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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KISS – Hotter Than Hell (Album Review)

Released in 1974, KISS' second studio album, Hotter Than Hell, stands as a crucial chapter in the band's early history. Arriving just eight months after their self-titled debut, this record captures a group eager to solidify their place in the hard rock music landscape; one driven by gritty raw energy that adds layers of authenticity to the unpolished production of this classic release. It is this rawness, however, that makes Hotter Than Hell a standout within KISS’ extensive catalogue for other than their live recordings, this is as authentic as you’re ever going to get.

Throughout the years, many have been divided over the band’s comic book personas, but rather than shy away from it, as they had in the mid-80s, Hotter Than Hell, with its manga cover art styling, not only amplified this gimmick but would have certainly stood out on the shelves of any record store at the time. As the world was far less connected in 1974 than it is in the modern era, I can’t help but wonder how many KISS fans would have thought that Hotter Than Hell was a Japanese import. I likely would have been one of them as I’ve often been fond of international releases from far-off lands that I may or may not have the privilege of visiting one day. It adds a sense of mystique to one’s music collection, even in the modern hyper-connected era. Regardless, the artwork for Hotter Than Hell, much like their music, tells a uniquely compelling story; one that would set KISS apart from many of their hard rock contemporaries.

Musically, while their debut album was steeped in glam rock theatrics, hard rock, and pop-infused melodies, Hotter Than Hell leans into a slightly more aggressive, hard-edged, style that not only incorporates all that was heard via the debut but builds upon that initial release with a series of memorable tunes and some incredible musical licks. As with their debut, Hotter Than Hell failed to set the charts on fire, most likely due to its lack of radio-friendly singles, but both albums continued to lay the groundwork for their explosive breakthrough in the years to come.

Speaking of explosive, the lossless Apple Music stream does sound rather good, even with the rawer production values. Granted, Hotter Than Hell will never be anyone’s idea of sonic perfection, but unlike the ’97 remasters, the Apple Digital Master offers a solid midrange and enough low-end to please most fans. Those who may have found the older CD remaster to be a little bright in the treble range will likely find the stream to be a thoroughly more enjoyable version of the album to listen to. The harshness has been dialled back and what you’re left with is an album that rocks!

Got To Choose is a hell of a tune to open the album with for it’s an attitude-infused mid-tempo groove-focus rock masterpiece. No, it isn’t one of KISS’ most popular tunes, but if the infectious melody doesn’t get you, Ace Frehley’s exceptional blues-infused guitar licks will.

Parasite is riff heaven and between Ace Frehley’s skilled writing and Gene Simmons’ raw and aggressive vocals, Parasite is not only one of the heavier tunes KISS ever recorded, but it’s one of the greatest rock numbers from the era.

Goin' Blind slows the album’s pace with a ballad-focused tune. Simmons knocks the vocals out of the park, but interestingly his vocal presentation differs from what we normally associate with him. The variance reminds me of Steven Tyler’s vocal delivery on Aerosmith’s self-titled debut. It isn’t bad, not by any means, but it is unique.

Hotter Than Hell exudes swagger and confidence, driven by gritty, distorted riffs and a stomping rhythm section, but isn’t quite the ideal title track. It works, yes, but it isn’t a standout. Part of my love/hate relationship with the tune is the chosen tempo. While I acknowledge that it was written with Free’s All Right Now in mind, I find it’s a little too slow and would like to have seen it sped up by a few beats per minute.

Let Me Go, Rock And Roll is a fast-paced number that embodies the rock and roll spirit of the era with its relentless rhythm and infectious energy. If nothing else, the driving bassline, dynamic guitar solos, and overall mix capture the rawness of KISS’ early, yet compelling, sound.

All The Way may be an album-only tune, one that is unknown to many who haven’t listened to the album, but despite being lesser known, All The Way delivers a punchy, straightforward rock feel with an edgy guitar sound that is KISS 101.

