Released in the year that adorns the album’s title, Van Halen’s 1984 (MCMLXXXIV) stands as one of the most iconic and commercially successful records of the 80s with sales exceeding 10 million units.

While there’s no shortage of exceptional Van Halen music, regardless of frontman, 1984 would be the final album from the band’s classic era to feature David Lee Roth on vocals and in one respect 1984 can be seen as an album that captures the band at the height of their success; certainly from the perspective of the Roth years. This sixth studio release also marked a significant shift in their sound with a genre-defining fusion of hard rock, pop, and synth-laden melodies. That shouldn’t deter longtime rockers, however, as the core Van Halen hard rock styling remains present throughout and there are really only three of the nine album tracks that are synthesise-focused. Nevertheless, the shift perfectly captured the imagination of 80s music lovers; some of which likely wouldn’t have given Van Halen a second thought had the band not leant into the sounds of the era.

Speaking of imagination and while not directly related to the music, the album’s cover art is among the greatest ever released and looks magnificent on a vinyl-sized canvas. The Apple Music version has gone one step further by turning the purported candy cigarette into a smoking one via their animated album artwork feature. It’s certainly unique and despite the cover art being controversial, I’m glad to see that it hasn’t been modified by cancel culture because it is true to the era and the original intent. Plus, you can’t help but appreciate the contrast between good and evil whereby the childlike angel has a devilish side; a true representation of us all, wouldn’t you agree?

What is devilishly good, however, is the sonic prowess of the Apple Music stream. Delivered as an Apple Digital Master, this digital edition simply sounds right with no glaring issues to discuss. You’ll be immersed in the stereo soundstage that is both wide and deep as well as leaving you in awe with the power in the mid to low-end range of the audio spectrum. Treble fans need not be concerned, however, as this isn’t a muddy presentation, anything but, but you won’t get an overall sonic glare in the high end; unless you’ve dialled your sound system in to be bright, that is.

As to which master has been used for the Apple Music stream, that is anybody’s guess as there is no information available. Nevertheless, when music sounds this good, via a stream, let’s blast the tunes on the stereo as we take a look at the songs that make up this legendary release.

1984 is an ideal opening track that sets the tone for the album with its synthesiser-drenched atmosphere. While it may be a musical prelude, it creates the perfect build-up to the album’s first full-length song, Jump.

Jump is undoubtedly the band’s most famous song and for good reason as the catchy upbeat synthesiser riff dominates the song. While it could have been suggested that synthesiser-based music would have dated quickly, even upon reflection, four decades later, Jump hasn’t aged a day and sounds as compelling as it would have been when released in 1984. It just goes to show that a good song, with a killer riff, will always be timeless, regardless of the technology used to construct the music. Plus, the synthesised elements weren’t overused and Eddie Van Halen’s guitar solo not only adds to the overall mix but showcases that an anthemic pop-rock hybrid is not only possible but is delectable to the senses.

Panama is a quintessential Van Halen song, blending heavy guitar riffs with David Lee Roth’s larger-than-life vocal delivery. While it may play second fiddle to Jump, sometimes a straightforward hard rock number is all that’s required and in this case, Panama shines with the spirit of classic Van Halen.

Top Jimmy may not be as commercially impactful as the other songs from 1984 but it certainly adds to the overall album experience. Part of its musical appeal is due to the complex bluesy riff that drives the song forward, but Roth’s vocal delivery isn’t the greatest on this tune. While it could be due to the mix, it sounds as if Roth was recording from a studio across the road as he sounds distant, if not uninterested, throughout.

Drop Dead Legs features a killer mid-tempo groove with Eddie Van Halen front and centre. The song’s sleazy, blues-infused rock, very well could have come straight out of ZZ Top’s wheelhouse, but despite being a deep cut it’s thoroughly enjoyable and it is songs such as this that remind us that each song need not be a hit for the album experience to be thoroughly entertaining.

Hot For Teacher is a fast-paced rocker showcasing the band’s virtuosity and sense of humour. The song’s playful lyrics, about a schoolboy’s crush on his teacher, are delivered with Roth’s trademark cheeky charisma. Eddie Van Halen’s guitar work here is particularly stunning with its speedy, yet intricate, styling. However, it’s Alex Van Halen’s explosive drum intro, mimicking the sound of a revving engine, that steals the show as it’s different to what we’d normally expect from a song introduction.   

I'll Wait returns the album to the synth-driven sound that, as much as I can appreciate the hard-rocking tunes, I prefer. It’s a styling that simply works well for Van Halen. Hence, I’ll Wait is one of my favourite songs from the album and while it didn’t quite set the charts on fire, as the second single from the record, it did perform admirably.

Girl Gone Bad is one of the more aggressive tracks on 1984, with Eddie Van Halen’s rapid-fire guitar riffing reaching a frenetic pace, yet blending perfectly into the complex arrangement. With the more intricate nature of the song, Girl Gone Bad is, arguably, Van Halen’s foray into progressive rock while maintaining a balance with the band’s heavier rock roots. One thing Girl Gone Bad is not, however, is dull, for each time you listen to this track you’ll take away yet another element as the multi-layered production is incredibly intricate.

House Of Pain closes out the album with a raw, hard-hitting, riff-heavy, tune that dates back to the band’s early days; ensuring long-time fans that they didn't completely turn their back on their original sound. While it’s a great tune, one thing that has always bothered me is I don’t feel it’s a strong closer. It neither compels me to listen to the album again nor sit and reflect upon the music I’ve just heard. It simply exists.

Overall, 1984 is an album that blends the innovative with the familiar, making it a creative high point for Van Halen. The inclusion of synthesisers may well have alienated some of the band’s hard rock fan base, but it expanded their reach and solidified their position as rock giants of the era. With the diversity heard on 1984, Van Halen crafted a record that appeals to both purists and pop-rock fans alike, ensuring its place as an era-defining album.