John Denver – Seasons Of The Heart (Album Review)

In 1982, John Denver released Seasons Of The Heart, a beautiful collection of songs that exemplify his signature folk-pop sound and heartfelt songwriting. As a masterful storyteller, Denver takes music lovers on an audible journey that resonates deeply with themes of love, nature, and the human spirit. This record stands as a testament to his remarkable ability to create songs that capture the essence of the ever-changing seasons of life.

Receiving only modest success at the time of release, Seasons Of The Heart is a hidden gem within Denver’s extensive catalogue of music. Of course, sales success is a poor judgement of quality and there’s little doubt that this album was overlooked at the time as I consider it to be one of the greatest albums released in 1982. Regardless of where you would subjectively rate this release, one thing is for certain, it’s a masterpiece! 

While it hasn’t been reissued, via any physical format, since the last official CD release in 1986, the Lossless Apple Digital Master is spectacular. It’s so good that while I may lament the absence of a physical reissue for Seasons Of The Heart, I can say with complete honesty that from a sonic perspective, we’re not missing anything. This is one, of many examples, whereby the stream is more than good enough and is so impressive that even if a physical release was available, I’m not sure it would warrant a purchase. Although, I adore the album artwork and would love to have that on the larger vinyl canvas. 

Seasons Of The Heart is a glorious opening tune and an ideal title track. Featuring introspective lyrics and Denver's unmistakable warm vocals, Seasons Of The Heart will draw you in from the very first note as it sets the tone for the entire album.

Opposite Tables is a lovely hidden gem that not only plays into Denver’s style but incorporates nostalgic memories of the greatest recordings of yesteryear with a catchy chorus and toe-tapping rhythm that will captivate you. 

Relatively Speaking has a lighter upbeat tune that is simply delightful. While all of the songs on Seasons Of The Heart are exceptional in their own right, when listening to the album’s intended sequencing, you’ll notice a cohesion that ensures the album experience is alive and well.

Dreams is simply gorgeous. The song's melody is infectious, and its lyrics resonate with the dreamer in us all. If you’re after a relaxing tune, you can’t go wrong with this one for the musical backing tells a story all by itself, sans lyrics. 

Nothing But A Breeze reminds me fondly of John Fogerty and as much as I would love to hear him cover Nothing But A Breeze, Denver performs it so perfectly that even Fogerty, with his musical prowess, would be unlikely to add anything of substance to this classic country rock masterpiece. 

What One Man Can Do slows the tempo for what can only be described as a beautiful ballad. It’s not only one of the best songs from the album, it is one of the greatest songs Denver ever recorded.

Shanghai Breezes continues the beautiful musical experience. If there is a criticism to be made, however, it’s that the drum rhythm has an audible crunching. It may have been intentional, but it’s ultimately distracting.

Islands is John Denver 101 with its magnificent sweeping musical backing and Denver’s otherworldly vocal presentation.

Heart To Heart is one of my favourite songs of all time. Yes, it’s corny and cliché and is very much a song of its era, but that chorus is one that I could listen to on repeat indefinitely as it’s exceptional.  

Perhaps Love is the solo counterpart to the original duet with Plácido Domingo. While both versions have a place in the annals of music history, I must admit that I prefer this solo interpretation as it simply sounds right.

Children Of The Universe closes the album beautifully for Denver is once again front and centre with an introspective piece that is layered onto a lovely musical bed. 

Seasons Of The Heart, ultimately, showcases John Denver's musical and emotional depth like no other album from his extensive discography. His soulful vocals, meaningful lyrics, and masterful guitar work make this album timeless; one that you’ll find yourself coming back to time and time again. 

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Roxy Music – Avalon (Album Review)

Released in 1982, Avalon is a timeless classic that represents the culmination of Roxy Music's musical journey and is, arguably, their magnum opus. Unbeknown to fans at the time, it would also be their final record; an incredible album to close their illustrious career with. As you listen to Avalon you’ll notice how it effortlessly weaves together elements of art rock, pop, and a synth-driven new wave sound to create a sonic presentation that is nostalgic, when considered via a modern lens, but was ultimately forward-thinking when released in the early 80s. 

Naturally, by this stage, Roxy Music had already cemented their legacy, in the annals of music history, with albums such as Country Life, For Your Pleasure, and their self-titled Roxy Music. Shifting to a more mature and smoother presentation than their earlier releases, Roxy Music not only reinvented themselves but released an album that is nothing short of spectacular and easily accessible to all music lovers; an aspect which has been proven with the continued popularity of this classic album.   

