Billy Joel – An Innocent Man (Album Review)

Released in 1983, Billy Joel's An Innocent Man stands as a shining example of music that is timeless. With its catchy melodies, impressive vocal performances, and evocative songwriting, An Innocent Man is a masterclass in nostalgia that continues to captivate listeners for it plays akin to a greatest hits release.

While An Innocent Man, Joel’s ninth studio album, is one of the greatest records from the 80s, the launch window couldn’t have been more disappointing for Joel as Michael Jackson’s Thriller would ultimately win the Grammy for Album Of The Year over An Innocent Man. While Jackson's Thriller is a landmark release, one I thoroughly enjoy, I'd argue that An Innocent Man is a stronger album that has stood the test of time far better than Thriller which is starting to sound a little dated to the era. An Innocent Man likely avoided being stuck in the past as Joel formulated the tunes with a touch of the, arguably timeless, 50s and 60s musical styles. The continuous lighthearted Be-bop, Soul, and R&B styling is addictive, well suited to Joel, and ensures that the album sounds as fresh today as when it was initially released.

Of course, great songs are for nil if the production, mix, and mastering qualities are substandard. Thankfully, An Innocent Man, via the Apple Music stream, is quite enjoyable. The soundstage is well-defined and each element within the mix is given room to breathe. That said, there’s a nagging aspect about the stream, that is coincidentally an Apple Digital Master, in that it could be fuller for it sounds a little anaemic in places. It isn’t a major issue and a slight adjustment to EQ settings can rectify that shortcoming, but it’s something you should be aware of. That said, if you’re like me and don’t have a physical edition of this classic record, it will provide you with hours of pleasure until you can attain a subjectively better release.   

Easy Money has a sensational beat – thank you, Liberty DeVito! It’s a fun little tune to start the album with, but the chorus isn't compelling as I find the downbeat shift to be a distractive element.

An Innocent Man slows the tempo, but the transition from Easy Money never sounds out-of-place. When listening to this song, you begin to comprehend what an incredible vocalist Joel is. His vocal control is simply amazing as he takes every note right to the edge of his capabilities and never falters. The result is that An Innocent Man is one of the album’s standout tunes and is, subsequently, the perfect title track.

The Longest Time is a beloved A cappella gem and is one of the greatest sing-a-long songs of all time with its harmonious melodies, doo-wop styling, and charming lyrics. 

This Night really opens up throughout the chorus. Yes, the whole song is wonderful, but as a Ludwig van Beethoven fan, I appreciate how Joel merged his vision, and a touch of the 1950s, with that of Beethoven’s. The result is a true masterpiece in every sense of the word.

Tell Her About It is a catchy and energetic track with an upbeat tempo that will have you toe-tapping and head-bopping from the very first note in much the same way as one would when listening to the music from Motown’s golden era.

Uptown Girl is, undoubtedly, one of the album’s greatest hits for it’s infectious upbeat pop-rock rhythm, catchy melody, and playful lyrics, ooze charisma.

Careless Talk is a little out-of-place following Uptown Girl but as a song on it’s own, outside of the album’s sequencing, Careless Talk is a solid track. It’s your classic album-only tune, and was never going to set the charts on fire, but that doesn’t prevent Joel from delivering another soulful performance. 

Christie Lee is a fantastic rock song that places Joel’s piano playing front and centre, along with a compelling saxophone element that ensures Christie Lee is not only dynamic but a fun addition to the record. While not necessarily the strongest song on the album, if you’re like me you’ll be reaching for the volume knob for this is one tune that sounds best at rock and roll levels. 

Leave A Tender Moment Alone is a beautiful ballad showcasing Joel’s songwriting prowess and ability to create tender melodies that tug at the heartstrings. 

Keeping The Faith is an extraordinary tune to close the album on for it blends elements of pop and rock with a touch of gospel, resulting in a truly memorable musical experience. 

