Laura Branigan – Hold Me (Album Review)

Released in 1985, Laura Branigan’s Hold Me showcases her commanding vocal and ability to navigate genres ranging from power ballads to upbeat dance numbers. The album builds on her signature style while incorporating more synthesisers and polished pop production, reflecting mid-80s trends. While some tracks revisit her established themes of love and empowerment, others venture into new territory, offering a dynamic listening experience; one that far surpasses the quizzical album artwork.

In reality, Hold Me should be a perfect candidate for inclusion on The Worst (And Most Disturbing) Album Covers Of All Time list, but it’s indicative of the era and isn’t nearly as bad as many other albums included on that list. While it’s true that you shouldn’t judge an album by its cover, the album’s artwork would have deterred many, despite the music, contained within, being extraordinarily good.

Visuals aside, the sonic presentation of Hold Me is bold and dynamic, even when delivered as a CD-quality Lossless stream on Apple Music. To my knowledge, the album has never been remastered so we can assume the stream is representative of how the original CD would have sounded. Yes, modern listeners may need to learn where the volume button is, unless they adopt the Sound Check setting, to get this record to really sing, but there’s plenty of headroom available and it’s recorded, mixed, and mastered so well that you’ll be able to appreciate it at any volume level. Add to that a wide and enveloping soundstage and what you’re left with is a thoroughly enjoyable 80s pop era recording.

Hold Me is an ideal album opener and sets the tone for the entire record with its pulsating synths and urgent rhythm. Branigan’s powerhouse vocals drive the track forward, but it’s the catchy and emotive chorus that, despite not being easy to sing along to, acts as the perfect connective tissue for this exceptional 80s dance-pop number.

Maybe Tonight is a mid-tempo pop track with multilayered musical elements and harmonies that perfectly complement Branigan’s stunning vocal delivery. While not necessarily a standout, Maybe Tonight is a song that makes this album a top-tier experience, for there isn’t a dull moment to be heard throughout the entire record.

Foolish Lullaby is a lovely ballad, with a unique instrumental arrangement, that showcases Branigan’s beautiful vocal range and ability to convey deep emotion through song. The minimal arrangement further validates that aspect as it allows her tender performance to take centre stage and the result is that Foolish Lullaby will stay with you well after the album has concluded; it’s that good!

Spanish Eddie picks up the tempo and will see you on your feet dancing along. The energetic production, with its driving beat and vibrant melodies, ensures it’s one of the album’s most memorable tunes.

Forever Young is a sensational song and Branigan does Alphaville’s original justice. Her delivery is heartfelt and majestic, emphasising the song’s themes of timelessness and longing. More importantly, however, the transformation from a focused synth-pop anthem, to Branigan’s ballad style, works remarkably well and offers fans of the song another perspective of this classic 80s tune.

When I'm With You is a synth-pop rock masterpiece. The shimmering production style flows seamlessly throughout the song and you’ll find yourself turning the volume up for this is one song that should be listened to at ear-bleeding levels.

I Found Someone is an incredible song that was co-written by Michael Bolton and Mark Mangold. As stunning as this recording is, however, it is Cher’s, from her 1987 self-titled release, that is the one that received not only more radio airtime but is most likely the version that you’d be familiar with, especially if you’ve been unaware of Hold Me and this particular interpretation.

Sanctuary is a hidden gem and a killer 80s pop-rock album-only tune. While everyone loves the hits, and few seek out album experiences, it’s songs such as this that are essential for music lovers to find because an incredible tune may never make it to radio, a compilation, or a modern-day playlist.

Tenderness is a lush album-only song that is another jewel from Branigan as the mid-tempo styling, nuanced vocal performance, and textured instrumentation make it a memorable addition to the album.

When The Heat Hits The Streets is an ideal closing tune for the bouncy, upbeat, funk-infused styling compels you to play the record again as Hold Me can seldom be listened to once.

Ultimately, Hold Me captured Branigan at a pivotal moment in her career, balancing the power pop that made her famous with 80s pop and dance stylings that culminated in an exceptional album and is a testament to her artistry and versatility. While the album’s artwork will always raise eyebrows, this is one record that should not be overlooked, for that aspect alone, as doing so would be shortsighted for any fan of 80s music.

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

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

Neil Diamond – Serenade (Album Review)

Serenade is unlikely to be the first album you think of when you consider Neil Diamond’s illustrious career, yet to dismiss Serenade would be a great disservice to one’s musical journey for it’s a hidden gem and one of his most enjoyable records; once you give it a few listens, of course.

