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.