An Innocent Man is a testament to Billy Joel's musical genius and his ability to pay homage to the past while creating something modern and enduring. The album's diverse range of styles and heartfelt performances make it a timeless classic, in Joel's illustrious career. and is a must-listen for anyone who appreciates the magic of '50s and '60s pop music with an 80s twist that only Billy Joel could deliver.

Check out more Billy Joel reviews by Subjective Sounds

Elton John – Sleeping With The Past (Album Review)

Elton John's career has been nothing short of legendary, with a discography that spans decades and genres. In 1989, he released Sleeping With The Past, an album that would be a departure from much of his 80s output and one that would ultimately see him return to the top of the charts. With a focus on the rhythm and blues sounds of the '60s and '70s, Sleeping With The Past is true to its namesake and John and Bernie Taupin didn’t disappoint for this release not only pays homage to a bygone era but embraces it and presents it to a new audience to reflect upon. 

Speaking of new audiences, while John may be somewhat winding down his career, particularly the touring aspect, he’s never been more popular. As such, his record label decided in recent years to reissue his legacy recordings, beyond just that of his classic 70s-era music, on vinyl. Subsequently, Sleeping With The Past was reissued in 2017, although I’ve yet to pick it up on vinyl; a shame considering it is also one of my all-time favourite Elton John albums. 

In the meantime, I will endure listening to this masterpiece via the lossless Apple Music stream that is derived from the 1998 remastered CD release. It’s adequate but is unlikely to fill your soul for you’ll hear the music, but you won’t necessarily feel it. Plus, the bonus tracks, Dancing In The End Zone and Love Is A Cannibal just aren’t great. As such, I’ll be sharing with you a playlist of the core album tunes, for I feel the album is stronger sans the bonus material. 

Durban Deep launches the album with an interesting 80s twang and as much as I adore Sleeping With The Past, I have to admit that Durban Deep isn’t the strongest opener. It isn’t fundamentally bad, but it does sound as if it were a song left over from one of John’s lackadaisical mid-80s releases. That said, the more you listen to Sleeping With The Past, the more you’ll find yourself enjoying Durban Deep as it signifies the exceptional music that you’re about to hear. 

Healing Hands is where Sleeping With The Past really starts, for me at least. It’s a highlight from the album with its catchy upbeat melody that melds perfectly with John’s compelling vocals. Yes, it has a very late 80s sound, especially with the addition of the backing vocals, but good music is good music and Healing Hands is a timeless classic.

Whispers is a beautiful, stripped-down ballad, that will draw you in from the very first notes. John’s emotive singing also captures your attention and while much of his 80s output, post The Fox in 1981, failed to impress, Whispers showcases that an artist with the skill of John can return at a later date, with an astonishing selection of songs, and once again leave the fans speechless.

Club At The End Of The Street shifts the tone of the album and takes a more upbeat approach compared to Whispers, yet the contrast isn’t nearly as jarring as you would think. It’s, therefore, an example of perfect track sequencing, for the senses thoroughly enjoy the placement of this catchy pop-rock tune.

Sleeping With The Past harks back to the Motown era of yesteryear; a core inspiration for the entire album. While it may not be a song that is immediately identifiable with John’s legacy, Sleeping With The Past is the perfect title track for it encompasses all intended musical influences.

Stone's Throw From Hurtin’ is blues meets country and further showcases the versatility that has been a cornerstone for John throughout his entire career. Stone's Throw From Hurtin’ was never going to set the charts on fire but is perfect as an album-only tune with some killer guitar licks. 

Sacrifice is, undoubtedly, a standout with poignant lyrics and a haunting melody that has become one of John’s signature tunes. 

I Never Knew Her Name is a fun, energetic, and upbeat song that returns us sonically to the underlying Motown vibe.

Amazes Me is a lovely mid-tempo tune with lyrics that are not only evocative but are emotionally charged, thereby allowing John to do what he does best; tell stories via songs. 

Blue Avenue is a beautiful closer. John’s soothing vocals, combined with his calming piano backing, ensure this track is a standout that will encourage you to spin the album again. 

