Alice Cooper – Constrictor (Album Review)

Released in 1986, Constrictor was Alice Cooper’s first album in three years since the release of the masterpiece that is DaDa. Although, Cooper would likely contest that declaration as part of the reason for the break between album cycles was to deal with his addictions; some of which nearly consumed the shock rocker and influenced his prior releases. Subsequently, Constrictor is a very different album to Cooper’s “blackout” releases (Special Forces [1981], Zipper Catches Skin [1982], and Dada [1983]) as it’s less artsy, thereby returning Cooper’s style to a more traditional hard-hitting rock album with radio-friendly tunes. That aspect alone shouldn’t deter fans, or newcomers, for his artistry has always been diverse, but Constrictor can be seen as a significant turning point in his career; a shift that would ultimately send him back to the top of the charts a few years later with Trash.

Visually, it’s one of Cooper’s more comical album covers and the snake still looks fake. That’s a good thing for it’s not only indicative of the era but also showcases Cooper’s more light-hearted persona. While I’ve yet to own a copy on vinyl, Constrictor is one album that needs a reissue on the format as the larger album artwork would look incredible amongst his other albums. 

On the topic of sonic quality, however, Constrictor is in desperate need of a remaster. It’s 80s rock, raw ,and hollow sounding, resulting in a little too much treble and not enough mid to low-end oomph. Some may suggest that it is perfect the way it is as many classic 80s rock albums have a thinner sound, but I find that I have to apply some EQ to get Constrictor to sound half decent. Granted, it’s not the end of the world, but it would be nice to hear what the master recording sounds like for the CD quality stream is merely adequate. 

Teenage Frankenstein kicks things off with a thunderous roar. Cooper’s distinctive snarl combined with the gritty guitar riffs and a rock-solid rhythm perfectly captures the spirit of the album. 

Give It Up has an infectious chorus and catchy hooks, but it’s the memorable pop-rock styling that is most notable. 

Thrill My Gorilla is an incredible tune. The soaring guitars with a playful tongue-in-cheek lyrical perspective ensure that Cooper’s combination of humour and shock rock remains at the forefront of the music.

Life And Death Of The Party slows the tempo, but it’s one of the greatest songs on the album and is a hidden gem in Cooper’s back catalogue. Additionally, that solo is what air guitar dreams are made of. Brilliant!

Simple Disobedience with its infectious hooks and drilling rhythm injects a dose of energy into the record. It’s one of those songs that has rarely been heard outside of the album and it’s a shame for Simple Disobedience is a stadium-filling tune. 

The World Needs Guts has a driving rhythm, anthemic chorus, and powerful guitar solos that create an empowering atmosphere that encourages listeners to face life's challenges head-on. I love it!

Trick Bag may channel the spirit of classic rock 'n' roll with a bluesy undertone and groovy rhythm, but it isn’t the strongest song on the album. While the musicality is solid, there’s too much vocal processing that makes Cooper sound as if he’s singing in a silo. 

Crawlin’ is a dark and brooding track with haunting guitars and eerie synths. Cooper's vocal delivery adds a touch of menace but it’s the song's heaviness that ultimately makes it a standout tune on Constrictor.

The Great American Success Story has a catchy melody and is a solid tune, but it’s too campy in the chorus to be notable.

He's Back (The Man Behind the Mask) embodies the essence of '80s glam metal with its driving guitars, synthetic elements, and anthemic chorus. As it was recorded for the Motion Picture, Friday the 13th Part VI: Jason Lives, it perfectly captures the dark and mysterious allure of the film. Yet, it also provides listeners with a perfect album closer; one that allows for reflection as well as encouragement to spin the album again. 

Overall, Constrictor showcases Cooper's ability to adapt to a changing musical landscape while maintaining his signature style. The album strikes a balance between catchy radio-friendly tunes and darker introspective moments. While it may not be considered one of his greatest releases, Constrictor is severely underrated and is a thoroughly enjoyable album that captures a pivotal moment in Cooper’s career.

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ABBA – The Visitors (Album Review)

Released in 1981, The Visitors marked a significant turning point in ABBA's career. After all, it would be their eighth and final studio album before returning with Voyage, some four decades later, in 2021.

