Willie Nelson – Always On My Mind (Album Review)

Released in 1982, Always On My Mind is a further testament to the enduring artistry and musical prowess of Willie Nelson. Released at a pivotal junction in Nelson's career, this album showcases his distinctive blend of country, pop, and folk influences, cementing his status as a genre-defying artist. While Always On My Mind isn’t a traditional covers album as it includes a mix of original compositions and covers, I often associate it closely with his 1978 masterpiece Stardust, as I find the two albums are somewhat interchangeable, particularly regarding their style and influences. Always On My Mind, however, isn’t quite as spectacular, but it remains one of the very best albums released in 1982. 

Yes, fans of this release may be perturbed by my suggestion that it doesn’t meet, or surpass, Stardust, but a core reason for that position is due to the fadeouts on this particular release. Rather than lengthy gradual reductions, were often met with the fadeout ending abruptly. The result is that the album’s structure loses a little of its fluidity. Other than that, Always On My Mind is beautifully recorded and while I’d argue that the song selection isn’t as strong as Stardust, this album is highly polished with arrangements and a contemporary sound that is not only tastefully done but pays homage to the originals as Nelson's distinctive vocal and expressive guitar playing take centre stage and meld perfectly with the album's rich and textured sonic landscape. 

The Hi-Res Lossless Apple Music stream, an Apple Digital Master sounds perfect in every way; other than the aforementioned issue with the fadeouts, of course. One aspect of the stream that is different to Stardust is that this album is included on Apple Music as a Dolby Atmos stream. The surround mix is intriguing for it adds a further sense of air and separation between musical elements. It’s as if you’re hearing the album for the first time, all over again, and you’ll most certainly hear things that were previously concealed in the stereo mix. 

The problem that exists, and it’s a good one to have, is that I thoroughly appreciate both the surround and stereo mixes. I will likely default to the stereo option as I don’t always have access to my Atmos-compatible system, but one thing is for certain, this is an example of Atmos being implemented respectfully to a classic album that wasn’t recorded with surround sound in mind. It’s refreshing to hear how lush the presentation is for the quality of this particular release is the exception rather than the rule as too many Atmos mixes are being rushed to market without adequate quality control checks. 

The only aspect that doesn’t align with these thoughts is the vocal echo on Do Right Woman, Do Right Man as it's further pronounced via the Atmos mix and can be particularly distracting. That said, join me, dear reader, as we explore the songs that make up Always On My Mind.

Do Right Woman, Do Right Man is a beautiful opener with soulful vocals and a country-infused arrangement, underscoring Nelson's versatility. While no one quite sings it like Aretha Franklin, Nelson has recorded a simply stunning rendition that’s a worthy peer and, in my mind, is my preferred version of this classic tune. 

Always On My Mind is the emotional centrepiece of the album. With its heartfelt lyrics and Nelson's poignant delivery, Always On My Mind isn’t only the perfect album title, but it’s one of the greatest songs Nelson has ever recorded. Yes, Elvis Presley’s is most likely the rendition most people are familiar with but as incredible as that recording is, Nelson does it better.

A Whiter Shade Of Pale further demonstrates Nelson's eclectic musical influences and his ability to make a song his own. Nelson puts his spin on this Procol Harum classic and the result is astonishingly good as he transforms the tune from its core psychedelic rock styling into an idyllic country-tinged ballad. The inclusion of Waylon Jennings offers a lovely contrast, but the song ends far too abruptly for my liking. 

Let It Be Me is a lovely interpretation of the Everly Brothers' classic and is perfectly suited to Nelson.  

Staring Each Other Down shifts the tone of the record and while this is most certainly an album-only tune, it simply doesn’t match the songs that we've heard thus far; a shame considering it’s a lovely song. It just isn’t suited to the album. 

Bridge Over Troubled Water is a rendition of Simon & Garfunkel’s classic that brings a new dimension to the song while paying homage to the original. If nothing else, Nelson’s magnificent vocal delivery on this song is what makes it a true masterpiece for while it is a classic tune, Nelson’s is one of the most impressive covers I’ve ever had the privilege of hearing.

Old Fords And A Natural Stone is a beautiful song. It’s tunes such as this that further cement Nelson as a master musician for he breathes life into the music composed by Bobby Emmons and Chips Moman. 

Permanently Lonely is a sombre ballad, but Nelson's emotive vocals, coupled with the melancholic instrumentation, create a poignant atmosphere that resonates with the listener. I do, however, feel that the backing vocals are a distractive element and I believe the song would have been stronger had they been omitted. That said, when you listen to the original, from the 1968 release Good Times, you’ll be glad that this re-recording was undertaken for it’s a considerable improvement over Nelson's original composition.

Last Thing I Needed First Thing This Morning is a lovely album-only tune but it’s unlikely that you’ll seek this song out on its own; despite being released as a single. It is, however, thoroughly enjoyable when appreciated within the album’s linear structure. 

