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

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

Bob Dylan – Empire Burlesque (Album Review)

Released in 1985, Bob Dylan’s Empire Burlesque is a fascinating entry in Dylan’s celebrated and extensive discography, yet it, much like Street-Legal and Slow Train Coming has its detractors; especially those who favour Dylan’s early to mid-70s output. While not quite the album that Oh Mercy would become four years later, Empire Burlesque showcases Dylan’s eagerness to experiment with evolving contemporary production styles. Produced by Dylan himself, the album features a polished, modern sound with an unmistakable 80s sheen; one that isn’t, however, dated to the era.

While the music may not be dated, the album artwork most certainly is. Granted, it isn’t as kitch as some of the other albums, from the 80s, but it’s unlikely that you’ll display this album artwork with pride. Of course, if you’re like me, you may not have had the privilege to have attained this classic release on the larger vinyl canvas and while it would be lovely to acquire a copy, the Lossless Apple Music Stream, a CD-quality counterpart, is mastered respectfully; with one notable caveat. Following the album’s opening track, there’s a considerable sonic shift when Seeing The Real You At Last comes into play and this change, subsequently, is less treble-focused and, therefore, more concealed than the album’s opener. It isn’t necessarily detrimental, but it’s an aspect that may irritate some as album experiences are generally more uniform in their production styles.

Tight Connection To My Heart (Has Anyone Seen My Love?) opens the album with a catchy melody and glossy production that is perfectly suited to the era; even if it’s slightly different to Dylan’s traditional trademark style. Nevertheless, the polished arrangement, backing vocals, and overall musicality of the song make it a memorable opener.

Seeing The Real You At Last is a solid rock-driven number but as alluded to before, the sonic shift when listening to the album's sequencing is interesting as one would assume a bold and rocking sound to emanate from one’s speakers. It’s as if the song has been reduced by several decibels, but has also been muddied as it pertains to the mix. It doesn’t diminish the song, a killer rock number in its own right, but the shift may irk those of us who listen to albums in their intended sequencing, rather than random songs or playlists. That all said, Seeing The Real You At Last balances raw energy with the era’s typical propulsion of sharp guitar riffs and a driving rhythm. The result is that Seeing The Real You At Last is one of the best songs from Empire Burlesque.

I'll Remember You is a beautifully tender ballad that showcases Dylan’s ability to convey deep emotion through lyrics. Add to that the gentle arrangement, featuring understated instrumentation, that highlights Dylan’s vocals, and what you’ve got is one of the greatest ballads Dylan ever recorded.

Clean Cut Kid has a killer rhythm with a brisk tempo that’s addictively good. As usual, Dylan’s biting sarcasm and criticism of modern life come through loud and clear for this satirical number contrasts perfectly with the blues rock edge heard throughout.

Never Gonna Be The Same Again is a smooth, mid-tempo number that maintains the album’s polished production with backing vocals that add to the song’s lush texture. Interestingly, when you listen to Never Gonna Be The Same Again, the lyrical delivery from the backing vocalists is somewhat offset to Dylan’s vocal delivery and while that would normally take away from the song itself, it works perfectly and the combination makes it one of the best tunes from the record.

Trust Yourself is a motivating and empowering anthem of self-reliance. The track’s dynamic instrumentation, with its jangly guitars and keyboards, adds depth without overshadowing Dylan’s lyrics thereby making it ideal for both those who appreciate music from a purely musical perspective, as well as those who listen for literal interpretation. Ultimately, Trust Yourself is a standout and is one of Dylan’s greatest recordings.

Emotionally Yours is a masterful tune, for this soulful ballad, with its beautiful arrangement, complements Dylan’s tender and delicate vocal style. It’s so impressive that I’d place it amongst Dylan’s greatest ballads and it would be fair to say that it could very well be the most remarkable ballad he’s ever recorded.

When The Night Comes Falling From The Sky is Dylan meets rock with a touch of dance. Yes, Dylan purists will likely dislike the slick production, and while it’s far from his greatest tune, it works exceedingly well for not only Dylan’s overall style but within the context and the flow of Empire Burlesque.

Something's Burning, Baby is driven by an ominous melody that works well with Dylan’s vocal delivery. The sparse yet atmospheric arrangement enhances the song, but it’s the culmination of all musical elements that set this song apart from the rest of the tunes on the record.