Sleeping With The Past not only paid homage to the music of a bygone era, but it's simultaneously some of the very best music Elton John ever recorded. As a result, much of John’s 80s output can be overlooked as each song from Sleeping With The Past adds a layer of richness to the album, making it a memorable addition to Elton John’s illustrious career; one that is up there with his greatest legacy releases. 

Check out more Elton John reviews by Subjective Sounds

Iron Maiden – Killers (Album Review)

Released in 1981, Killers solidified Iron Maiden's status as heavy metal pioneers. Building on the foundation laid by their self-titled debut album, the band pushed their boundaries and continued to evolve by delivering a record that combined adrenaline-fueled energy with thought-provoking lyrics and some of the greatest riffs you’re ever likely to hear. 

It’s also Paul Di’Anno's final album, as vocalist, with Maiden and is somewhat bittersweet for as incredible as Bruce Dickinson is on the microphone, Di’Anno’s gravelly singing style was perfect for Maiden’s musical style. That said, I can’t imagine Maiden’s albums post-Killers had Di’Anno remained a member of the band. 

What has remained consistent, throughout the years, is Maiden’s album artwork and Killers is one of their very best. Eddie’s demonic grin is captivating and if the music doesn’t grab you, the artwork certainly will. 

Speaking of the music, for that is the real reason we’re here, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is thoroughly enjoyable. There’s a tiny bit of muddiness to be heard, but it isn’t a detraction and once Wrathchild comes in, as the second track, all is forgotten for it is quite an audible treat. Yes, some may suggest that the Apple Digital Master is overly compressed, but for Maiden’s style of music, I find it to be perfectly suitable and the latest remasters have a little more heft in the mid to low end of the audio spectrum meaning that the thin sound of the legacy CD releases, from the 1998 remastering sessions, is no longer a cause for concern; unless you enjoyed that style of reproduction, that is. 

The Ides Of March is an incredibly ominous instrumental that sets the tone for the entire album with its haunting guitar melodies and riffs that help to form a foreboding atmosphere before leading into the high-octane anthem, Wrathchild.

Wrathchild kicks things off with Steve Harris' thundering basslines and Paul Di'Anno's gritty vocals. The song’s relentless rhythm, soaring guitar work, and catchy chorus have ensured that it’s a signature tune within Maiden’s back catalogue.

Murders In The Rue Morgue initially slows the tempo considerably with a focus on the melody, before launching into the dynamic metal-driven style that showcases Maiden’s ability to craft complex compositions while staying true to their signature sound. 

Another Life is a killer tune with so much musical depth that your mind will want to connect with every musical aspect, yet you’ll need to find an element to latch onto before the pace of Another Life gets away from you. This kind of frantic song isn’t likely to appeal to everyone, but as far as I’m concerned the shifting styles, throughout, are trademark Maiden; it’s part of what makes them so compelling.

Genghis Khan is the album’s second instrumental piece and while the vocalists of Maiden have always been commanding, I love Maiden sans the vocalist for their music is so emotive and you really get a sense of their instrumental power. From Clive Burr's drumming and Harris’ bass skill to the twin guitar attack of Dave Murray and Adrian Smith, you’ll be left speechless as many aspects of Maiden’s musical accompaniment are lost when lyrics are laid atop the musical bed. The result is that Genghis Khan is one of the greatest pieces of music Maiden ever recorded; a true masterpiece in every sense of the word. 

Innocent Exile flows nicely from Genghis Khan but it’s ultimately an album-only tune. A solid one, yes, but as a song on its own, it’s somewhat unremarkable. 

Killers is a true heavy metal classic that can be best described as an unforgettable sonic experience.

Prodigal Son is a departure from the album’s heavier tracks for this acoustic-driven tune offers a moment of introspection. The folk-inspired melodies and storytelling lyrics further demonstrate Maiden's versatility and while hardcore metal rockers may feel that Prodigal Son is nothing but filler, I’d go as far as suggesting that it’s one of Maiden’s greatest songs; a hidden gem!

Purgatory is a fast-paced relentless onslaught of music; a polar opposite to Prodigal Son. If nothing else, Purgatory is indicative of Maiden’s early raw sound signature. 