Yes, the lack of immediacy in appreciating this release is of concern, but every album need not talk to you the first time you listen to it for it to be an exceptional release and, in this case, Serenade will serenade you, if you give it a chance. As to how many times you’ll need to listen to this 1974 release, in order to appreciate it fully, is highly subjective, but I’d suggest a few play-throughs will give you a good sense of the flow of the album; a record that is knocking on the door of an EP’s length with a runtime only barely exceeding half an hour.

Of course, good music need not be dictated by an album’s runtime, for the CD era proved how detrimental filler material can be to an album’s success, longevity, and reverence. With that in mind, the eight songs on Serenade are masterfully produced with an exceptional mix that is thoroughly engaging and indicative of the high-quality standards most often associated with Neil Diamond. Vibrantly showcasing his ability to blend storytelling and heartfelt melodies, Serenade is a highly polished record, with lush arrangements, that are complemented by Diamond’s deep and evocative vocals, thereby creating an intimate, yet expansive, listening experience.

While my only exposure to this album has been via the Hi-Res Lossless Apple Music stream, the Apple Digital Master is derived from the most recent remastering of the album, from 2014, and while I can’t speak for anyone else, I feel these remastered editions, from Diamond’s back catalogue, sound simply magnificent. You’ll experience a full-bodied sound with an enveloping soundstage and enough clarity between all musical elements that allow each musical contribution room to breathe. It really is a beautiful mastering; one that allows the recording and mix to fully shine so that music lovers, such as ourselves, can simply sit back and enjoy the songs that make up this classic release.

I've Been This Way Before is a beautiful opening ballad. As the song builds slowly, with Diamond’s vocals front and centre, the warm orchestral backing crescendos into a powerful conclusion; one that is perfectly suited to Diamond’s overall style and offers the listener a musical journey that is thoroughly enjoyable.

Rosemary's Wine picks up the tempo a little with a melody and delicate acoustic instrumentation that will likely remind you of any number of singer-songwriter folk-based tunes. The simple arrangement allows Diamond’s vocals to shine but as lovely as the song is, I feel it is too short and should have had an additional verse and chorus for by the time it comes to an end, I find myself wanting more.

Lady Magdalene, by comparison, is the longest track on the album and worthy of every second, for it’s a sprawling song, with an almost hypnotic meditative quality, that is somewhat of a hidden gem in Diamond’s extensive back catalogue. Again, sticking with a minimalistic musical accompaniment, the song gradually swells into a grander arrangement that will appeal to just about any music lover, not just Neil Diamond fans. Lady Magdalene is, subsequently, one of Diamond’s greatest performances and one that casual fans, had they not heard this album, would have sadly overlooked.

The Last Picasso is a mid-tempo number that offers a delightful contrast to the tunes that have come before it. Showcasing Diamond’s playful style, this jazz-focused arrangement is a masterpiece and sonic pleasure that exudes sophistication, thereby making it a refreshing interlude.

Longfellow Serenade is one of Diamond’s more well-known tunes from Serenade as it topped the charts upon release as the album’s lead single. As you listen, you’ll find yourself toe-tapping and head-bopping along to the addictively good rhythm. Be prepared, however, for Longfellow Serenade is also an irresistible earworm; one that will stay with you until you play the song again.

Yes I Will is a stunningly beautiful tune. It is Neil Diamond at his very best and is another hidden gem.

Reggae Strut adds a touch of Caribbean flair that adds a lighthearted vibe to the album. However, despite the infectiously fun groove, it does feel a little out-of-place when compared directly to the tonality of the former tracks.

The Gift Of Song is a perfect closer; one that also compels me to listen to the album again for Serenade can seldom be listened to once. As has been the case throughout the entire album, the understated arrangement, primarily comprised of piano and strings, ensures that Diamond’s sensational vocals are paramount within the mix. It, really, is a gift to music lovers the world over.

Serenade is a masterful collection of songs that highlights Diamond’s versatility as a songwriter and performer. The album’s balance of introspective ballads, playful diversions, and lush orchestration creates a cohesive yet dynamic listening experience; one that stands as a timeless testament to this master singer-songwriter and is a must-listen for dedicated and casual fans alike.