Watchin' You has an incredible introduction, for the dense layering of guitars and a powerful rhythm section enhance the tune and ensure the intensity of the record is maintained. The musical bed alone is such a standout that Simmons need not have written or recorded lyrics for Watchin’ You could have been instrumental gold, had it been recorded with that intent. It isn’t that the vocals detract from the song, however, it’s that the musical performance is so much stronger than Simmons’ vocal delivery.

Mainline shifts the tone as Peter Criss takes over vocal duties for the first time on the album. With a Southern rock influence, the laid-back vibe is a precursor to many of KISS’ most memorable tunes and this is no exception for the chorus and overall upbeat nature of Mainline will stay with you well after the album has played its final note.

Comin' Home, while not as heavy as many of the other tracks, does circle back to the band’s melodic roots and in that regard is a hidden gem. It is, unfortunately, one of the most sonically compromised recordings from the album and even though it’s thoroughly enjoyable, it could have been so much more had more spit and polish been applied during the recording and mixing of the song.

Strange Ways is an ideal closer with its slow and heavy pace that allows Criss’ vocals to shine. It also features Ace Frehley at his very best, as the band works through the track’s sludgy and psychedelic rhythm, leaving a lasting impression; one that will compel you to play the album again or sit in contemplation of the music that you’ve just heard.

Hotter Than Hell is a gritty, raw follow-up to KISS’ debut, capturing the band at a time when they were eager to push boundaries and continue to develop their signature sound. With darker themes, heavy riffs, and unfiltered aggression, this album showcases the band’s hunger to make their mark in rock music and while the production may lack the polish of later releases, the rough edges and intensity give Hotter Than Hell a visceral, authentic energy that resonates with fans and adds to its charm. This album’s unapologetic sound and commitment to raw expression have made it a cult classic and an enduring favourite among KISS’ early works and is worthy of inclusion in any music lover’s collection.

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KISS – KISS (Self-Titled) [Album Review]

Released in 1974, KISS, the self-titled debut from the iconic rock band, marked the explosive start of their journey to superstardom. Combining hard rock with glam elements, the album introduced the raw energy and attitude that would come to define the band and despite not being an instant commercial success, KISS laid the groundwork and established their incredible legacy with this release.

That legacy was the result of a collective band effort, for KISS as we know them today, or in 1974, wouldn’t have achieved their desired outcome had each member not brought their distinctiveness to the album. From Paul Stanley’s soaring vocals to Gene Simmons’ commanding stage presence and heavy bass lines to Ace Frehley’s inventive guitar solos and Peter Criss’ powerful drumming, they crafted a raw, yet melodic, hard rock style that set them apart from their peers.

As it pertains to the lossless Apple Digital Master, available via Apple Music, it’s stunning with a bold presentation that will envelop and reward you no matter what volume you listen to the album at. Every musical element is clear and defined, yet the mastering is anything but fatiguing. There’s plenty of mid to low-end, that is in many ways a prerequisite to any hard rock album, but it isn’t overly boomy. The result is that the stream is most certainly worthy of consideration as one of the best-sounding versions of this self-titled debut for it not only sounds right, but it rocks.

Strutter opens the album with an upbeat swagger and attitude. Combining a catchy guitar riff, a confident vocal delivery by Paul Stanley, and a full-fleshed rock and roll rhythm, Strutter was the ideal song to launch the album on as it embodies the rebellious spirit of rock and roll.

Nothin' To Lose is an infectious rock tune that is both edgy and playful. However, it is far from the strongest song on this debut and other than the catchy chorus, I remain confused as to why Nothin’ To Lose was chosen as KISS’ first single as there are so many better choices such as Firehouse.

Firehouse, with its heavy mid-tempo groove and killer bass and guitar riff, is one of the very finest songs KISS ever recorded.

