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.