl counterpart, nor as feature-rich as the Hybrid SACD, it is the simplicity that I appreciate.

As I mentioned earlier, sometimes less is more and, truthfully, I don’t feel as if I’m missing out on much, compared to the physical releases. The Apple Music stream is thoroughly enjoyable, and not at all fatiguing, ensuring that the core musical experience is maintained. Look, it won’t be for everyone, but as I subscribe to John Darko’s music-first audiophile mantra, it’s more than enough and listening to it, anywhere and everywhere, gives me immense joy without the constant nagging that comes along with comparing multiple editions.   

Hence, with all that in mind, let’s take a look at the music that makes up this legendary release.

So Far Away opens the album with a clean and steady rhythm that is largely unassuming but equally compelling. Setting the tone for the music to come, So Far Away is not only an enduring classic but its relaxed groove will appeal to just about any music lover as it sounds deceptively simple, yet its melodic sophistication ensures that it’s timeless.

Money For Nothing is, without a doubt, the most iconic track from the album with one of the most recognisable guitar riffs in rock history. This is pop-rock at its finest and despite being released in the mid-80s, no element pigeonholes it to that era. Much could be said about this landmark tune, including the often criticised controversial lyrics, but it’s in the listening that will determine one’s interest in Money For Nothing. So, take a listen and rock out for Dire Straits doesn’t get much better than this.

Walk Of Life lifts the tone of the album with its upbeat organ tuning and the song’s infectious rhythm. Providing a lighter, more playful counterpoint to much of the album’s introspective tone, Walk Of Life is a joyous track that has long been a fan favourite and a staple in Dire Straits’ live performances.

Your Latest Trick immediately sets itself apart from Walk Of Life, yet it doesn’t sound out-of-place in the album’s linear structure. Your Latest Trick is very much jazz meets soft rock, with lush instrumental arrangements and an intricate interplay between all musical elements. While it may not have set the charts on fire, when released as the final single from the album, it’s amongst Dire Straits’ greatest recordings and harkens back to their earlier releases, just with a tad more production and layered musicality.

Why Worry? is tender, meditative, and despite clocking in at eight minutes, I never tire of it and could listen to this song on repeat indefinitely. The soothing melody, combined with Knopfler’s gentle guitar work and delicate arrangement, makes this beautiful song a hidden gem.

Ride Across The River paints a vivid sonic landscape, one built on a foundation of Latin-inspired percussion and atmospheric synthesisers. The song is so immersive that it creates a cinematic listening experience and, despite being an album-only tune, is a core reason why Brothers In Arms is so respected.

The Man's Too Strong has a stark acoustic arrangement before delving into a more dramatic dynamic that will draw you in instantly. As it pertains to the various editions of this album, it’s songs such as this that can either make or break the record as the crescendo tends to be ear-piercing and shrill. In fairness, the Apple Music stream doesn’t deliver the low-end boldness that is heard on the vinyl release, but at the very least it doesn’t grind my senses.

One World injects a funky upbeat groove into the album. Its lively tempo and rhythmic interplay make it a refreshing change of pace; one that will find you toe-tapping and head-bopping along to this incredible tune.

Brothers In Arms is a hauntingly beautiful ballad that features one of Knopfler’s most emotive guitar performances and serves as a poignant closer to one of the greatest albums ever recorded.

Ultimately, Brothers In Arms is more than just a collection of songs, it’s an artistic statement that has stood the test of time; one that has sold more than 30 million copies worldwide. With its seamless blend of rock, jazz, and blues influences, there’s little doubt as to why this landmark release was not only so well received, but is amongst the greatest albums released in 1985.

Check out more Dire Straits reviews by Subjective Sounds

Dionne Warwick – Friends (Album Review)

Released in 1985, Friends sees Dionne Warwick blending her classic pop and soul sensibilities with the sleek production styles of the 1980s. Featuring a mix of heartfelt ballads and upbeat tracks, Warwick’s unmistakable vocal shines through on a series of songs that are not only, in many cases, instantly identifiable but offer a series of hidden gems that make for a thoroughly pleasing and relaxing record; one that you’ll want to revisit time and time again.

Speaking of relaxing, if the elegant, yet sophisticated, album artwork doesn’t grab you, then the production qualities of the music itself will. The Apple Music lossless stream is lovely and perfectly suited to Warwick’s style. I’m certain some would suggest that it could be stronger and requires a remaster, but that is what tone controls are for as this, somewhat, flat transfer has all the required emphasis in all the right places. Plus, that classic (non-loudness war) sound allows, and compels, you to turn the volume up for this album sounds ideal at higher, room-filling, volumes.