Cold Gin, with its riff-heavy structure and gritty lyrics, make it a quintessential KISS song and as with Firehouse would have been a far better lead single than Nothin’ To Lose. Granted, it is unlikely that these songs would have charted much better, given the era’s styling, but they’re more representative of KISS.

Let Me Know is a little more laid-back than most of the other songs from the album, and while it isn’t in tune with KISS’ hard rock styling, it’s a solid album-only rock number.

Kissin' Time, originally missing from the very first pressings of the album, was recorded and added post-release in an effort to increase the band’s exposure after the song was released as a single. Given I usually dislike changes to the original tracking of an album, particularly the inclusion of bonus tracks tacked onto the end of a record, it would be logical to suggest that Kissin' Time is out of place. However, having never heard the original sequencing, and not being willing to try (even via a streamed playlist), it’s fair to say that I’m set in my ways and Kissin' Time is official canon; from my perspective, at least. As a reworking of the 1959 original, by Bobby Rydell, it’s fantastic, but let’s all agree that it isn’t the strongest song, even if it aligns with the fun-loving persona that KISS would cultivate over the years.

Deuce is a hard rock anthem driven by a pounding rhythm and killer riff and is one of Gene Simmons’ greatest penned and sung songs. Additionally, the dual guitars of Frehley and Stanley give the song its punch, while Criss’s drumming provides a relentless backbone. Between the raw energy and attitude of this tune, it’s one of the best songs in KISS’ extensive catalogue.

Love Theme From Kiss is a killer instrumental that showcases the strength of the band’s musicianship. Granted, it’s unlikely that you’ll seek this song out on its own, but as part of the album’s structure, the laid-back groove and melodic approach offer a reflective respite from the lyrical delivery heard throughout.

100,000 Years is bass guitar heaven and is the driving force behind the song’s heavy groove. It’s also one of Criss’ best drumming performances, with some killer guitar work from Frehley, and while Stanley’s vocal performance is dynamic, it is far from his best. The result is that 100,000 Years is musically interesting but is ultimately more akin to a demo than a fully-fledged recording.

Black Diamond starts delicately, but as soon as Criss enters the mix, on vocals, the song explodes. Criss’ raspy, soulful voice, delivers the song’s emotive punch, while Frehley’s blistering guitar tracking, particularly his solo, rips through the track with ferocity. No matter which way you look at it Black Diamond is an epic closer; one that would ultimately become a fan favourite and one of the very best songs KISS ever recorded.

KISS’ self-titled debut album laid the groundwork for their eventual domination of the rock world and while it didn’t rise to the top of the charts, the album introduced their unmistakable sound—a blend of hard rock, glam, and raw energy. With numerous standout tracks, the album remains a fan favourite and an essential piece of the KISS catalogue. Showcasing the band’s early chemistry, musicianship, and commitment to theatrical, larger-than-life rock, this self-titled debut defined their career for decades to come and is a must for any hard rock fan.

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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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Bon Jovi – Bon Jovi (Self-Titled) [Album Review]

As far as debuts go, Bon Jovi’s Self-Titled 1984 release is astonishingly good with core musical aspects that were not only unique at the time but would become the band’s trademark as they traversed the musical landscape over the next four decades. However, longevity in this case wasn’t known upon the release of Bon Jovi but with the safety net of reflection, it’s easy to hear the origins of a band that would become loved by millions. Combining elements of hard rock, glam metal, and pop, Bon Jovi laid the foundation that would eventually lead them to global stardom.

Speaking of superstardom, Bon Jovi went on to sell more than two million units; a very respectable number for a debut. Most recently, the album has been reissued for the 40th Anniversary on Vinyl and Cassette, but in a strange dichotomy, the reissue remains absent from the humble CD. It’s a frustrating omission for those who are interested in the bonus material that the Deluxe Edition has to offer. Thankfully it is available via Apple Music et al and the Deluxe Edition can be purchased on the iTunes Store and the Qobuz Download store. However, it’s an oversight for physical media collectors. Additionally, this bonus content isn’t available via the Vinyl or Cassette releases; even as an included download. Making matters even more complex, Qobuz only offers the 18-track Deluxe Edition that doesn’t include the bonus music videos for Runaway and She Don’t Know Me. That additional content, however, appears to be an Apple Music/iTunes exclusive.