While many may disagree, I don’t consider Voyage to be a natural evolution and subsequently don’t consider it to be a follow-up to The Visitors. I much prefer to consider Voyage as an independent album; one that is ABBA at its core, but one that also doesn’t belong in their foundational back catalogue. It’s much the same as my opinion of the Eagles’ Long Road Out Of Eden; an excellent album in its own right, but one that is incapable of following The Long Run. Sometimes the fundamental aspects contributing to the specialness of an artist, or band, are void when decades elapse between releases. We want to be enthralled, but it is also as if our expectations can only be met with disappointment for it’s rarely, if ever, what we had always hoped for.

Subsequently, The Visitors is not only one of the greatest recordings ABBA ever made but it is the quintessential closing chapter and no matter what the Swedes release henceforth, I consider that their classic era ended with The Visitors.

Showcasing a more mature and introspective side to their music, The Visitors is an album that may not immediately appeal to those who appreciate ABBA’s catchy tunes such as Dancing Queen, Gimme! Gimme! Gimme! (A Man After Midnight), or Mamma Mia. It certainly wasn’t up to the same commercial standards as their highly successful mid-career releases, but success at the cash register is rarely an indication of quality and while sales weren’t to ABBA calibre levels, The Visitors was a monstrous sales success by any metric.

One may think that I’m suggesting that there aren’t any great hooks to enjoy when listening to The Visitors. That is certainly not the case, but the lighthearted off-the-cuff pop style, which had previously been an ABBA trademark, was largely omitted for a more serious style; one that I thoroughly appreciate.

This seriousness also extended sonically to The Visitors for it’s a master recording and arguably ABBA’s most sonically pleasing release. While I’m fortunate to own the Studio Albums vinyl boxset; the Apple Music stream, an Apple Digital Master, is the pinnacle digital release for I’ve never heard the album sound better.

Yes, I thoroughly enjoy the aforementioned vinyl reissue for it is smooth with a thoroughly pleasing tonal warmth, while also ensuring that every element is clearly present within its soundstage. However, it isn’t convenient. Vinyl purists likely have their pitchforks at the ready but when an Apple Digital Master release sounds this good, and I can enjoy it anywhere, at any time, there’s something incredibly freeing in acknowledging that reality.

The Apple Digital Master edition is of particular note given that ABBA’s catalogue, including The Visitors, has been remastered numerous times, yielding different results each time. It has understandably left fans and collectors frustrated for the differences are noticeable and not to everyone’s tastes. That said, I feel that the Apple Digital Master solves many of the problems associated with prior masterings and is subsequently the perfect way to listen to and appreciate not only The Visitors but ABBA’s back catalogue.

Speaking of digital releases, all post-1997 editions have been issued with bonus songs. As long-time readers will note, I generally favour the original sequencing of albums. This is, unfortunately, not currently available on Apple Music, so I’ve had to share with you a playlist that replicates the original 9-track album. Of course, you can also appreciate the bonus tracks or the Deluxe Edition by clicking on the previous links if you wish. Interestingly, for those paying attention to such things, the Deluxe Edition is the non-Apple Digital Master release of the album.

Returning our thoughts to the musical presentation, and associated artwork, the cover art design is also indicative of the maturity the band were presenting via their music. However, knowing what we know now about the marriage breakups of the band members, one can read more into the album artwork than on any other ABBA release for the band members are separated and independent. Intentional, or not, I can’t imagine a better album cover for what was, at the time, to be their final album for it visually reflected their emotional status, their maturity and independence as well as their need to be taken seriously.

The Visitors was an interesting choice to open the album with. The somewhat spacious synthesised introduction will either capture your attention or you’ll wonder if it was at all necessary. I fall into the latter category but once the song passes the first-minute mark, you get a real sense of direction as the music continually builds its melody until the harmony hits with memorable effect. It’s, therefore, simultaneously, ABBA’s weakest and strongest opener. I’ll let you decide as to which you feel it is but suffice to say that it’s worthy of being the album’s title track.

Head Over Heels is an upbeat catchy tune that will appeal to longtime and casual fans alike. Agnetha Fältskog’s lead vocals are utterly perfect with Anni-Frid Lyngstad (Frida) entering the chorus seamlessly, ensuring that their vocal interweaving is as captivating as ever.