Drifter closes the album with a final burst of palpable energy that will compel you to play the album again, for Killers can rarely be heard a single time. 

Killers marked a significant step forward for Iron Maiden, both in terms of musical complexity and thematic depth; even though I consider their self-titled debut to be a masterpiece. Regardless, when you combine the band, Steve Harris’ driving basslines, and Paul Di'Anno's raw vocals, you get a sound that has not only influenced generations of metal bands but stands as an influential chapter in Iron Maiden’s legacy. 

Check out more Iron Maiden reviews by Subjective Sounds

AC/DC – For Those About To Rock (We Salute You) [Album Review]

Released in 1981, For Those About To Rock (We Salute You) is AC/DC's eighth studio album and is built upon the success of their previous records; particularly Back In Black. With a collection of hard-hitting tracks that showcase AC/DC’s signature energy and riff-driven style, For Those About to Rock is one of the best albums released in 1981 and still stands as an exceptional entry in the band's discography. 

AC/DC has always had compelling cover art and For Those About To Rock (We Salute You) is no different in that regard. Plus, if you haven’t already, take a look at the animated artwork on Apple Music; it’s fantastic and one of the best examples of the feature. While the physical counterparts will never be able to replicate such wonder, unless a lenticular cover is produced, the vinyl and CD artwork, which is usually embossed, is thoroughly pleasing as well.

Speaking of the Apple Music stream, it’s exceptional! Presented as an Apple Digital Master, it rocks and with plenty of headroom available, you’ll find yourself turning the volume up and rocking out throughout the entire 40-minute masterpiece, with zero fatigue. While I do not doubt that the physical counterparts would be on par with the stream, as they’re derived from the same remastering sessions, when a stream sounds this good it really does make one wonder if they should pick up a physical release. Regardless of how you choose to enjoy For Those About To Rock (We Salute You), one thing is for certain, you’re going to love it.

For Those About To Rock (We Salute You) is the quintessential slow-build opening track that sets the tone for the entire album. With its marching beat, killer riffs, and Brian Johnson’s soaring vocals, you’ll find yourself singing along to the catchy chorus while simultaneously rocking out to this blues-based masterpiece. 

Put The Finger On You is a straightforward rock 'n' roll track with a driving rhythm that captures AC/DC’s classic sound. It may not be a standout in the traditional sense, but Put The Finger On You is one of AC/DC’s hidden gems.

Let's Get It Up offers listeners a fluid transition from Put The Finger On You and keeps the momentum going with a catchy riff and infectious chorus. The lyrics, as most of their songs do, play on suggestive themes that are characteristic of AC/DC's cheeky style.

Inject The Venom, with its heavier edge, is a killer hard rock tune. It’s songs such as Inject The Venom that showcase not only the band’s incredible musicality, and Young’s skill on lead guitar, but that they are far greater than their biggest-selling albums.

Snowballed is a mid-tempo rocker with some memorable hooks and bluesy guitar licks, but it’s one of AC/DC’s most uninspiring songs.

Evil Walks has an incredible rhythm and a menacing riff that captures your soul from the very first note. Your body will move involuntarily to the groove, as you strum your air guitar, all while belting out the chorus as if playing on stage with Malcolm Young to one side and Cliff Williams to the other. Evil Walks is another of AC/DC’s greatest recordings that has rarely received the recognition it deserves. 

C.O.D. is a straightforward rocker with a catchy chorus, but don’t let that deter you for a run-of-the-mill tune for AC/DC would be a hit for any other band.

Breaking The Rules retains AC/DC’s trademark hard rock edge while being a little more melodic. The chorus is particularly infectious and showcases Johnson’s vocal range. It’s one of their songs, with Johnson on lead vocals, where you can understand the lyrics through his trademark growl, thereby making the song even more compelling than it otherwise would have been.

Night Of The Long Knives with its pounding rhythm and aggressive guitar riffs, stands out as one of the album's heaviest, and most enjoyable, moments. The song's dynamic shifts will keep you engaged throughout and while Night Of The Long Knives was never destined to be a stadium-filling tune, as an album-only track, it’s incredible.