Before even hearing the record, one would have been drawn to the album artwork which is simply stunning. Roxy Music is renowned for eye-catching cover art designs, but I consider Avalon to be their greatest. Not only would it have looked stunning on the larger vinyl canvas, the primary music format in 1982, but one can’t help but get lost in the atmosphere for it is very much a piece of album artwork that is both from this world and simultaneously otherworldly. In that way, it matches the music contained within.

Due to Avalon’s success, it has been reissued ad nauseam, which ultimately causes anxiety for fans of the album who wish to seek out the very best reproduction possible. While I’m not suggesting that you throw your arms in the air, in frustration, there are over 200 editions to take into account; a mammoth undertaking for any fan. No, dear reader, you don’t need to track down and listen to every copy, but the amount of research required to find out which edition best suits you is exhausting. It is with that in mind that I must admit the Lossless Apple Music stream sounds incredible. It’s derived from the readily available 1999 CD remastering and while some ardent fans will point to either the SACD edition from 2003 or the vinyl reissue from 2022, when a stream sounds this good it’s a tough sell. Let’s put it this way, when music is recorded, mixed, and mastered as well as Avalon has been, it's bound to sound fantastic, regardless of the delivery method or format. 

More Than This opens the album with a dreamy atmosphere that sets the tone for what is to come. Bryan Ferry’s emotive vocals, combined with the rhythm and shimmering synthesiser-driven soundstage arguably date the song, yet it still sounds fresh and is, subsequently, a timeless classic. It’s classic rock at its very best!

The Space Between flows perfectly from More Than This as the gap between the songs is enough that the style differences don't present as a jolt to the senses. The Space Between adds further musical intrigue to Avalon and while it is an album-only track, it’s one of the best songs Roxy Music ever recorded. Every musical aspect was carefully considered and Andy Mackay’s saxophone playing takes the song to another level entirely and is the real highlight here, that is until you factor in Ferry’s spectacular vocal.

Avalon is the album’s crown jewel and rightful title track for its sensuous and lush, perfectly blending beauty and sophistication. The backing vocals, performed by Fonzi Thornton and Yanick Etienne (in particular) are simply stunning and a key reason why Avalon continues to be enjoyed to this day. 

India is another song that flows seamlessly and to be honest, the entire album is so well-sequenced that as much as you may gravitate to the individual songs we all know and love, Avalon is an album experience first and foremost. No truer is that than when listening to India and appreciating how this beautiful musical interlude segues Avalon to While My Heart Is Still Beating.

While My Heart Is Still Beating is bold and dynamic. It’s a musical journey that is somewhat ethereal as Ferry’s vocals are sung in a manner whereby every lyric is not necessarily well defined, but is present in the mix if you take the time to not only check out the lyrics but listen intently. Songs such as this are a core reason why I consider the human vocal as another instrument in the mix, rather than a storytelling device, for Ferry creates an audible atmosphere that is utterly captivating. 

The Main Thing has an undeniable 80s pop style with its danceable groove and shimmering synths. In many respects, it’s a shame that The Main Thing was never released as a single for the hook draws you in and is, subsequently, not only a highlight of the album but would have been perfect for radio broadcasting during the era in which the album was released. 

Take A Chance With Me is a slow burn. The musical introduction is incredible and you’ll likely hear different elements upon each subsequent listen. Hence, Take A Chance With Me only improves the more you listen to the album. That said, it could also be proposed that the introduction to this song is too long, and unnecessary, as it pertains to the song itself, but given the album feels as if it’s a singular musical experience, I wouldn’t want to change a thing. 

To Turn You On has a pulsating bassline that accompanies this rhythmically engaging song. If there is a low point to be heard on Avalon, however, this is it. Yet, in saying that, To Turn You On does suit the overall style of the album even if it sounds somewhat foreign.  

True To Life is a hidden gem in every sense of the word. The upbeat tempo is addictively good and every musical aspect was carefully considered and perfectly positioned in the mix. Nothing short of a masterpiece would be the perfect way to describe this tune and while I could highlight every band member’s contribution, for they’re all excellent, it would be best if you just listened for yourself for Roxy Music doesn’t get much better than this.

Tara closes the album with a beautifully reflective instrumental piece that maintains the album’s overall aura. The result is that Tara compels me to listen to the album again, for Avalon is one album that I can never listen to just once.  

Subsequently, it doesn’t matter how many times I’ve listened to Avalon, throughout the years, for it continues to impress as a masterful piece of art-rock that isn’t limited by the era it was conceived in. Yet, at the same time, nostalgia plays a role in the modern appreciation of this creative endeavour. Each track on Avalon contributes to its overall excellence, and it remains a must-listen for anyone appreciative of the artistry and allure of Roxy Music and the early 80s rock vibe. 