When All Is Said And Done is a poignant reminder of the relationship breakdowns within the band. Where The Winner Takes It All grappled with Björn Ulvaeus and Fältskog's divorce, When All Is Said And Done is a direct commentary on the split between Benny Andersson and Frida. While music often deals with relationships, ABBA differs from many others in that they were working with each other to make these exceptional recordings all while their personal lives were unravelling. It takes courage to bare it all in such circumstances and as you listen to Frida’s lead vocal, you can hear the emotion in her voice for such heartache is rarely easy to restrain. When All Is Said And Done is, subsequently, one of her greatest vocal achievements.

Soldiers is powerful and thought-provoking. Containing a blend of rock and pop elements that had not been heard since the release of The Album in 1977, Soldiers showcases a level of versatility that makes for a captivating listen.

I Let The Music Speak is a beautiful and introspective ballad showcasing the songwriting prowess of Ulvaeus and Andersson. The delicate piano arrangements and heartfelt lyrics make it a landmark tune and while it may not be ABBA's most notable song, it is the one that will forever live in the annals of music history.

One Of Us is memorable, due in part to the pensive pop verses and catchy chorus. It’s also one of Fältskog’s greatest vocal recordings and reminds me fondly of her recording style throughout Arrival.

Two For The Price Of One is one of ABBA’s classic quirky tunes, with a little controversial subject matter, but Ulvaeus vocalises it so well that you’ll forget the literal interpretation and be captivated by the hook and harmonious intertwining, all of which is nothing short of musical perfection.

Slipping Through My Fingers is another stunning vocal performance from Fältskog. Yes, I acknowledge that she’s always been my favourite of the four core musicians in ABBA, but when heartfelt lyrics are met with tender vocals, music simply doesn’t get much better than this.

Like An Angel Passing Through My Room is a gorgeous ethereal tune to close the album on and is one of the reasons why I’m less than impressed with the reissues that offer additional tracks. It’s not that the bonus material is bad, but Like An Angel Passing Through My Room is the quintessential closer that allows one to contemplate the music they’ve just heard while also encouraging the listener to play the album again.

With a unique blend of pop, rock, and electronic influences, The Visitors stands as a testament to ABBA's enduring legacy and their ability to evolve with the times. The Visitors is subsequently deeply introspective and musically diverse, showcasing ABBA's ability to create memorable pop songs while tackling deeper themes. The culmination of this makes The Visitors a must-listen for both ABBA fans and those looking to explore the evolution of pop music in the early '80s.

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Midnight Oil – Diesel And Dust (Album Review)

Ian McFarlane's Encyclopedia of Australian Rock And Pop references Diesel And Dust as “groundbreaking and one of the greatest Australian albums of all time”. I dare anyone to challenge that claim as Diesel And Dust is the quintessential album Midnight Oil should be remembered for.

John O'Donnell, Toby Creswell, and Craig Mathieson also thought so highly of Diesel And Dust that it was awarded the No.1 Australian album in their book, The 100 Best Australian Albums. They go on to say “in the process of reinventing themselves, Midnight Oil has crafted an album of brilliant, passionate, and intelligent songs that carry a message”.

Following these greats with any additional commentary on Diesel And Dust would be seemingly superfluous, but bear with me as I take a look at the music that makes up Diesel And Dust.

Beds Are Burning is iconic! With its catchy guitar riffs and anthemic chorus there’s little doubt as to why it has remained as revered as it has over the years. Addressing the plight of Australia's Indigenous people and their stolen lands also adds to the emotive element of the tune and while politically-charged lyrics are not everyone’s cup of tea, few would gripe about Midnight Oil’s lyrical direction as the music is off-the-charts good.

Put Down That Weapon is sonically gorgeous. In fact, while the lossless Apple Music stream is from the 2008 remastering sessions, you won’t be disappointed for Put Down That Weapon, in particular, is mastered with kid gloves meaning that the pounding drums and infectious guitar hooks give the song a rebellious edge, while Garrett's vocals convey a sense of urgency and conviction.

Dreamworld shifts the tempo and tone but the driving rhythm section and memorable melodies ensure that Dreamworld remains a captivating listen. That said, Dreamworld is one song that can be a little jarring on the senses, especially when listening repeatedly as it isn’t quite as smooth, from a sonic perspective, as the other songs featured on Diesel And Dust.

Arctic World is an atmospheric marvel and while some may dislike the styling of the song, the evocative nature of Arctic World ensures the listener sits up and takes notice of a song that addresses climate change; an issue that is still plaguing modern society.