Check out more reviews for Neil Diamond by Subjective Sounds

Bee Gees – Mr. Natural (Album Review)

When you think of the Bee Gees, Mr. Natural is likely not an album that instantly comes to mind. Still, the more you listen to this classic release, the more you realise that it’s one of the greatest hidden gems in not only the Bee Gees’ illustrious career but in all of recorded music history.

Released in 1974, Mr. Natural marks a transitional period in the group’s evolution, as they began exploring a more contemporary soulful sound that incorporated elements of rhythm and blues, funk, and rock. Interestingly, it’s not entirely representative of their earlier works nor the disco-driven vibe that would catapult them to superstardom and define an era. Mr. Natural sits precariously in between their old and new styles, yet there is connective tissue to be heard throughout and it’s thoroughly enjoyable and perfectly suited to the trio.

While Mr Natural didn’t achieve commercial success, it remains a pivotal album in the Bee Gees’ discography and demonstrates their willingness to experiment with new directions; an essential aspect should the world of music long to hear sensational disco-driven releases such as Main Course and Spirits Having Flown.   

As we’ll come to see, as we peruse the songs that make up this hidden gem, the music is but one part of the album experience for the album artwork, much like the music, grows on you the more you look at it. Initially, it appears a little drab and uninspiring, but it melds perfectly with the chosen selection of songs and adds to the overall album experience.

Of course, the greatest album artwork would be for nil if the music contained within was lacklustre and while it is anything but, the lossless CD-quality Apple Music stream also sounds exquisite. There are no glaring omissions to concern ourselves with and you’ll find a soundstage that is wide and enveloping, with enough space between each musical element, allowing every aspect of the recording to shine. While mastering is essential, and in this case, it is ideal, when music is recorded and mixed this well, then the only thing left to do is to grab a coffee, sit back, and enjoy.

Charade isn’t an ideal opener, despite being a lovely ballad. The problem is it lacks a hook, one that will draw you into the music and the album itself. It isn’t, however, until you play the album multiple times that you start to appreciate Charade for its gentle yet melancholic melody that evokes some of the Bee Gees’ earlier 60s-styled recordings.

Throw A Penny introduces a more contemporary, soft rock-influenced sound, building momentum with its smooth groove and layered production. I can’t help but wonder if Throw A Penny would not have been a better opening. Nevertheless, it’s an exceptional song and the shift between the slower delicate verses, and the slightly more upbeat chorus that blends elements of R&B and Soul, is simply exquisite.

Down The Road flows seamlessly from Throw A Penny yet smoothly transitions the mood to that consisting of a bluesy, rock-and-roll vibe. Add to that the carefree swaggering groove, with a lively beat, and you’ve got yet another exceptional hidden gem from the Bee Gees.

Voices shifts the tone with its eerie slow-burning arrangement that makes me immediately think of songs such as Massachussetts and New York Mining Disaster 1941. To say that Voices is a masterpiece would be a just statement for it’s a magical song.

Give A Hand Take A Hand is an uplifting soulful ballad and while the Bee Gees’ vocal prowess is not a point of contention, the vocal skill heard here is second-to-none as Barry Gibb has rarely sounded better. Subsequently, this vocal-driven number is a standout from Mr. Natural and another of those hidden gems that really need to be appreciated for the hits are one thing, but Give A Hand Take A Hand is musical gold.

Dogs will captivate you with its fluid melody, particularly throughout the verses and chorus. Additionally, that mid-tempo shift in the bridge is pure genius. Not to sound like a broken record, but given Mr. Natural was all but ignored when released, it’s songs such as Dogs that need to be shared with fellow music lovers for casual fans of the Bee Gees have no idea of the exceptional music they’re missing out on.

Mr. Natural was an interesting choice as the title track as it’s a solid song with an infectious groove and funky bassline, but it’s most certainly an album-only tune, despite being released as the album’s first single. It just doesn’t hold one’s attention as much as many of the other songs on the album do.

Lost In Your Love slows the tempo down again with this delicate ballad, offering a tender moment. The arrangement is sparse, allowing Barry’s magnificent vocals to take the spotlight, thereby ensuring that Lost In Your Love is another memorable experience.

I Can't Let You Go has a killer riff, as the song brings an upbeat rock-oriented style to the record; one that melds perfectly with the Bee Gees’ overall style and harkens back to their origins.

Heavy Breathing continues the upbeat nature with this jazzy groove-focused tune that is perfectly suited to the era. If you’re not toe-tapping and head-bopping to this number, you’re listening wrong for its rhythmic gold with some exceptional musicality, particularly from the brass section to the ripper guitar licks. The bottom line is that Heavy Breathing is one Bee Gees song that should not be overlooked.