Despite the confusion, one thing is for certain and that is that Vinyl collectors will thoroughly appreciate the exceptional cover art for it didn’t only stand out on record store shelves at the time of release, but it will look incredible in any music collection as it's bold and demanding of one’s visual attention. While purists of the Vinyl format will suggest that the stream cannot compare to the Vinyl release, and I have no intention of suggesting otherwise, the Hi-Res Lossless Apple Music stream is spectacularly good, so much so that I don’t feel compelled to pick up the reissue. Yes, the stream is audibly compressed, and the volume has been boosted overall, but it works well for the style of music as it gives the album a bombastic feel, one that will grip your soul from the very first note to the last.

Additionally, while I was fortunate to have owned the Special Edition from 2010, I found it almost unbearable to listen to as it was mastered with nothing but loudness in mind. The Apple Digital Master, by comparison, is far smoother and more enjoyable to listen to. Yes, the stream is mastered loud, but not in an obnoxious way that will make you want to turn the volume down or stop playing the album. That all said, trust your ears, dear reader, and give the stream a listen as we take a look at the songs that make up this classic record.

Runaway is a high-energy number with infectious hooks, a memorable guitar solo, and Jon Bon Jovi’s highly compelling vocal delivery. There’s nothing to dislike here for out of all the songs featured on this debut release, Runaway is the one that became a runaway success (pun intended) and is the truest example of the sound that Bon Jovi would ultimately lean into as their career progressed.

Roulette combines a pulsating rhythm with driving guitar riffs as Richie Sambora’s guitar work and Tico Torres’ drumming stand out on this edgy number. While it may not be the first song that everyone thinks of when putting the album on, Roulette is an exceptional album-only tune and has another killer Sambora solo that, when combined with Jon’s vocal, makes this a hidden gem.

She Don't Know Me is a masterpiece. Seriously, this mid-tempo ballad is utterly superb and if you’re like me, you’ll turn the volume up and rock out, particularly during the bridge and chorus. Interestingly, it’s the only song that no member of Bon Jovi had a part in writing. Yet, it’s ideally suited to the band and was a perfect choice for the debut.

Shot Through The Heart is a powerful rock anthem featuring rhythmically charged riffs and a soaring chorus. Based on the lyrics alone, it would be easy to confuse the song with their later hit You Give Love A Bad Name, but the two songs couldn’t be more different. Still, Shot Through The Heart continues to showcase the origins of the powerhouse that Bon Jovi would ultimately become for this is another hidden gem in the band’s back catalogue.

Love Lies slows things down a little with this fantastic ballad. It serves as a great example of Jon Bon Jovi’s vocal presence and his ability to deliver a highly compelling chorus. Yes, had this been released a few years later, Love Lies would have been a chart-topper, but it’s songs such as this that make the album experience so rewarding for Bon Jovi is an incredible album, not because of one or two hits, but because of a series of incredible songs that were recorded and sequenced perfectly.

Breakout is 80s 101 with synthesised elements, a driving rhythm, and an anthemic chorus.

Burning For Love is a fast-paced rocker that’s, arguably, a little off-tempo as it pertains to Jon Bon Jovi’s vocal style. Don’t get me wrong, it’s a great tune, with a killer musical bed, and one that I thoroughly enjoy, but if I’m looking at this in contrast with the other songs on the album, and against the headlining music Bon Jovi has released over the years, I can honestly say that I’m glad they didn’t pursue this musical direction.

Come Back is a solid album-only number, but in much the same way as Burning For Love doesn’t quite suit Bon Jovi, Come Back doesn’t adequately represent the band's talent at the time.