That's What Friends Are For (With Elton John, Gladys Knight & Stevie Wonder) is most certainly the standout tune from Friends and for good reason; it’s a masterpiece with a lineup of collaborators that anyone would feel privileged to work with. There are timeless classics and then there is That’s What Friends Are For, a tune with an enduring legacy that will outlive us all as it talks to the core of humanity's need for friendship. While most people instantly know this classic tune, this wasn’t the first time this song was recorded for Rod Stewart recorded it in 1982. His is a lovely recording in its own right, but it’s ultimately overshadowed by this particular release.

Whisper In The Dark introduces a mid-tempo, highly polished, synth-heavy sound that is ideally suited to the era. As is the case with many of Warwick’s recordings, her sultry vocal performance is as memorable and engaging as the song’s rhythmic groove; even if it is a little understated in the chosen mix.

Remember Your Heart is your classic 80s soft rock number featuring a lush arrangement that ensures you’ll be toe-tapping and head-bopping along from the very first note to the last.

Love At Second Sight is a lovely album-only tune that showcases Warwick’s exceptional vocal range. Love At Second Sight is, subsequently, a hidden gem and is one of Warwick’s greatest vocal performances.

Moments Aren't Moments is a lovely laid-back tune. The intricate orchestration adds layers of musical elements that add to the song’s straightforward, yet poignant, presentation that allows Warwick to deliver a deeply moving performance.

Stronger Than Before is one of the greatest songs from Friends and is most certainly a hidden gem within Warwick’s illustrious back catalogue. With its uplifting lyrics and steady rhythm, Warwick’s vocal phrasing captures both vulnerability and strength and it’s so strong that I simply can’t understand why it was never released as a single; it’s that good!

Stay Devoted continues with the upbeat musical bed and is the perfect followup to Stronger Than Before as both are similarly approached in not only musical and tempo styles, but also in the way Warwick delivers her nuanced yet introspective performance. Yes, it may be an 80s tune, through and through, but those of us with a nostalgic perspective will find Stay Devoted to be absolutely captivating.

No One There (To Sing Me A Love Song) is a soulful number that explores feelings of loneliness and longing. The rich blending of backing vocals and a restrained instrumental arrangement ensures that Warwick’s masterful vocal delivery is front and centre, thereby underscoring the song’s emotional weight.

How Long? is a beautiful song that leans into a smooth R&B groove. Warwick’s vocals are effortless, yet the subtleness is the most appealing aspect as How Long? is a timeless classic. The musical bed is glorious and it’s one of the greatest songs that Warwick has ever recorded and one that those who only know the hits may never have experienced. Hence, if you know a casual Warwick fan, it would be great if you could share this incredible song with them.

Extravagant Gestures closes out the album beautifully with this reflective ballad that highlights Warwick’s storytelling ability. Delivered with her incredibly delicate vocals, and an arrangement that is perfectly suited, Extravagant Gestures becomes a fitting end to a flawless record and one of the most impressive works Warwick ever recorded.

Ultimately, Friends is an album that perfectly balances Dionne Warwick’s timeless elegance with the modern production techniques of the mid-80s. Anchored by the monumental success of That’s What Friends Are For, the album showcases Warwick’s versatility, transitioning effortlessly between poignant ballads and upbeat, contemporary tracks. Her vocal performances are impeccable, and the collaborations with legendary songwriters and producers result in a cohesive and memorable listening experience; one that will appeal to longtime fans and newcomers alike.

Check out more reviews by Subjective Sounds

Diana Ross – Eaten Alive (Album Review)

Diana Ross’ Eaten Alive offers a compelling blend of pop, soul, and dance music, featuring contributions from some of the most celebrated names in the music industry. Released in 1985, the album sees Ross collaborate with the Bee Gees and Michael Jackson amongst other legendary musicians. While not as commercially successful as some of her previous works, Eaten Alive showcases Ross’ versatility and her willingness to experiment with the contemporary sounds of the mid-80s, but does it work?

Yes, and no! Let me explain.

While Eaten Alive is amongst the best releases of the mid-80s, it isn’t an album that can be appreciated via a single listen alone. So often, in our fast-paced modern realities, we are seeking what’s next and an album such as Eaten Alive will generally be overlooked for it takes several playthroughs to truly connect with the inner soul of us music lovers. Yes, the title track will likely appeal instantly, as will the catchy and iconic Chain Reaction, but the other songs require greater patience. If you have the time, however, you’ll find an album that is most certainly worth your time and Ross’ incredible legacy.