Dark Eyes closes the album on a stark and poetic note. It’s this kind of stripped-down simplicity that truly highlights Dylan’s exceptional vocal skill for his folk origins shine through and allows a level of intimacy that simply isn’t present throughout the rest of the record. Dark Eyes is, subsequently, a quintessential closing track as it allows time for reflection whilst also encouraging the listener to play the record again.

Overall, Empire Burlesque captures Dylan at a crossroads, blending his timeless songwriting with the contemporary production trends of the 1980s. While some fans may be critical of this further shift within Dylan’s legacy, the album offers a compelling mix of heartfelt ballads, biting social commentary, and his trademark poetic musings. Empire Burlesque is, subsequently, a compelling chapter in Dylan’s discography for it offers a unique blend of old and new and is subsequently one of his best albums from the 80s and one of the greatest albums released in 1985.

Check out more Bob Dylan reviews by Subjective Sounds

Black Flag – Loose Nut (Album Review)

Upon its release in 1985, Black Flag’s Loose Nut showed the band had evolved from their hardcore punk roots into a band that simultaneously experimented with sludge metal and alternative rock. This progression, blending aggressive energy with darker, slower tempos, and more introspective lyrics, proved to be as compelling as anything that came before for Loose Nut is a record that, despite being divisive amongst fans, is a captivating release that shows Black Flag’s willingness to evolve and push their musical boundaries.

Featuring Henry Rollins on vocals, Greg Ginn on guitar, Kira Roessler on bass, and Bill Stevenson on drums, Loose Nut is a polarising record that some will hail as an underrated gem, while others will lament the departure from their earlier sound. For this music lover, I consider Loose Nut the former and a true masterpiece as well as their strongest release.

Part of the appeal is the incredible album artwork. While Punk Rock is often associated with being a little rough around the edges, and their other album covers reflect this, with the slight shift in styling and somewhat higher production values, the Loose Nut artwork is utterly perfect and offers listeners the perfect visual accompaniment.

Sonically, Loose Nut is superb. The band’s rawness is still present and, despite a stylistic muddy approach, the mix is magnificent as every musical element can be heard clearly while ensuring the attitude-focused delivery remains front and centre. While not an Apple Digital Master, the CD-quality Lossless Apple Music stream is warm and enveloping as the mastering has been done so well you’ll feel compelled to turn the volume up for Loose Nut deserves to be heard at ear-bleeding volumes. That said, it remains thoroughly pleasing at lower volume levels as well; an indication of a well-recorded, mixed, and mastered record.

Loose Nut kicks off the album with a heavy riff that straddles punk and metal. Rollins’ snarling delivery exudes frustration while the overall styling of the song sets the brooding tone for the album, encapsulating the shift towards a darker, and more melody-focused, styling than Black Flag had been previously known for.

Bastard In Love is a toe-tapping head-bopper with an incredibly appealing melodic musical styling. However, it is Rollins’ vocal delivery that is a standout and amongst the very best of his career, for his trademark rawness and intensity are maintained throughout.

Annihilate This Week is frenetic and harks back to Black Flag’s origins as it’s the most punk-leaning tune on the album. Yes, the tempo remains slow and methodical, but it’s songs such as Annihilate This Week that make Loose Nut such an exceptional album experience.

Best One Yet is a raw, riff-heavy anthem, that blends punk fury with a metal edge. The relentless energy makes it one of the album’s standout tracks but it’s the rough around the edges production style that makes it truly exceptional.

Modern Man is a sonic masterpiece, especially with its opening and closing bookends. Ginn’s guitar work is exceptional and the atmosphere created will stay with you long after the song has finished as Modern Man is amongst the most memorable songs from the record. Rollins’ vocal delivery is perfect as the slower tempo and minimalist arrangement allow him to belt out the lyrics with brutal honesty that tackles themes of alienation and social expectations.

This Is Good is what bass guitar dreams are made of for its musical styling is dark, brooding, and ultimately dense. The result is that when you add the sludgy guitar riffs, rhythmic backing, and Rollins’ raw and unrelenting vocal performance, you get an emotionally charged song that is one of the best from Loose Nut.