Get Ready has an infectious energy that makes it an ideal closer; one that will compel you to play the album again. Despite not being a standout, the song’s upbeat nature ensures the album experience, as a whole, is memorable.

Bon Jovi’s debut is a testament to the band’s potential and raw talent as it presents a glimpse into the sonic signature that would make them one of the biggest rock bands in the world. With a mix of high-energy rockers and heartfelt ballads, Bon Jovi remains not only a significant and influential album in the band’s discography but is amongst the greatest records released in 1984.

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Mötley Crüe – Dr. Feelgood (Album Review)

Mötley Crüe's Dr. Feelgood, released in 1989, stands as one of the band's most iconic albums, and is, without a doubt, one of the greatest hard rock albums of the 80s. Produced by the legendary Bob Rock, this album showcases a polished and powerful sound that blends the band's raw energy with a refined production style. Dr. Feelgood not only achieved commercial success, reaching No. 1 on the Billboard 200 with sales exceeding 6 million units, but also cemented their status as rock and roll legends.

Part of the appeal is due to the incredible album artwork that looks magnificent on the larger vinyl canvas. Of course, in 1989, CDs and the Compact Cassette had overtaken the vinyl record in album sales, but the striking nature of the album’s cover would have most certainly stood out in record stores worldwide. While I’m fortunate to own the 2008 Eleven Seven/Mötley Records reissue (cat: ESM/MR 342), a sonic marvel of a reissue, the artwork reproduction is sadly lacklustre.

Unfortunately, there’s a mottling effect that appears throughout; likely a by-product of the original album artwork being scanned incorrectly. The inner-sleeve liner notes and lyrics are reproduced clearly but the inner-sleeve artwork also exhibits this mottling effect. While it isn’t a major issue, and one should be more concerned with the sonic reproduction of their records, it’s an element that collectors may wish to look out for, should they consider picking up this particular reissue.

Of course, regardless of cover art, an album is only as strong as its songs and in this regard, there isn’t a bad tune to be heard for Dr. Feelgood is all killer, no filler; one that plays like a greatest hits release rather than a studio album. As it pertains to the 2008 vinyl reissue, the record is flat with a relatively low noise floor that is only audible between tracks. The mastering of the record, however, is spectacular. While the original album was mastered by George Marino at Sterling Sound, this particular reissue was re-mastered by Kevin Gray at Acoustech.

While the average music lover may be unaware, these two mastering engineers are revered and are known for pumping out some of the very best-sounding records. As to why Dr. Feelgood was remastered in the first place, I’ve no idea, as I would assume the original mastering would have been superb. Nevertheless, if you’re after a warm, rich, analogue sound with an enveloping and rocking soundstage that offers clear separation between all musical elements, and bass that will penetrate your soul, you can’t go wrong with this particular release.

While the vinyl reissue is sonically impressive, the same cannot be said for the lossless Apple Music stream. By comparison, it sounds flat and lifeless with a shallower soundstage. Of course, you can’t easily take vinyl with you; unless you’re into creating needle drops, that is. As a result, I seldom listen to the stream for it simply doesn’t compare, but if you enjoy the Apple Music stream, may I suggest that you don’t compare editions for doing so will only bring about frustration and it really isn’t as bad as my comparison above makes it sound.   

T.n T. (Terror ‘n Tinseltown) is a great, to-the-point, starter track that is an ideal non-musical introduction for Dr. Feelgood.

Dr. Feelgood is a hard-hitting funk metal anthem, for the riff and rhythmic introduction is legendary; even if you’re new to the album and Mötley Crüe. Mick Mars’ sensational guitar riff, and performance throughout, is a highlight, but that could be said for the entire band as Dr. Feelgood is a textbook example of how to write, produce, record, and mix a killer rock and roll tune.