Had A Lot Of Love Last Night is, arguably, the greatest closer, from any album, in the history of recorded music. Not only is it uplifting, but it’s reflective, as well as encouraging the listener to play the album again. It also happens to be the most beautiful song that the Bee Gees has ever recorded that almost no one has ever heard. Had A Lot Of Love Last Night is so beautiful that I’d even argue that it’s the best song the band ever recorded; it’s that impressive!

In conclusion, Mr. Natural was a crucial, though often overlooked, album in the Bee Gees’ discography. It marked a period of experimentation and transition, as the group adapted their sound in preparation for their later success in the disco era. The album’s blend of soulful ballads, rock, and subtle R&B influences helped set the stage for what was to come, and it remains a thoroughly pleasing listen for those curious about the Bee Gees’ musical journey, beyond their chart-topping hits.

Check out more Bee Gees reviews by Subjective Sounds

ABBA – Waterloo (Album Review)

Released in 1974, Waterloo, ABBA’s second studio album, catapulted the Swedish quartet to international stardom. While the album owes its iconic status largely to its Eurovision-winning title track, Waterloo, the record as a whole offers a diverse mix of catchy melodies, heartfelt ballads, and playful storytelling that showcases ABBA's early range and charisma.

A somewhat confusing aspect, however, is the different linear structure of the album with few international releases retaining the original tracking of the Swedish release, where the Swedish version of Waterloo opens the album and the English rendition is the closer. While it could be argued as to which version is preferred, not to mention the further shifts with bonus material on the Deluxe Edition and Bonus Track Edition, I’ve chosen to share the album via the original tracking of the vinyl release as this has always been my preferred structure and is true to the original intent. It also replicates the 2020 vinyl reissue from The Studio Albums that I’m fortunate to own.

Speaking of the vinyl reissue, it is amongst the best-sounding reproductions that I’ve heard, thus far, of this classic album. Granted, I haven’t heard every release but the reproduction is subjectively perfect with a bold, yet enveloping, soundstage that will capture your attention from the very first note to the last. Of course, the question that must be asked is what my thoughts are regarding the Apple Music stream, a lossless Apple Digital Master. Let’s just say that it is the digital counterpart to the vinyl reissue and that unless you’re dedicated to the needle drop process, for digitising your records, you’ll be utterly thrilled with this digital edition for it offers everything the vinyl reissue does, minus the tactile aspect and the slightly more rounded (think warmer) tonality that is commonly associated with vinyl releases. The result is that no matter which of these two versions you choose to listen to, you’ll find yourself thoroughly captivated. I would, however, keep my distance from the Deluxe Edition; unless you wish to attain the additional songs and updated album artwork it offers, that is. My reasoning for this suggestion is that I find it too shrill and fatiguing to listen to. The chosen mastering doesn’t encourage the music lover to turn the volume up and each time I listen to it I find myself wanting to turn the volume down. Naturally, your experience may differ, but let’s turn our attention to the songs that make up this historic release.

Waterloo (Swedish Version) is an upbeat and infectious pop anthem that blends rock and glam elements with ABBA’s signature harmonies. While presented here in ABBA’s native Swedish language, it’s so compelling that it really doesn’t matter which version you appreciate more for the Swedish Version is the ideal opener to this classic album.

Sitting In The Palmtree has a tropical flair and carefree vibe. Its quirky charm makes it a hidden gem, but it’s also quintessentially ABBA as their lighthearted musical style shines throughout.

King Kong Song continues the playfulness with this irresistible rock number. Blending a mix of hard rock guitar riffs, eccentric vocals, and an overall upbeat styling, King Kong Song isn’t merely a novelty track but one that is ideally positioned in the era while keeping the core of ABBA’s pop sensibilities intact.

Hasta Mañana offers a more mellow moment with Agnetha on lead vocals, delivering a tender ballad that is one of ABBA’s greatest tunes and one that many casual fans have likely never heard.

My Mama Said is another exceptional tune that hasn’t received the recognition it deserves for the funk-driven number, shifting vocal style, and the overall mix gives the song a sense of maturity and introspection showcasing ABBA in a different light to their more lighthearted tunes.