I'm The One stands out for its raw simplicity and punk styling. While not as domineering as some of the other songs, Ginn’s blistering guitar lines keep the momentum high as the rest of the band and Rollins’ deliver a thoroughly enjoyable album-only tune.

Sinking is another sonic masterpiece, not unlike that of Modern Man for it’s slow, methodical, and ultimately atmospheric. Roessler’s basslines are particularly prominent here, as are Ginn’s licks, weaving through the song like an undercurrent of dread. Add to that Rollins’ anguished vocal delivery, and Stevenson’s melodic drumming, and you’ve got a sonically sombre number that is amongst the greatest songs Black Flag ever recorded.

Now She's Black is a perfect closing track for it’s one of the album’s most intense ensuring that you’ll feel just as compelled to listen to the record again as well as sitting in quiet contemplation of the music you’ve just heard. It’s also Stevenson’s greatest performance on the record as his frantic pounding drums create the perfect backdrop for the song.

Overall, Loose Nut stands as a testament to Black Flag’s willingness to push their musical boundaries, even at the risk of alienating some fans. It isn’t, however, so far removed from their earlier releases that it should be detrimental to most modern audiences but it most certainly paved the way for other bands, such as AFI, to follow. Ultimately, Loose Nut is the greatest release of their career and one of the best albums from the mid-80s.

Check out more reviews by Subjective Sounds

Baltimora – Living In The Background (Album Review)

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

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

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

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

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

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

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

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

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

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

Check out more reviews by Subjective Sounds

Skyhooks – Living In The 70’s (Album Review)

A debut like no other; an Australian masterpiece!

That is, perhaps, the best way to describe Skyhooks’ Living In The 70’s, for they may not have known it at the time, but Living In The 70’s would go on to become one of the greatest albums ever recorded.

Beloved in Australia, Skyhooks never really made inroads into the international music scene. Subsequently, many international readers may be unaware of their music and the influence they’d have over generations of Australian rock bands to come. Thankfully, streaming allows you, dear reader, to listen to Living In The 70’s, wherever you are and there is no time like the present to check out one of the most controversial, yet praised, debut releases ever by an Australian band.

Living In The 70’s was controversial in that the Federation of Australian Commercial Broadcasters decided to ban six of the songs from the album, from national airplay, citing sex and drug references. Of course, the counter-culture teenage population, at the time, wasn’t going to be told what they could and couldn’t listen to and Living In The 70’s quickly rose to #1 on the charts, selling 226,000 copies in its first year; a feat never before seen within the Australian music industry.

Not only was their sardonic view of the zeitgeist in Australia in the 70s a pivotal element for Skyhooks, but they had a hook and they caught us hook, line and sinker, with their catchy blues-based groove rock and combined glam rock style. To say Skyhooks was multifaceted would be a borderline understatement, for their musical style defies adequate explanation. Living In The 70’s is, subsequently, an album that needs to be heard in order to be fully understood and appreciated. Exceptionally written, recorded, mixed, and mastered, you’ll be in pure musical bliss for the entire duration.

View fullsize

View fullsize

View fullsize

The edition of Living In The 70’s that I’m fortunate to own is the remastered CD from 2004 with the additional B-side, Broken Gin Bottle; a perfect addition to an already flawless album. The CD, however, isn’t quite as perfect as I’d like it to be as the booklet has a printing error whereby several pages of the liner notes are missing, replaced by liner notes from a Linda Ronstadt compilation. Now, I have nothing against Ronstadt; a phenomenal musician in her own right, but this is a Skyhooks album and I’m missing all the lyrics except for the title track and Broken Gin Bottle. It’s a frustration, to say the least, but the sound quality is so good that I haven’t bothered with a replacement.

Yes, Living In The 70’s is a remaster and while I’ve been critical of remasters over the years, this one is done nicely, with respect for the source material. It sounds right, unlike the remaster of Cold Chisel’s Circus Animals. The soundstage is wide and enveloping and every instrument can be heard with incredible clarity. The Lossless Apple Music stream, by comparison, is a solid CD facsimile but isn’t quite as live-sounding as the remastered CD. As usual, if you don’t compare the editions, you’re unlikely to notice anything is lacking, but the CD offers a more enjoyable listening experience as the music has a fluidity that is missing from the streaming counterpart despite being derived from the same mastering sessions.