Spellbound closes the album on a high note, despite the song being a more mellow and sonically sombre tune. It’s the rhythm, guitar hooks, and Johnson’s vocals that will capture your attention. It’s also the perfect closer as Spellbound doesn’t only compel you to listen to the album again, but if you choose to reflect on what you’ve just heard, you’ll sit in wonder at the masterful musical experience that is For Those About To Rock (We Salute You).

While For Those About To Rock (We Salute You) may not have achieved the same level of commercial success as its predecessor, it remains an exceptional release and is amongst AC/DC’s finest recordings. Full of memorable riffs, powerful vocals, and energetic performances, For Those About To Rock (We Salute You) is often overlooked which is a shame for had it not followed one of the biggest-selling albums of all time, it would have been more highly regarded. Nevertheless, this is one album that is a must-listen for fans of classic hard rock and AC/DC alike.

Check out more AC/DC reviews by Subjective Sounds

Air Supply – The One That You Love (Album Review)

Released in 1981, The One That You Love marked another successful chapter in the Australian soft rock duo's career. Building upon their signature sound of melodic ballads and heartfelt lyrics, this album continues to capture the hearts of listeners with its emotive tunes and strong vocal performances. The result is a record that is not only one of the best albums of their illustrious career, but is what I consider to be amongst the greatest albums released in 1981.

While the music may be exceptional, the album artwork is uninspiring. Seriously, the rear photo of the band, featured on the original releases, would have been far better to adorn the album cover for the hot air balloon on the initial releases, and the series of hot air balloons on the Australian reissue, is about as pointless as you can get. I really should add this album to The Worst (And Most Disturbing) Album Covers Of All Time ranked list, but it almost isn’t worthy of inclusion. Yes, dear reader, I’m extremely critical of this album artwork for it is an immediate deterrent and is unlikely to appeal to anyone, other than the most ardent fans. It certainly doesn’t showcase, or represent, just how outstanding the music is.

As for the sonics of the Apple Music stream, the lossless non-Apple Digital Master is derived from the CD counterpart and is sonically pleasing. Could it be better? Absolutely, but I wouldn’t want an overzealous remastering for the current dynamic range of the recording is already quite pleasant. It could do, however, with a slight boost to the mid and low end of the audio spectrum. Naturally, EQ settings can address this issue, but modern digital options can also be a little too aggressive and sometimes the minor adjustments of a skilled mastering engineer yields better results. 

Disappointingly, much of Air Supply’s back catalogue has remained untouched for decades with CD reissues only showing up within the Japanese music industry. Modern listeners who are not interested in picking up secondhand copies are, subsequently, left with few options outside of streaming and digital download stores. Yes, we need to be grateful that the music remains readily available, but the collector within would prefer that all music remains in print, both physically and digitally, for it gives music lovers a choice and further guarantees cultural heritage. 

Don't Turn Me Away gets the album started with a solid soft rock tune. I don’t, however, feel that it was the perfect opening track for it isn’t as strong as many of the other songs on the album and should have been repositioned in the album’s sequencing.

Here I Am is the song that should have been the lead track for it is much more in tune with Air Supply’s renowned and revered style. Here I Am, subsequently, sets the tone for the rest of the album; one that is filled with memorable ballads, melodies, and harmonies that will appeal to longtime fans and newcomers alike. 

Keeping The Love Alive has a beautiful flow for the verses are simply incredible. Yet, in classic Air Supply form, it’s the addictiveness of the sing-along choruses that are the ultimate highlight as the shift from verses to chorus, and back again, makes for a thoroughly engaging listen.

The One That You Love, the album's title track, is a timeless classic that remains one of Air Supply's most iconic songs and again, as the song reaches the chorus, you’ll feel compelled to sing along.  

This Heart Belongs To Me has an incredible rhythm. That piano entry is exquisite and is the backbone of the song as This Heart Belongs To Me turns into a soft rock masterpiece. It’s certainly reminiscent of the era, and some may suggest it sounds a little dated, but I adore it nonetheless.