Dance (While The Music Still Goes On) is a strong contender for ABBA’s first true foray into a dancefloor-focused song. Featuring a captivating melody and lush harmonies, Dance (While The Music Still Goes On) is thoroughly enjoyable; even if it isn’t a standout from the album. Of course, for an album to be exceptional, all songs need not be a hit, for it is the combination of all elements that ensures an album is a worthwhile experience.

Honey, Honey is a sweet and flirtatious pop song that blends ABBA’s knack for catchy hooks with lighthearted lyrics. With its infectious rhythm, sparkling melodies, and sing-along chorus, there’s little doubt as to why this track became a fan favourite as it captures the essence of ABBA’s early style.

Watch Out sees ABBA venture into rock territory once again, this time with a hard-edged song featuring Björn on lead vocals. While not known for their rock songs, ABBA has always impressed when edging towards this styling for the aggressive guitar riffs and energetic pace contrasts nicely against the pop sheen of other songs from the album.

What About Livingstone? returns the album to a whimsical style with this upbeat number. Featuring a light, bouncy rhythm, What About Livingstone? gives music lovers more of the styling that would ultimately make ABBA a household name. No matter how many of us appreciated their more polished numbers, there’s something extremely compelling about these playful kinds of tunes as they make you smile each time they’re played.

Gonna Sing You My Love Song is one of the more tender and soulful tracks on Waterloo. While it may be lacking the immediate hook of some of the album’s other songs, it stands apart for its emotional resonance and is another of ABBA’s hidden gems. Of course, when an artist such as ABBA has such an incredible back catalogue of music, some tunes are destined to be overlooked, but Gonna Sing You My Love Song shouldn’t be one of them for it is one of ABBA’s greatest recordings.

Suzy-Hang-Around is another of ABBA’s lighthearted numbers to feature a gentle melody and subtle arrangement. It’s most certainly an album-only tune, but as mentioned earlier, an album experience is the sum of all its parts, not just a couple of hit songs.

Waterloo (English Version) is the ideal bookend closer to the album as it encourages me to play the record again as Waterloo is one album that can be seldom listened to once.

ABBA’s Waterloo was a pivotal album in their career, showcasing the band’s diverse musical abilities and their growing confidence as performers and songwriters. With a mix of jubilant anthems, tender ballads, and experimental rock numbers, the album laid the foundation for ABBA’s future success. Yes, Waterloo will forever be linked to their Eurovision triumph, but the album contains hidden gems that highlight ABBA’s evolution from a regional pop act to international superstars. The bottom line is that Waterloo is a fun, vibrant, and eclectic record that has stood the test of time.

Check out more ABBA reviews by Subjective Sounds

Julio Iglesias – 1100 Bel Air Place (Album Review)

Released in 1984, Julio Iglesias’ 1100 Bel Air Place marked a significant milestone in his career and established him as a global pop icon. Showcasing his signature romanticism, primarily from an English-language perspective, 1100 Bel Air Place became a worldwide phenomenon selling over 9 million copies.

Featuring collaborations with prominent artists of the time added to the crossover appeal. However, when an album is recorded and mixed this well, success is most certainly the culmination of all elements. That said, the mastering, of different versions, is a point of contention for the Apple Digital Master is a little smoother and more laid back. At the same time, the 2006 CD remaster is louder and more forward, offering fans a more lively presentation. There is no doubt that fans will be divided over the editions, especially considering one version is not categorically better than the other.

If I were forced to choose one of the aforementioned versions, it would be the CD remaster as the Apple Digital Master can sound a little too concealed, in places, as a result of mastering decisions. Naturally, the core performance remains, regardless of how you choose to listen to the album, and perhaps this is why Sony Music has decided to keep various editions on Apple Music so that listeners can decide for themselves. Nevertheless, by utilising tone controls, the remaster can be dialled in extremely closely to the sonic presentation of the Apple Digital Master. Hence, it is really up to you as to which version you prefer.

While I can appreciate both masterings, I do wish that each album would have a definitive master as I find comparisons to be frustrating and fatiguing, thereby taking away from the magic of the music itself. With that in mind, dear reader, I am going to share the 2006 remaster with you, but know that either version is readily available on Apple Music if you search for the album.

All Of You (with Diana Ross) is a beautiful opening track that sets the tone for the music that’s about to come. While I’m not in awe with the introduction, particularly Ross’ ad-lib vocal, as the song proceeds through the verses and then to the chorus it comes into its own and is simply magnificent with an enchanting melody and lush orchestration that perfectly complements the vocal styles. All Of You was also, strategically, included on Ross’ 1984 release, Swept Away; a perfect collaboration technique as it allowed fans of each artist to experience the duet without having to purchase an album they may not have been enamoured with.