Additionally, a vinyl reissue is on its way, scheduled for an early 2025 release, along with a CD edition that celebrates the 50th Anniversary of the album. One problematic aspect, however, is that it’s said to be a new 2024 remaster. Let’s just hope that it has been handled with respect for the source material for I still declare the 2009 remaster to be perfectly fine. Nevertheless, it seems somewhat fitting that one of the greatest Australian albums of the 70s finds its way back to the format that it was originally presented on; if for no other reason than to display that incredible album artwork.

Living In The 70’s is a killer, rhythmically charged, opener that will have you singing along as you grooving to the music. It has some exceptional guitar and percussion work that showcases the polish and musical skill Skyhooks had right out of the gate, but it’s the song’s references, and sharp critique, to counterculture and societal expectations, that strike a perfect balance between humour and reflection. The result is that Living In The 70’s is one of the greatest debut album openers of all time.

Whatever Happened To The Revolution continues with the upbeat tempo and in many respects, Skyhooks has a similar style to The B-52’s, in that it becomes a fun listen that’s unique when compared to much of the music of the era. Even by modern standards, Whatever Happened To The Revolution sounds fresh with its crunchy guitar riffs and high-energy rhythm.

Balwyn Calling is packed with vivid imagery, a funky bassline, and melodic guitar hooks that give this song its playful edge and ensure that it’s one of the most memorable tunes from the album.

Horror Movie is, without a doubt, my all-time favourite song from Skyhooks. It’s also, arguably, Skyhook’s most iconic tune for its an unforgettable anthem and Graham “Shirley” Strachan’s powerful vocals bring Greg Macainsh’s satirical lyrics to life. However, it’s the overall vibe that takes this song to another level for it is most certainly positioned in the 70s style but has remained timeless and still resonates with rockers the world over.

You Just Like Me ‘Cos I’m Good In Bed says it all, doesn’t it? It’s a fun tune that will bring a smile to anyone's face. While I can understand why the Federation of Australian Commercial Broadcasters banned this tune and five others, I’d call it overkill as we really can take ourselves a little too seriously at times. Nevertheless, it’s a great song; one that flows beautifully within the album’s linear structure and, again, showcases just how proficient Skyhooks were from the get-go.

Carlton (Lygon Street Limbo) incorporates the energy and musicality of Australian music in the 70s, despite the mid-tempo styling. While it isn’t a standout, it’s a quintessential album-only tune that ensures the album is structurally sound and the sum of its parts, rather than being appealing because of one or two songs. 

Toorak Cowboy is a toe-tapping, head-bopping, good time with a country meets glam rock style that is highly appealing.

Smut, true to its name, pushes the lyrical boundaries with its tongue-in-cheek wordplay atop a compelling musical backdrop. It’s a fun song that showcases the band’s irreverence as they challenged societal norms with their bold take on taboo topics.

Hey What’s The Matter is groovy; try sitting still through this one. As with much of the album, it’s impossible to not groove along to the music. The result is that Living In The 70’s can very easily become the ideal soundtrack to an energetic life.

Motorcycle Bitch is gritty riff-driven heaven and Strachan’s vocals on Motorcycle Bitch, in particular, are magnificent. There’s little doubt in my mind that he was one of the greatest vocalists to ever record a tune. Bon Scott is usually held up as the poster child for Australian rock and roll vocals and while this doesn’t take anything away from his vocal prowess, Strachan was on par, if not slightly more capable as a vocalist, particularly concerning pronunciation. I mention this as I don’t feel Strachan has ever received the recognition he deserved.

Broken Gin Bottle was not part of the original tracking of Living In The 70’s, having been released as the B-side to the Living In The 70’s single. However, I couldn’t imagine the album without it as it fits the overall styling so well. Again, and I know that I’m repeating myself, the gritty blues-infused guitar work is extraordinary and will compel you to listen to the album again.

Living in the 70's is a bold, unapologetic, and groundbreaking album. Skyhooks' ability to combine biting social commentary with infectious melodies and a uniquely Australian identity made it a cultural touchstone but this debut isn’t just an album, it’s a cornerstone of Australian music history and one of the greatest albums ever recorded.

Check out more reviews by Subjective Sounds