Slice Of Your Pie oozes with a bluesy groove and slows down the tempo of the album a little. It’s also great to hear a little Steven Tyler (of Aerosmith) in the song’s introduction, as well as on backing vocals, for his unmistakable vocal cues add to the overall appeal of the song. If nothing else, Slice Of Your Pie showcases the band's ability to blend different musical styles, combining their signature hard rock sound with a touch of blues-rock.

Additionally, if you’re a Beatles fan you may appreciate the closing elements that pay homage to I Want You (She’s So Heavy); one of their best songs from their legendary 1969 release, Abbey Road.

Rattlesnake Shake, with its swaggering rhythm and catchy chorus, delivers a high-energy rock and roll vibe that will see you toe-tapping and head-bopping from the very first note.

Kickstart My Heart is one of Mötley Crüe’s most well-known songs. The adrenaline-fuelled anthem, complete with rapid-fire guitar riffs and pulsating drums, creates a sense of urgency and excitement that will appeal to just about any music lover for it reaches into your soul and doesn’t let go.

Without You is a beautiful power ballad that showcases the band’s softer side without losing their edginess. The overall arrangement and layered production add a grandiose feel, but when you combine the emotional vocal delivery, and melodic nature of the song, particularly with regard to the guitar solo, it’s difficult to find fault in this classic tune.

Same Ol’ Situation (S.O.S) is an upbeat rocker featuring catchy hooks and a sing-along chorus. It successfully captures Mötley Crüe’s signature blend of glam metal and hard rock and quickly becomes one of the most enjoyable songs from the album.

Sticky Sweet brings back the bluesy rock vibe and Steven Tyler’s unique vocal backing. Interestingly, Bryan Adams is also credited for backing vocals, but his contribution gets lost in the mix. Nevertheless, between the playful lyrics and catchy rhythm, you really won’t have time to consider the individual guest vocalists on this infectious and memorable tune.

She Goes Down, with its raunchy lyrics and sleazy guitar riffs and overall rhythm, embodies the band's notorious wild side. It is, quintessentially, Mötley Crüe!

Don’t Go Away Mad (Just Go Away) features a mix of acoustic and electric guitars, creating a dynamic and engaging blues-based sound. While not a ballad, per se, the song’s catchy melody ensures that Don’t Go Away Mad (Just Go Away) is one of the album’s most memorable tracks.

Time For Change is not only epic, but it’s one of the greatest closers in all of recorded music history. Not only will it leave you in a reflective mood, but it will compel you to listen to the album again for Dr. Feelgood can seldom be listened to only once.

Dr. Feelgood is a testament to Mötley Crüe's ability to evolve while staying true to their roots. The album's diverse range of songs, from hard-hitting rock anthems to heartfelt ballads, showcases the band's versatility and enduring appeal. Add to that its polished production and memorable tunes and Dr. Feelgood becomes a defining album in Mötley Crüe's discography and a must own/listen for any hard rock fan.

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Faith No More – The Real Thing (Album Review)

It may not have been their first record, but The Real Thing, released in 1989, is Faith No More's breakthrough album and so happened to be the debut with their new lead vocalist, Mike Patton. With a blending of genres, including funk, metal, rap, and elements of progressive rock, The Real Thing is a groundbreaking release that has become not only a classic of the associated genres but is amongst the very best music released during the era.

While fans of Faith No More’s previous vocalist, Chuck Mosley, may lament the lineup change, it’s fair to say that Patton, much in the same way as Brian Johnson did with AC/DC, took on the role as new lead vocalist and not only paid respect to his predecessor but ensured that his unique styling melded perfectly with the band. Additionally, as solid as their earlier albums We Care A Lot and Introduce Yourself are, both pale in comparison to the higher production values, songwriting, and musical performance featured on The Real Thing; a release that would see Faith No More rise to the top of the charts for the first time in their career.