Warakurna flows seamlessly from Arctic World with rhythmic perfection. It’s one of my all-time favourite Midnight Oil songs as it blends traditional rock elements with indigenous influences to deliver a song with a poignant message.

The Dead Heart is another sonic standout from an album that defines Midnight Oil. The combination of all musical elements and Garrett's passionate vocals creates an emotionally charged atmosphere that is both captivating and deeply moving from both literal and musical perspectives.

Whoah is sonically beautiful. Close your eyes, relax, and enjoy.

Bullroarer picks up the pace with driving guitar riffs and a rhythmic and infectious chorus that ensure Diesel And Dust is remembered for its high-energy sound as much as it is for its sociopolitical messaging. With a tip of the hat to Midnight Oil’s Punk roots, Bullroarer is a musical masterpiece and one of the best songs they have ever written and recorded. If you haven’t already, turn the volume up to 11.

Sell My Soul is a hidden gem with introspective vocals and a melodic arrangement. While it was never destined to be a standout hit, Diesel And Dust is all the better for Sell My Soul’s inclusion.

Sometimes showcases Midnight Oil’s Punk roots and while there’s absolutely nothing wrong with that, it isn’t the strongest song on the album, particularly with regards to the verses. The chorus, however, is another issue entirely for it’s thoroughly enjoyable and captivating.

Gunbarrel Highway, while not featured on the vinyl and cassette releases of Diesel And Dust, made it to many of the CD editions as a bonus track. While I’m normally dismissive of bonus tracks, Gunbarrel Highway is one exception as it is a perfect closing tune to the album; one that encourages me to play it again.

Midnight Oil’s Diesel And Dust is timeless from both the perspective of sociopolitical issues and musicality. This is one album whereby each track stands on its own but the collective nature of the album experience further amplifies a cohesive musical statement. While some will turn to it for literal meaning, others such as myself will prefer to enjoy the album for its masterful musicality. No matter how you choose to appreciate Diesel And Dust, one thing is for certain, this is one album that you need to have in your collection.

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Quincy Jones – The Dude (Album Review)

Released in 1981, The Dude stands as a timeless masterpiece that incorporates elements of Funk, Jazz, Pop, R&B, and Soul, yet Quincy Jones isn’t the only star here for the lineup of studio musicians chosen is not only extensive but impressive. While you may be most familiar with Jones for his production of classic albums, including Big Band Bossa Nova, Off The Wall, and Thriller, to name a few, his legacy continues well beyond these signature releases as The Dude represent some of his most creative works.

Yes, Jones’ collaborations with Michael Jackson will always be what he is most remembered for, but it’s important to note that The Dude was nominated for an impressive twelve Grammy Awards. It would go on to win three; an extraordinary achievement for an album that not only is so varied but also utilised various musicians and vocalists. And, yes, while Michael Jackson appeared on the title track as a backing vocalist his inclusion on this release is minimal at best.

Regardless, there’s little doubt as to the musical chops of The Dude, but what I find most fascinating is the album’s artwork. The morphing “Dude” creates a visual illusion that matches the shifting styles heard throughout the record and is perfectly set against a simple black frame. It’s one of the best album covers from the era and immediately captures one’s attention. You can imagine just how fascinating it would have been seeing it on the shelf in your local record store in 1981.

Sonically, however, all is not perfect. The lossless Apple Music stream is adequate but to get it to sound its best, you’ll likely be fiddling with your EQ settings. It’s a shame considering the music is, otherwise, incredible. The problem is that in its flat presentation, it’s a little too clinical. The result is a sound that lacks an emotive feel; an aspect that is paramount to this style of music. Despite this, once your preferred EQ settings are dialled in, there’s no doubt that you’ll find it encapsulating. A remastered edition, however, would be welcome, but as music is subjective you, dear reader, may find the core stream to be perfectly acceptable. As for myself, I’ll be thoroughly enjoying this particular release until the streamed version is either updated or until I attain a physical release as the music is that good!

Ai No Corrida (feat. Dune) has an infectious rhythm and is the perfect tune to launch The Dude with. With a mix of jazz, funk, and pop stylings, Ai No Corrida will hook you from the very first note. Ai No Corrida, however, wasn’t first recorded by Jones et al as Chaz Jankel (along with Kenny Young) wrote and recorded it for his self-titled 1980 release, Chas Jankel. Jankel’s version is similar in style but as Jones always does, he hears and subsequently refines a tune so that it is greater than the original song. It’s his gift and while Jankel’s recording is excellent in its own right, it pales in comparison to this version.