As with many things associated with the era, the album artwork is a product of its time, yet it isn’t worthy of inclusion amongst The Worst (And Most Disturbing) Album Covers Of All Time list. The sonic qualities of this release also exhibit the mid-80s vibe and while that isn’t a bad thing, it could be suggested that Ross drifted, at times, a little too far from her unique style in an attempt to appeal to a modern audience.

Regarding the Apple Music stream, the CD-quality Lossless presentation is more than adequate. It isn’t, however, a sonic powerhouse that you’d use to demo a new stereo or show off your system with pride. Granted, it likely wasn’t intended to have that quality as every album need not have audiophile aspirations to be appealing. What you will hear, however, is an album that has been inspired by some of the most incredible musicians to have ever written and recorded a song and one that is perfectly aligned with the recording, mix, and mastering standards of the era. Hence, the best way to appreciate Eaten Alive is not to listen critically, but to simply listen to the music for there are some hits and plenty of hidden gems to be heard.

Eaten Alive opens the album with a pulsating energy, but don’t get too attached for this isn’t the kind of song that sets the tone for the entire album, as its style is significantly different to the other songs on the record. Of course, that isn’t necessarily a bad thing for this electrifying performance, blended with the smooth vocal delivery, matches the urgency of the song’s delivery perfectly. With backing and intertwining vocals, from Barry Gibb and Michael Jackson, Eaten Alive is one of the most memorable tunes Diana Ross has ever recorded.

Oh Teacher shifts gears into a funky, mid-tempo number but it’s fair to say that Oh Teacher would have been better suited to Barry Gibb as Ross’ chosen vocal register is a little higher than she’s ideally suited to. Interestingly, Gibb did release the demo on the iTunes Store and it’s, arguably, stronger than this interpretation. Nevertheless, the harmonised backing vocals with the song’s catchy hook and Ross’ sultry vocals ensure that Oh Teacher is a solid album-only tune.

Experience slows the record considerably with this ballad; one that stands out for its heartfelt delivery and emotional depth. While its stripped-back production may seem out of sorts with the album’s overall style, Experience is a stunning tune that is not only amplified by Ross’ vocal warmth but also Gibb’s perfectly positioned backing vocals.

Chain Reaction is a killer tune, one that very well could have been a Motown classic had it been released when Ross was a member of The Supremes. Despite the obvious correlation, it was an instant hit, outside of the US, with chart-topping success around the globe. It really is Motown meets The Bee Gees and Ross delivers nothing less than a powerhouse performance.

More And More slows the tempo again, but this beautifully delicate song is perfectly suited to Ross’ more tender style. More And More is, subsequently, irresistible, although I’m certain some would call it a piano bar tune. While that may be an accurate assessment, that shouldn’t be seen from a negative perspective for it’s a lovely song and is one that offers a nice contrast to the more intense moments on the album.

I'm Watching You is a sultry, mysterious track that features a thoroughly atmospheric production. Ross’ seductive tone will draw you in as the narrative builds and while it may not be a song that you’d often associate Ross with, it’s nonetheless lovely and is a quintessential album-only track; one that ensures that the album experience is cohesive and thoroughly enjoyable.

Love On The Line blends disco and pop with a touch of rock. As with most of the songs on the album, it’s got that classic Bee Gees sound and is one of Ross’ most underrated gems. If nothing else, the pulsating beat and uplifting melody provide a dance floor-ready vibe; one that will be remembered well after the album has concluded.

(I Love) Being In Love With You is a dreamy, romantic ballad. Ross delivers a tender, yet understated, vocal performance that perfectly suits the song’s intimate lyrics. Add to that Barry Gibb’s incredibly good backing vocals and what you’ve got is the perfect culmination between these two powerhouse artists.

Crime Of Passion dramatically shifts the tone following the relaxed (I Love) Being In Love With You and while it may not be the most perfectly sequenced record, Crime Of Passion does offer a compelling toe-tapping and head-bopping melody.

Don't Give Up On Each Other closes out the album with this exceptional ballad; one that allows you to reflect on the music you’ve just heard whilst simultaneously encouraging you to play the record again.

Eaten Alive is, subsequently, a testament to Ross’ ability to evolve with the times while retaining much of her artistic essence. The blend of pop, soul, and dance elements, coupled with high-profile collaborations, gives the album a polished and eclectic feel. While it may have failed to set the charts on fire, there are several standout tracks to accompany the hit tunes, thereby making it an ideal album experience and one of the best released in 1985.

Check out more Diana Ross reviews by Subjective Sounds