Sweet Dreams, by comparison to This Heart Belongs To Me, is subdued, but that need not be a contentious issue for as the song slowly builds, the catchy chorus soars in a manner that only Air Supply can achieve for they are masters of the craft and Sweet Dreams quickly becomes one of the greatest songs of the 80s. 

I Want To Give It All slows the tempo considerably, but the vocal recording and intertwining of harmonies are thoroughly pleasing. While I Want To Give It All was never destined to be a standout tune, it’s songs such as this that make The One That You Love such an exceptional album experience. 

I'll Never Get Enough Of You is another standout that captures the sentiment of endless love. The sincerity of the vocals pairs extremely well with the song’s lyrics. As incredible as Air Supply performs this classic tune, I would love to hear Barbra Streisand cover it, for I feel she would take it to another level entirely.

Tonite is simply gorgeous. While not a standout, per se, as an album-only tune, Tonite is yet another reason why The One That You Love is one of the best albums ever released. 

I've Got Your Love is a brilliant closer that encompasses all elements of each song that came before it. The result is that you’ll feel compelled to play the record again for The One That You Love is one album that could be listened to on repeat indefinitely. 

Overall, The One That You Love is an exceptional album that showcases Air Supply's mastery of crafting emotionally charged soft rock ballads. With a combination of emotions through poignant lyrics, harmonious vocals, and well-orchestrated melodies, listeners will be captivated from the very first note to the last. While some songs stand out more than others, the album as a whole remains a testament to the duo's talent for creating music that is not only timeless but resonates deeply with listeners. If you're a fan of heartfelt ballads and timeless melodies, The One That You Love is a must-listen.

Check out more Air Supply reviews by Subjective Sounds

Quarterflash – Quarterflash (Self-Titled Album Review)

Quarterflash's self-titled debut album, released in 1981, stands as a shining example of the vibrant music landscape of the early 80s. With a distinct blend of rock and pop, this album captures the essence of the era while simultaneously showcasing the band's unique style.

While 80s music fans would likely be familiar with Quarterflash, for it’s one of the very best albums released in 1981, you’d be forgiven if you have overlooked it, or never heard it before, as it’s disappointingly been out of print, certainly outside of the Japanese music market, for decades. As a result, we must be content with digital editions via streaming options or digital download stores. While the lossless Apple Music stream isn't an Apple Digital Master, it’s a beautiful master, nonetheless, that’s very dynamic with a lively and spacious soundstage. Yes, a remaster, done respectfully, would be appreciated but at this stage, I would welcome a CD or vinyl re-issue with the original mastering. 

Aside from having the music circulate on a physical format once again, the artwork is exquisite and, in my mind at least, deserves to be seen on the larger vinyl canvas. Universal Music Group should consider releasing a reissue of this classic album as modern collectors would love such a release. Even a small print run, perhaps a Record Store Day exclusive, would be well received.

Harden My Heart is the quintessential 80s power ballad; what a way to open this self-titled debut! With its hauntingly catchy melody and introspective lyrics, Harden My Heart creates an unforgettable atmosphere that sets the tone for the rest of the album.

While it should be celebrated that Harden My Heart received renewed attention following its inclusion on the Rock Of Ages soundtrack in 2012, the Julianne Hough and Mary J. Blige version is an atrocity. It's a shame considering both of these musicians are consummate performers in their own right.

Find Another Fool continues the energetic momentum with an upbeat tempo that makes it a worthy follow-up to the opening track. Rindy Ross' powerful vocal delivery is, as always, evocative of the greatest female vocalists to sing rock music. Plus, it isn’t just her vocal prowess that’s impressive, for she’s an incredible saxophonist. Additionally, the musical style of Find Another Fool reminds me fondly of Kansas’ work on Monolith. 