The Party's Over was, in my opinion, the wrong track to close the album with. Thankfully, whenever I put Always On My Mind on, I never listen to it once but choose to play it on repeat so that aspect is less of an issue. However, if I were to listen to the album a singular time, The Party’s Over doesn’t exactly compel me to play the album again. That all said, the classic country honky-tonk feel is rather enjoyable and as a song on its own, I can certainly see the appeal. It just isn’t a strong closer. While this particular version is a re-recording of the original from Nelson’s 1967 The Party’s Over, I honestly don’t feel either recording is exceptional.

Willie Nelson's Always On My Mind is a lovely album and while it isn’t quite the masterpiece that Stardust is, it further encapsulates the essence of his musical artistry and is another of his timeless releases. The lasting appeal lies in the authenticity of Nelson's delivery, the quality of selected songs, and the seamless blending of genres. Always On My Mind not only reaffirmed Nelson's standing as a country music icon but also contributed to the broader cultural impact of his music; an impact that continues to this very day.

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Alice Cooper – Zipper Catches Skin (Album Review)

Zipper Catches Skin is often regarded as one of the more experimental and unconventional albums in Alice Cooper's extensive discography. Released in 1982, this studio album represents a shift from Cooper's earlier hard rock sound as he further embraced new wave and post-punk influences. It’s also fair to say that it wouldn’t be an Alice Cooper album if it had been a carbon copy of his previous works for one constant aspect of his career, a key aspect to his longevity in the industry, is his ability to pivot and incorporate modern styles with his classic sound.  

To say that Zipper Catches Skin is a complete departure from the theatrical and shock rock elements, that defined Alice Cooper's earlier works, would be erroneous. Yes, this album has a stripped-down rawness to it but the whimsically edgy and lo-fi aesthetic perfectly suits Cooper’s style. In fact, if you’re a fan of the Alice Cooper band's early releases, Pretties For You and Easy Action, you’ll thoroughly enjoy this release as it takes cues from those albums but ups the production quality.  

Given the chosen musical style, one needs to adjust their expectations when listening to Zipper Catches Skin, for it is never going to be the greatest sounding record. While I’m fortunate to own the 2018 vinyl reissue, the difference between that edition and that heard on the lossless Apple Music stream is small and can be mainly attributed to the smoother (warm) sound of the vinyl format. As a result, I find the Apple Music stream, a CD facsimile, to be more than adequate and given the 32-minute runtime, it means that I don’t have to get up and flip the album after approximately 15 minutes. Yes, it’s a first-world problem, but streaming is so good these days that the vinyl counterpart has to offer an appreciable difference over the stream and in this case, the delta just isn't great enough to warrant the additional ritual.

What is, undoubtedly, more appealing regarding the vinyl reissue is the album's artwork. The minuscule cover art, via streaming, simply doesn’t present the album artwork adequately. You can barely see Alice Cooper’s name in red, at the top of the artwork, and the lyrics that are present on the album cover are unreadable on the small screen. You can’t even make out the album title located above the blood stain. While I’m a proponent of streaming music, some aspects simply can’t be replicated by modern technologies and will forever be lost to time. Album artwork is one such element that used to be essential and while I acknowledge that is no longer the case, for those of us who appreciate the intricate nature of album artwork, it’s these small details that allow the album to exist beyond the audible spectrum and become a trinket forever ensconced in our memories. 

Zorro's Ascent kicks off the album with an energetic and quirky vibe that sets the tone for the music that is to follow with catchy hooks and an experimental sense of mystique. 

Make That Money (Scrooge's Song) is a perfect satirical statement on greed and capitalism. The upbeat tempo and electronic elements contribute to its energetic and electronically synthesised atmosphere. More than that, however, it’s a killer tune and is one of the best songs from Zipper Catches Skin. I’d even go as far as saying that it is one of the best songs Alice Cooper has ever recorded and one that you’ve likely never heard before; that is unless you’re already familiar with this album.

I Am The Future leans into new wave influences on a song that is most certainly cemented in the 80s for that musical style is unmistakably associated with the era. As a solid album-only tune, I Am The Future is thoroughly enjoyable, but it is unlikely that you’ll feel compelled to seek it out, outside of the album’s linear structure. 

No Baloney Homosapiens is a fantastic tune. Everything from the elemental opening, to the driving rhythm, and Cooper’s vocal delivery ensures that once the chorus enters the mix, the wittiness of the lyrics is a highlight. That said, the sound effects throughout, particularly in the middle of the song, take away from the song itself. It’s a shame as the inclusion ultimately results in a distractive element in an otherwise exceptional tune. 

Adaptable (Anything For You) introduces a more melodic style to the album, with a memorable chorus attached to a pop-influenced sound. It’s a great tune! 

I Like Girls flows seamlessly from Adaptable (Anything For You), but it’s the bouncy rhythm that’s the highlight here as its catchy nature furthers the sense of fun that is the undercurrent of the entire album. What a great song!

