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

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

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

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

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

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

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

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

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

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

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

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

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

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