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Tavares – New Directions (Album Review)

Released in 1982, New Directions is the eleventh studio album by the American R&B and funk band Tavares. While their legacy, by this stage, was well-cemented into the annals of music history, New Directions sees the band shift musical direction slightly as they transitioned from the core disco and soul sounds that characterised their earlier works, to a more contemporary and versatile style that lent more on the musical elements of funk, pop, and vocal ballads. 

While the cover art of New Directions was, and still is, unappealing, the sonic quality of the lossless Apple Music stream is thoroughly enjoyable. In fact, New Directions wouldn’t even be available on CD until 2010 when Big Break Records, under license from Sony Music Entertainment UK, released a remaster of this album. Since that time, the only other edition to be reissued was a CD release, for the Japanese market in 2016. Naturally, those of you who only care about the music will ponder my direction here, but when you consider that the Compact Disc was first released in 1982, it’s incredible to think that a new release album was not considered for release on the new emerging format. Granted, widespread acceptance of the CD format took a few years, but one can only speculate as to the sales success of New Directions had it been released on the now humble Compact Disc. 

While the aforementioned editions are now unfortunately out of print, we live in a wonderful era whereby for a small monthly fee we can have access to the same remaster and thereby be able to appreciate an album that otherwise would have been lost to history for many of us. Plus, if you’re still into buying digital downloads of the music you love, New Directions is available on both the iTunes Store and Qobuz. That said, all available editions include bonus tracks and longtime readers will note my distain regarding bonus material being tacked onto the end of an album. Subsequently, I have chosen to share with you a playlist that resembles the album’s original sequencing. However, if you want to listen to the bonus material, you can stream the complete bonus track version by clicking here. 

A Penny For Your Thoughts opens the album with a smooth soul-based tune that is simply stunning. The song’s lyrics are delivered as impeccably as ever for the smoothness melds perfectly with the harmony to produce an engaging laid-back tune that is the ideal opener.

I Hope You'll Be Very Unhappy Without Me maintains the sonic smoothness while adding a touch of funk and pop styling. Its groovy beat and playful lyrics are compelling, ensuring that while this song was only ever going to be an album-only tune, it fits the overall flow and sequencing of the album perfectly. 

Mystery Lady has a seductive quality that is musically engaging. It’s a simply beautiful song and while it isn’t the type of song that is most commonly associated with the Tavares, I do wish they had recorded more ballad-driven tunes for their smooth and sensual vocals are perfectly suited to that type of music. 

Abra-Ca-Dabra Love You Too exudes a playful and lighthearted vibe that is cringeworthy but pure fun. Yes, as you listen to Abra-Ca-Dabra Love You Too, especially with regard to the chorus, you’ll wonder why anyone would want to record this song for it’s corny and cliché, yet, it puts a smile on my face every time it comes on. 

Got To Find My Way Back To You picks up the tempo, adds an ample amount of funk with a touch of disco, and encourages you to get on your feet and dance around the room. Even if you’re sitting down, you’ll note that your body immediately connects with the rhythm as you’ll find yourself toe-tapping and head-bopping along, without intending to do so; a sign of music that’s good for the soul! 

Maybe We'll Fall In Love Again pops from the very first moments of the song. While it suits the overall style of the album, Maybe We'll Fall In Love Again is one of those songs that I doubt anyone will seek out on its own, for it’s the very definition of a filler tune. Still, New Directions wouldn’t be the same without this song. 

The Skin You're In is a masterpiece. That groove is sensational and the funky bass-driven rhythm is nothing short of addictive. Additionally, the vocal delivery is spot on and it makes me wonder why it was never released as a single for it’s one of the best songs the Tavares recorded throughout their entire career; yes, it’s that good!

Wanna Be Close To You closes the album perfectly with an 80s energy that’s nostalgic for many of us who either lived through the era or appreciate the 80s zeitgeist. Wanna Be Close To You is, ultimately, strong enough that it encourages me to spin the album again.

New Directions is a diverse and engaging album that showcases the Tavares' ability to adapt to different musical styles while maintaining their signature harmonies and soulful vocal performances. The album offers a mix of upbeat and mellow tracks, making it a well-rounded listening experience for fans of R&B and soul music and is one of the best albums released in 1982; despite its lacklustre chart success. New Directions is a perfect example of incredible music that was overlooked during its time. 

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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.

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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. 

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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. 

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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.

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