Critical Times slows the tempo considerably, but it isn’t as much of a jolt to the senses as you may initially think as the emotive vocals and reflective lyrics are stunning. I should note that one of my all-time favourite vocalists, Timothy B. Schmit sings as part of the backing vocal harmony and is simply amazing. Could Critical Times have been recorded by the Eagles? Absolutely, but it wasn't and is, subsequently, one of the core reasons why I adore Quarterflash and consider it such an extraordinary album. 

Valerie picks up the tempo and while it has an infectious groove with a killer bassline and guitar solo, it’s not my favourite song from the album as the chorus is underwhelming and grinds on the senses due to its pitch.

Try To Make It True is musical bliss. That introduction and the song’s overall vibe ensure Try To Make It True is one of the best tunes on the album. 

Right Kind Of Love is a great lovely ballad with a catchy chorus and dynamic instrumentation that will see you singing along while simultaneously toe-tapping and head-bopping to the rhythm. Rindy's saxophone work, with the intertwining of Marv Ross’ guitar solo, is a standout and is the ultimate sonic trademark of Quarterflash.

Cruisin' With The Deuce is a musical masterpiece. It reminds me fondly of the musical style heard on Quincy Jones’ The Dude, for it has a similar funk meets jazz meets rock styling. Ultimately, Cruisin' With The Deuce is the complete package and if you only listen to one song from this self-titled debut, make it this one. It’s, honestly, amazing that Quarterflash was never more popular than they were for when music is this good, it deserves to be heard and shared. 

Love Should Be So Kind slows the album down considerably, but the reflective nature of the song showcases Quarterflash's lyrical depth and ability to craft poignant melodies. Love Should Be So Kind was never destined to be a hit, but it’s one of the best songs Quarterflash ever recorded, thereby making it an essential album-only tune. 

Williams Avenue closes the album on a high note and while it’s a jazzy shift from the otherwise mellow Love Should Be So Kind, the rock-infused sound, driving rhythms, and passionate vocals provide a more than satisfying conclusion to the Quarterflash musical journey; one that will find you compelled to play the album time and time again.

Quarterflash's self-titled debut album is somewhat of a hidden gem from the early 80s, and one of the best albums released in 1981, capturing the essence of the era's musical diversity. While Harden My Heart remains the standout hit, the album as a whole offers a well-rounded collection of classic songs that are so well-polished that it makes this album sound like a well-put-together greatest hits release. 

Check out more reviews by Subjective Sounds

Grace Jones – Nightclubbing (Album Review)

Released in 1981, Nightclubbing stands as a remarkable testament to Grace Jones’ artistic prowess, avant-garde sensibilities, and genre-blending expertise. As an album that defies categorisation, effortlessly blending elements of new wave, reggae, funk, post-punk, and electronic music, it’s remarkably memorable and will appeal to audiences with broad musical preferences. Nightclubbing, Jones’ fifth studio album, offers a seductive and atmospheric experience that has left an indelible mark on the music landscape, not only in the 80s but in all of recorded music history.

Of course, it wasn’t only the music that was influential for the original album artwork is striking, to say the least. Sadly, due to a rights issue, the original album artwork, created by Jean-Paul Goude, is absent from streaming services and digital download stores. As there haven't been any worldwide reissued physical releases, since 2014, it’s unknown if this will impact the physical counterpart moving forward. What I can say, however, is the replacement artwork Island Records decided to put in its place isn’t all that bad. Okay, so if you look at all of the album covers, created by Goude, that are currently missing, it’s a little irritating, but on its own, however, I really like the design that somewhat replicates a compact cassette sleeve design. As such, and given the rights element, I won’t be utilising the original artwork within this review but you can always check it out on the various editions added to Discogs.

Speaking of different editions, while I’m extraordinarily happy with the Apple Music stream, an Apple Digital Master, I was fortunate to have owned the Blu-ray Audio release and with an extended runtime, on a single disc, that matched the sequencing of the Deluxe Edition, it was a party album that extended beyond the record’s original intent. While memory may be the most fallible way to recall the sonic quality of music, I find that I much prefer the fullness of the Apple Music stream as the Hi-Res Lossless version on the Blu-ray format could sound a little too accurate and subsequently clinical. Some music lovers will appreciate that style, but I prefer a warmer and smoother presentation and the Apple Music stream thankfully doesn’t disappoint in that regard. 