The Dude blends funk undertones, captivating jazzy brass sections, and memorable hooks to create an unforgettable musical experience.

Just Once slows the album’s tempo but you won’t mind as James Ingram’s vocals are exceptional on this tender love song. Yes, it is very much a song of the 80s, but don’t let nostalgia influence you for Just Once is as beautiful today as the day it was recorded.

Betcha Wouldn't Hurt Me (Extended Version) will encourage you to turn the volume up, if you haven’t already, as its atmospheric musicality is enveloping. Patti Austin vocalises the song perfectly and with a flawless mix of jazz and funk elements, Betcha Wouldn’t Hurt Me remains a standout tune on The Dude.

Something Special is smooth. Austin, once again, performs vocal duties here; she is truly magnificent! One aspect, however, that may be detracting is the slower tempo as it’s unassuming. Granted, the song flows well within the linear structure of the album, but Something Special isn’t a song that is likely to be anyone’s favourite as there isn’t anything here that is truly memorable.

Razzamatazz, however, will have you coming back for more as the 80s funk rhythm is so infectious that you’ll lose yourself in this tune. It’s arguably Austin’s greatest vocal contribution to The Dude for her addition not only amplifies the groovy musical bed but ensures that those looking to sing along will be in good company, especially throughout the chorus.

One Hundred Ways is a timeless masterpiece. Ingram’s vocal is extraordinary and leaves a lasting impact.

Velas calms the senses for this serene tune takes you on a thoroughly enjoyable musical journey. While it could be argued that it could have been a stronger song, it does set up the album well for the closing burst of energy that is Turn On The Action.

Turn On The Action is the quintessential closer as it brings our attention to the Funk elements that are at the core of The Dude. In doing so, it will remind you of the mastery heard and compels you to listen to the album again.

There is little doubt that The Dude is a testament to the exceptional talent and musical genius of Quincy Jones. With its interweaving styles, impeccable craftsmanship, and infectious grooves, The Dude remains not only a landmark release for Jones but is one of the greatest albums released in 1981.

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Elton John – The Fox (Album Review)

Elton John's 1981 studio album, The Fox, arrived during a transitional period in the singer-songwriter's career. By this point, John had already established himself as one of the most iconic figures in popular music, with a string of hits and critically acclaimed albums under his belt. However, The Fox continued the sonic departure from his classic era, embracing a more experimental and electronic direction that reflected the evolving music landscape of the early 80s.

Naturally, the shifting styles mean that The Fox will not appeal to all Elton John fans, but it’s an album that grows on your the more you listen to it. It, subsequently, stands as a testament to his versatility as an artist and his willingness to embrace new musical styles; a core reason why he remains relevant within the music industry to this day.

The Fox may be considered a unique album on its own, but several songs were originally recorded, during the same sessions, for John’s incredible, and severely underrated, 21 At 33. Subsequently, you may find it interesting to listen to that album first before reaching for The Fox as correlations are most certainly present. No, The Fox, is not merely a collection of previously discarded songs, but it is understandable as to why some may consider this to be the case.

Given the lacklustre commercial success, one can understand why the album has received no attention since the 2003 remastering that remains the gold standard for this release on Apple Music et al. That, however, shouldn’t be seen as a negative aspect for the 2003 remaster is stunning. The dynamic range presented will enthral as every musical element is clearly presented in the soundstage and turning the volume up, or even listening at lower levels, results in an exceptional sonic presentation that is more than anyone could ask for. Is there room for improvement? Perhaps, but there are no glaring issues to note and sometimes it is best to leave well enough alone; a trait the music industry often fails to understand.

Breaking Down The Barriers opens the album with a catchy and energetic melody. The modern 80s sound signature of included synthesizers and electronic elements set the tone for the entire album but as much as they’re present, they don’t detract from the song itself or John’s vocal delivery. Would Breaking Down The Barriers have been a far better song had it been recorded in his classic era style, probably, but it’s enjoyable just the way it is.