Two Lovers is one of Iglesias’ most heartfelt performances. The slow build is utterly exceptional and the soft rock feel blends perfectly with Iglesias’ usual balladry to create an extremely compelling tune. While Two Lovers wasn’t released as a single, it should have been for I believe it would have topped the charts worldwide.

Bambou Medley introduces a tropical flair to the album that showcases Iglesias’ multilingual abilities. While this medley brings a light-hearted, fun moment to the album, offering a change of pace from the more emotionally intense tracks, it isn’t a style that I believe encompasses Iglesias’ musical talents.

The Air That I Breathe (with The Beach Boys) is a cover of Albert Hammond’s 1973 masterpiece, but it’s most likely that The Hollies' exceptional 1974 release is the one that many music lovers will remember. Regardless, this classic tune has been covered by some of the greatest musicians the world has ever known and this rendition by Iglesias and The Beach Boys doesn’t disappoint. They not only paid homage to the original but ensured this newer composition was memorable. As you listen to Iglesias’ heartfelt rendition, the nuanced delivery of his lead vocal will touch your soul. Add to that the appealing harmony delivered by The Beach Boys and you’ve got a lush and dramatic rendition of a classic tune that will remain in your thoughts long after the album has finished playing.

The Last Time is a lovely smooth mid-tempo pop tune with a slight jazz influence. Iglesias’ vocal delivery is calm and restrained, bringing an air of wistfulness to the track, but it’s the combination of all elements that makes The Last Time one of the most stunning songs from the record.

Moonlight Lady injects a Latin flair into the album with its rhythmically vibrant melodies. The infectious groove makes it difficult to sit still and you’ll find yourself toe-tapping and head-bopping along to this most beautiful tune that draws inspiration from Iglesias’ Spanish roots.

When I Fall In Love (with Stan Getz) was a perfect choice for this landmark record as the legacy of this song is nothing short of astounding. This interpretation retains the song’s timeless appeal, with Iglesias adding a level of warmth and sincerity that makes his rendition unique. Add to that Getz’s magnificent performance and you’re left with one of the most pleasant songs ever recorded.

Me Va, Me Va is another song that sees Iglesias return to his Latin origins as this lively upbeat number has an infectious energy that will see you on your feet dancing along to the addictive rhythm. It’s thoroughly enjoyable, and perfectly positioned within the tracking of the album, as it gives a brief burst of excitement and is the quintessential album-only tune.

If (E Poi) is a bilingual track, blending English and Italian, but wasn’t originally intended to be when written by singer-songwriter David Gates and made famous by Bread. Nevertheless, If (E Poi) is a lovely ballad with a tender melody that works perfectly with Iglesias’ vocal style. The language switches are done so seamlessly, that you likely won’t notice, but it adds depth and elegance to the song. Granted, it might irritate those of you who appreciate the human vocal for its literal interpretation, but for those of us who consider the vocal to be akin to another instrument in the mix, this interpretation is simply magnificent.

To All The Girls I've Loved Before (with Willie Nelson) is a cover of the Albert Hammond classic. As lovely as the original was, Iglesias and Nelson took the song and made it their own. The result of this collaboration was a chart-topping hit across the globe and it’s fair to say that it’s the best rendition, to date, of this exceptional song.

Bonus Track

I Don’t Want To Wake You is frustrating as the album’s original linear structure was flawless. Nevertheless, I Don’t Want To Wake You is a lovely tune, even if it doesn’t add anything to an otherwise perfect album. While bonus material encourages people to purchase reissues, and I can appreciate the appeal from both the artist/label and fan perspectives, I do wish they’d come on a separate disc or be released in a separate compilation for my aim is to always appreciate the album in its original linear structure. That said, I Don’t Want To Wake You closes the 2006 remaster nicely and compels me to play the album again.

There is no doubt that 1100 Bel Air Place was a pivotal album in Julio Iglesias’ career, cementing his status as a global star. It was, however, the blending of pop ballads, Latin influences, and collaborations with iconic artists such as Diana Ross and Willie Nelson that gave the album its broad appeal. As it pertains to 1984, it is one of the very best albums released, but it’s also a highlight of the 80s as a whole and is one of the most beautiful records released in all of music history.

Check out more reviews by Subjective Sounds