While the recording and mix of the album are excellent, the mastering of the lossless Apple Music stream is less than ideal. The soundstage is a little too boxed in, meaning that you’ll notice your speakers rather than them disappearing. There’s adequate separation between all elements, and the lead vocal does position itself perfectly atop and slightly in front of the musical bed. It just isn’t as immersive an experience as one would ideally like. If you have a manually adjustable equaliser, attached to your stereo, you’ll likely find it useful in extracting a sonic presentation that best suits your subjective tastes.

From Out Of Nowhere was the first single released from The Real Thing but it failed to set the charts on fire. It’s a great tune, and an incredible album opener, but it just doesn’t have the hook that Epic does. Nevertheless, its energetic driving rhythm makes it an ideal album opener.

Epic is funk metal gold. It is also one of Faith No More's most popular songs. Featuring a mix of rap verses, killer guitar riffs, and a memorable piano outro, along with Patton’s charismatic vocal, Epic is, for lack of a better term, EPIC!

Falling To Pieces is a bass guitarist's dream come true. That groove-filled introduction is exceptional and doesn’t stop there for the catchy hooks, playful vocal delivery, and overall tight performance ensure Falling To Pieces is another standout.

Surprise! You're Dead! limits the funk and is straight-up thrash metal. It’s raw and relentless with an aggressive vocal and rapid-fire guitar riff that is worthy of comparison with any other thrash metal release of the era. While it’s a great little tune, and showcases Faith No More’s diversity, I must admit that I prefer their funkier and more easily accessible tunes.

Zombie Eaters opens with a gentle acoustic guitar and soft vocal approach before quickly evolving into a powerful and dynamic track. The alternating between mellow verses and explosive choruses is intriguing for it shouldn’t work. Yet, the band had the talent to not only pull it off but to blend the contrasting elements perfectly. While it isn’t one of their most well-known songs, Zombie Eaters is a hidden gem.

The Real Thing has a sprawling expansive structure with an epic eight-minute runtime. In classic Faith No More style, The Real Thing is so carefully crafted that you’ll be captivated from the very first note to the last, even if the outro is unnecessary.

Underwater Love returns the album to its funkier vibe with a laid-back groove, killer bass track, and smooth vocal presentation. While Underwater Love was never destined for anything greater than being an album-only tune, it’s songs such as this that make The Real Thing one of the best albums released in 1989.

The Morning After is another tune that shows off Bill Gould’s incredible skill on the bass. In many respects, his bass tracking is the backbone for the entire song and makes for a memorable hook and the skeleton on which the song's dynamic arrangement rests.

Woodpecker From Mars truly showcases the band’s musical prowess for the intricate guitar riffs, dynamic drumming, and atmospheric keyboards come alive sans a lyrical component. It’s fair to suggest that vocals can, at times, overshadow the musical genius of the band, but Faith No More has proven that in the absence of vocals, a different kind of intensity is possible; one that tells a story of the Woodpecker From Mars through our emotional response to the music.

War Pigs is a Black Sabbath cover and stays true to the original whilst simultaneously adding their own unique touch to this classic tune.

Edge Of The World closes the album with a jazzy, lounge-inspired track, that further showcases Patton’s vocal versatility as well as the band’s talent and ability to not limit themselves to specific styles and genres. Yes, the song's smooth piano, laid-back rhythm, and crooning vocals provide a surprising conclusion to the album, but it’s delightful and is most certainly in the key of Faith No More.

No matter which way you look at it, The Real Thing was a groundbreaking album that solidified Faith No More's place in the alternative, rap, and funk metal scenes. Its seamless fusion of genres, innovative songwriting, and charismatic performances make it a timeless classic. Mike Patton's debut as the lead vocalist brought a new dynamic to the band's sound, and the album's diverse range of tracks ensures there's something for everyone. Whether you're a fan of metal, funk, rap, or hard rock in general, The Real Thing has it all, making it an essential listen for any music enthusiast.

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