Heart In The Right Place features a tight moody rhythm section with some absolutely killer lead guitar licks. John's soulful vocals will also captivate you for it’s a hidden gem from his extensive catalogue. It’s without a doubt one of his best songs from the 80s and the incorporation of blues-based rock, with a touch of funk and some R&B, ensure that Heart In The Right Place is a memorable track.

Just Like Belgium is a solid pop-rock tune that initially makes me think of Bruce Springsteen; due to the musical style presented during the introduction to the song. Nevertheless, it isn’t a standout track, despite being lively and playfully energetic, but it is very 80s so if 80s music is your thing; you’ll love it!

Nobody Wins is one of the album's standout tracks for that tempo will instantly grab you. As with Just Like Belgium, Nobody Wins offers listeners a much-appreciated nostalgic trip down memory lane.

Fascist Faces has a driving soft rock sound signature and while there’s nothing wrong with that, John's processed vocal on this song can be a little off-putting. Additionally, the chorus isn’t overly compelling and all-in-all Fascist Faces just isn’t a great song. It works within the album structure, but it isn’t a song that you’d seek out, outside of the album format. A shame considering this was a songwriting collaboration with the one and only Bernie Taupin.

Carla / Etude / Fanfare / Chloe is a lovely song, or collection of songs, that is truly worthy of being a part of John's back catalogue and reminds me somewhat of Alan Parsons’ recordings. When the 2003 remaster was released, the four songs were combined into a single song and it works for it’s absolutely beautiful from start to finish. It really is one of the greatest pieces of music John has ever recorded.

Heels Of The Wind shifts the tone of the album as it’s an energetic track that showcases John's ability to blend rock and pop elements seamlessly.

Elton’s Song is lovely. While rather controversial at the time of release and while I don’t normally delve too deeply into lyrical meaning, this heartfelt tune, if released today, would be celebrated rather than receiving the same level of pushback and negative press it did in 1981. A lovely song!

The Fox follows Elton's Song nicely and is the quintessential closing tune for it ensures I’ll spin the album again and stay within John’s extensive catalogue of exceptional music. As divisive as his 80s output may have been, The Fox, both the song and the album, are thoroughly enjoyable and are Elton John recordings to the core; albeit with a modern 80s twist.

While it may not be as accessible as his classic era recordings, The Fox, John’s fifteenth studio album, offers a unique listening experience for fans willing to venture into the uncharted territories of Elton John's discography. It's an album that rewards repeat listens for The Fox can be seen as a notable chapter in Elton John's illustrious career, capturing a moment of artistic exploration and evolution while staying true to his artistic vision.

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Foreigner – 4 (Album Review)

Few albums are quite as cohesive and memorable as Foreigner’s 1981 release 4. With its collection of iconic tracks, 4 propelled Foreigner to even greater heights of success, solidifying their status as one of the most prominent rock acts of the era. Packed with infectious melodies, powerful vocals, and expertly crafted songs, 4 showcases the band's ability to create timeless anthems that continue to resonate with audiences to this day.

As for the titling of albums, more often than not they’re associated with an individual song, but with 4, Foreigner is not only referencing the fact that it was their fourth studio album but it also marked a reduced musician lineup where the band only consisted of Lou Gramm, Mick Jones, Rick Wills, and Dennis Elliot. Sometimes less is more!

While the music is beyond reproach, let’s be honest and say that the album artwork is a little underwhelming; although coming on the heels of Head Games, a quite controversial piece of cover art, one can understand the need for a more subdued piece of visual art. That said, the Apple Music animated artwork adds a level of detail that couldn’t be achieved outside of the digital domain, but it still doesn’t match the mastery of the music, does it?

Turning our attention to the sonic qualities of the recording, streamed via Apple Music, it’s perplexing! As with all of Foreigner’s albums on Apple Music, they’re presented in CD Quality lossless and 4 is derived from the 2002 remaster. Now, there’s nothing fundamentally wrong with that until you realise that this classic album has been reissued and remastered various times with a focus on Hi-Res Lossless presentations, via SACD and DVD-Audio as well as associated surround sound mixes found on those formats. With Apple’s expansion into Hi-Res Lossless and Spacial Audio mixes, it’s surprising that we’re still only given access to the CD equivalent from 2002, especially considering the SACD/DVD-A is well-regarded. Plus, why update the album artwork but not the available versions? I have no answer, clearly, but it’s an aberration that is mildly irritating. Of course, Hi-Res Lossless sources aren’t always a guarantee of quality, but the CD Quality stream sounds a little anaemic. A boost to the bass in the EQ settings somewhat helps, but that tends to muddy the sound presentation more than improve it. Hopefully, fans of Foreigner, and specifically 4, won’t have to wait too long before a higher-quality stream is made available, but until then we can still enjoy this timeless classic for it’s a solid facsimile to the CD counterpart.