Walking In The Rain kicks the album off with a moody funk vibe that is truly captivating while Jones’ sultry vocal takes centre stage as she navigates through the electronic soundscape. While Walking In The Rain is most commonly associated with Jones, and it’s perfect for her style, the song is actually a cover by the Australian band Flash And The Pan from their 1978 self-titled debut. While that album is out-of-print, it can be heard via the 1995 release, Collection and is most certainly worth checking out if you appreciate Jones’ interpretation. 

Pull Up To The Bumper is an uptempo standout with a funky bassline. Jones’ suggestive lyrics, throughout this song, have often resulted in controversial interpretations, but as someone who appreciates the human vocal as another instrument in the mix, rather than a storytelling device, that aspect fails to be a contentious issue in this listener’s mind. Plus, the song's infectious rhythm, coupled with unconventional sound effects, creates a tune that is irresistible. 

If you simply can’t get enough of Pull Up To The Bumper, may I suggest you check out Coolio’s Ooh La La, from 1997, for this classic tune is sampled beautifully. Deni Hines' interpretation is also worth checking out if you’re after a smoother edition. Of course, there are also additional remixes and extended versions to be heard from Jones, herself, on the Deluxe Edition of Nightclubbing.

Use Me introduces a little reggae and showcases Jones’ versatility as an artist as she’s capable of infusing diverse musical genres to express emotive elements. As a cover of Bill Withers’ original, from the 1972 album Still Bill, Jones’ interpretation builds upon the original (an exceptional piece of music in its own right) while making it her own.

Nightclubbing is the album’s centrepiece and what a remarkable song it is. Iggy Pop and David Bowie certainly wrote a masterpiece when they penned this tune. Encapsulating the essence of nightclub escapades, Jones’ cool vocal glides above the electronic arrangement, evoking a mysterious and entrancing atmosphere. It’s without a doubt one of Jones’ greatest recordings, but it’s also an audible treat for listeners as the repetitive rhythm, both musically and within the vocal, forms a structural foundation that holds, together, all other musical elements. 

As captivating as Jones’ cover of Nightclubbing is, may I suggest you check out the original from Iggy Pop’s The Idiot; an incredible recording in its own right. 

Art Groupie shifts the style slightly, yet it isn’t detrimental to the album listening experience for Jones’ spoken word-styled delivery, remains at the forefront of the mix ensuring that aside from the electronic elements, Art Groupie is most certainly a worthy addition to Nightclubbing; even if it is an album-only tune.

I've Seen That Face Before (Libertango) is a reimagining of Astor Piazzolla's excellent Libertango, and between the atmospheric driving beat and melody, the fusion of styles provides an utterly compelling piece of audible art. As with Art Groupie, this is a song that is best described as an album-only tune, but it’s songs such as this that make Nightclubbing so compelling.

Feel Up returns us to a playfully infectious reggae-infused groove. While there isn’t much in the way of lyrics, instead a focus on repetition and spoken aspects, the mix of all elements is so compelling that, much like the rest of Nightclubbing, it is difficult to not be sucked into the musical void when listening to Feel Up.  

Demolition Man injects a little rock and roll into Nightclubbing but its funky bassline is the greatest defining element here. It’s, subsequently, surprising that it failed to garner much attention when released as a single for it’s a perfect song for the era in which it was released and has over the years become a signature tune for Jones. Originally written by Sting, and featured on The Police’s Ghost In The Machine post Jones’ recording, I much prefer Jones’ interpretation of the song.

I've Done It Again slows the tempo and overall style of the album considerably, but it’s a beautiful contemplative tune to close the album on.  

Nightclubbing is a masterful work of musical art that defies genre conventions and pushes the boundaries of musical expression. Jones' distinctive style, combined with innovative production and diverse influences, results in an album that continues to captivate and inspire listeners; inviting them into a world of sophistication, intrigue, and sonic experimentation.

Check out more reviews by Subjective Sounds