While the stream offers the Expanded Version and regular readers will note my penchant for listening to an album in its original sequencing, sans bonus material, the Apple Music stream that I’ll share with you will be in the form of a Playlist as that allows me to share just the core songs of this landmark release.

Night Life kicks things off with a burst of energy that sets the tone for the entire album. The catchy hooks, and killer power chords, combined with Lou Gramm’s sensational vocals are what rock and roll dreams are made of.

Juke Box Hero with its instantly recognisable guitar riff is not only a fan favourite but is one of Foreigner’s most well-known songs outside of their core fan base. For me, at least, it’s that bass-driven introduction with Gramm’s vocal being a little more distant in the mix, before exploding, that is truly remarkable. There’s little doubt in my mind that Juke Box Hero is a textbook-perfect song; one that creates a powerful listening experience that will leave you craving more.

Break It Up slows the tempo initially but it quickly builds to a rocking melodic tune with ballad-styled intentions that’s captivating.

Waiting For A Girl Like You is, arguably, the most romantic power ballad of all time. If the atmospheric musical bed doesn’t grab you, the silky smooth vocals will. Absolutely stunning!

Luanne injects a dose of energy into the album and perfectly embodies the spirit of 80s rock. The upbeat tempo, infectious guitar riffs, and Gramm's electrifying vocals create an irresistible party anthem; even though it has achieved little fanfare outside of the album structure.

Urgent is a masterpiece! If you haven’t already, turn the volume up. The interplay between Mick Jones' guitar and the saxophone solos adds a layer of intrigue, making Urgent a standout on 4 and one of the very best songs that Foreigner ever recorded. Gramm’s vocal is superb here, as it is throughout the entire album, but it’s this presentation, in particular, that makes me think Urgent would have been the perfect song for John Farnham to cover as their vocal styles are complementary to each other.

I’m Gonna Win is a motivating listen that exudes confidence and determination. With its driving rhythm and powerful vocals, Foreigner's ability to infuse positivity and strength into their music shines through, making this track a perfect addition to any playlist that requires a little attitude-driven motivation.

Woman In Black is one of my all-time favourite Foreigner tunes. The guitar work is extraordinary but it’s the rhythm that gets so deep into your soul that you’ll quickly find yourself immersed in one of the greatest songs ever recorded.

Girl On The Moon has a hypnotic and relaxed feel to it. It’s a perfect album-only tune with tight musical elements and beautiful vocals. 4 really is one album that plays like a greatest hits release for there isn’t a bad song to be heard and it’s Foreigner at their very best.

Don’t Let Go closes the album on a high note with an infectious chorus and melodic hooks that will encourage you to spin this exceptional record again.

From the moment you tap play, 4 takes listeners on a captivating journey, blending powerful rock anthems with heartfelt ballads and infectious pop sensibilities. With chart-topping hits like Juke Box Hero and Waiting for a Girl Like You, Foreigner has solidified their place in music history with one of the greatest albums ever recorded. A true masterpiece in every sense of the word.

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Generation X – Kiss Me Deadly (Album Review)

Released in 1981, Kiss Me Deadly by Generation X (Gen X) stands as a monument to the band's contribution to the punk rock and new wave movements of the late 1970s and early 1980s. Fronted by the charismatic Billy Idol, Gen X brought a unique blend of energy, attitude, and musicality to the table, and this album perfectly captures the essence of their sound.

At the time of its release, Kiss Me Deadly found itself firmly entrenched within the punk zeitgeist, albeit with a touch of new wave influence. Yet, perplexingly, Kiss Me Deadly was a commercial failure. During the time many punk bands were beginning to explore different musical territories and Gen X managed to strike a delicate balance between their punk roots and a more melodic, pop-oriented sound; one that ultimately brought punk to the masses as this fusion made the album accessible to a wider audience without sacrificing the rebellious spirit that defined the genre.

Despite being out-of-print since its last physical release on CD in 2005, Apple Music et al, along with digital stores such as iTunes and Quobuz, still have the Deluxe Edition of this classic genre-defining album available. While many will lament the lack of availability of a physical release, it’s wonderful to know that Kiss Me Deadly is still available without the need to seek out a secondhand copy. As such, for this review, we’ll be focusing on the core 10 tracks that were originally released, for the bonus inclusions are B-sides and a couple of live recordings. There’s nothing wrong with that, of course, but as regular readers would note, I’m very focused on the original album experience and feel that you should get to know the album well before venturing into bonus material. Subsequently, the Apple Music stream that I’ll share with you below will be in the form of a Playlist as that allows me to share just the core songs that make up this exceptional album.

Speaking of Apple Music, Kiss Me Deadly is delivered as a CD-quality lossless stream and it’s a rocker. The dynamic range is exceptional and while there are a couple of minor tweaks I’d make to the midrange, simply to fill it out a little more, that can be achieved by tweaking the EQ settings. Other than that, this is one stream that I’m sure you’re bound to enjoy, especially as you find yourself turning the volume up for this is not reproduced with fatiguing brick walling in mind but a dynamic range that harks back to the pre-loudness wars.

Dancing With Myself is the perfect opener for Kiss Me Deadly. While not hardcore punk, per se, Dancing With Myself would go on to become one of Gen X's most recognisable hits. Its driving rhythm and catchy hooks encapsulate the energy and youthful exuberance that defined punk rock.

Billy Idol would remix Dancing By Myself in 1981 for his solo EP release Don’t Stop. While it was still billed as a Gen X tune, I can’t pick my preferred mix for both are thoroughly enjoyable with Idol’s remix being more radio-friendly.

Untouchables shifts the musical direction somewhat as the tempo is reduced. Interestingly, the sonic quality of this particular recording is considerably different to Dancing With Myself. While I’m not sure if that was intentional or an element of the mix and mastering process, the more mellow approach makes Untouchables a thoroughly enjoyable tune as it is far from fatiguing to listen to.

Similar to Dancing With Myself, Untouchables was also redone by Idol for his debut EP, but in this case, I most definitely prefer the original Gen X recording for it’s simply a better rocker and isn’t overproduced.

Happy People has eclectic musical elements that are to die for and that driving bass track is heavenly. It’s a fantastic song; one of their best!

Heaven’s Inside is a great tune that flows perfectly from Happy People. While it isn’t necessarily going to be everyone’s favourite, I find myself captivated by the guitar work for its unassuming, yet it becomes my most appreciated element of this song.

Triumph is a captivating and emotionally charged composition that reminds listeners of the diversity Gen X was aiming for as the new wave elements are present, but more importantly, Triumph is arguably the greatest example of post-punk on the album.

Revenge is so relaxing. Such an emotional response may seem out of place when looking at the album as a whole, but it just goes to show that musical skill can go beyond one’s core genre for Revenge is a beautiful tune.

Stars Look Down has a killer rhythm and while it’s a rather nondescript album tune, Kiss Me Deadly wouldn’t be the same without it. The only criticism I have is related to the chorus for it’s got that coming-of-age teen-styled film soundtrack element that we all once loved but now loathe as we’ve matured. Nevertheless, it’s still a good song.

What Do You Want is Punk 101, what’s not to like?

Poison is one of my favourite songs from Kiss Me Deadly as the pulsating bassline, catchy hooks, and infectious chorus create an irresistible edginess. Idol's snarling vocals are of particular note here, for his raw emotion ensures Poison won’t be easily forgotten.

Oh Mother is, as Dancing With Myself was, a perfect bookend for the record. It encourages me to play the album again as well as turning my attention to other recordings from Gen X and Billy Idol.

Kiss Me Deadly is a cohesive album that embodies the spirit of its time. Gen X successfully blended punk and new wave elements, creating a sound that resonated with fans of both genres. The album's strength lies in its ability to balance aggression with melody, providing listeners with an accessible entry point into punk rock without compromising its rebellious nature.

Ultimately, Kiss Me Deadly remains a testament to the musical prowess of Gen X. With Billy Idol's distinctive vocals and the band's knack for crafting infectious melodies, Gen X solidified their place in music history with this release; an album that is most certainly one of the very best releases from 1981.

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