Remarkably Insincere, as with I Like Girls, offers a seamless transition that is punk-inspired with straightforward instrumentation that will have you rocking along every time you play the album. 

Tag, You're It has a killer opening that is fast-paced with a rebellious energy. It is, however, the rhythmic drive that will reach into your soul and compel you to move involuntarily to the beat. That said, the only component that I find to be somewhat annoying is Cooper’s spoken word element. Yes, I get the intent to further explore Cooper’s psychotic personas, but I feel it would have been a stronger song sans those inclusions. 

I Better Be Good has a straightforward punk-rock feel; sometimes that is all that’s required for a song to be noteworthy. 

I'm Alive (That Was The Day My Dead Pet Returned To Save My Life) serves as a fitting conclusion to the album, leaving listeners with a sense of the unexpected. There are only a few musicians capable of recording such a tongue-in-cheek song that can also be taken seriously. Ultimately, it’s a killer tune and a fantastic closer that leaves you wanting more.

While Zipper Catches Skin was not as well-received as some of Alice Cooper's earlier albums, it has gained a cult following over the years, due to its experimental nature and departure from the artist's more traditional sound. Of course, Cooper’s addictions had an impact on this release but the unique and unconventional styling has long been a Cooper trademark that fans, such as you and I, thoroughly enjoy. Subsequently, Zipper Catches Skin is an unintended masterpiece that only gets better with age and the more frequently it is played.

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KISS – Creatures Of The Night (Album Review)

Released in 1982, Creatures Of The Night marked a pivotal moment in the storied career of KISS. The band, facing challenges and lineup changes, unleashed an album that not only revitalised their sound but also solidified their status as rock and roll legends. With their last truly epic album being the 1979 release, Dynasty, KISS returned to their hard rock foundations with Creatures Of The Night; a sound that was refreshing at the time and is ultimately timeless even when appreciating the album some four decades after its initial release. 

Part of the appeal is due to the production of the album as Paul Stanley and Gene Simmons, along with co-producer, Michael James Jackson, were able to successfully capture the raw energy of KISS' live performances while maintaining studio precision. The result is a highly polished, yet edgy, production that allows each musical element to shine.  

While there is never any guarantee as to the sonic prowess and stature of remastered releases, the 2022 remaster of Creatures Of The Night is superb. Sure, some will complain that it isn’t as dynamic as the original analogue releases of the album, but in all honesty, it rocks! As such, it’s a fun, lively listen, that I could listen to on repeat for hours on end. 

While the lossless stereo mix is my preferred edition of the album, the Dolby Atmos mix, via Apple Music, is a little muddy in the low end and lacks instrument separation as a result. That said, on some tracks the surround mix does enhance the music, but the question that has to be asked is if it makes the album more compelling. The short answer is: No. The Atmos mix is fuller, less treble-focused, and as such reminds me fondly of the sound that I’d get from high-quality compact cassettes. That, of course, doesn’t mean that I dislike the surround option; anything but, I just find myself gravitating to the stereo mix more often as it simply sounds right.   

Creatures Of The Night serves as a powerful opener, setting the tone with its thunderous drums, blistering guitar riffs, and anthemic vocal delivery by Stanley. 

Saint And Sinner has a swagger about it that becomes infectious. While it’s a run-of-the-mill rock tune, the groove is catchy enough that you’ll find Saint And Sinner quickly becomes an earworm; an unlikely one, but one nonetheless. The guitar work, including Simmon’s bass, is some of the greatest on any KISS recording as it becomes the driving force behind the song.

Keep Me Comin’ is a killer tune that’s KISS 101. With soaring instrumentals throughout, compelling vocals, and an addictive harmonious chorus; what’s not to like? Yes, those who don’t like glam metal may find it to not be to their tastes, but rather than focus on influences and subgenres, I much prefer to rock out to this dose of raw, unbridled rock. 

Rock And Roll Hell is magical! That bass guitar entry is what bass guitar dreams are made of and I’m so glad that Simmons was the lead singer on this tune for it suits his style perfectly and simply wouldn’t have worked if Stanley had been the vocalist. Most interesting, however, is that Bryan Adams co-wrote the song with Simmons and Jim Vallance. While Adams is an accomplished rock star in his own right, he was still in his infancy when this song was written and it’s a masterpiece if there ever was one. 

Danger is fast-paced, adrenaline-fueled, and is one of KISS’ most relentless tracks as it relates to raw intensity. It’s a killer tune that continues to grow on you the more you listen to the album.

I Love It Loud has an interesting fade-out, similarly styled to The Beatles’ Helter Skelter. While it’s a recognised recording technique, and it works exceptionally well, I’m not entirely sure that it was necessary as it doesn’t add anything to the song. Subsequently, I feel it would have been better had this element been omitted, but that doesn’t change the fact that I Love It Loud is a quintessential KISS anthem, with a chanting chorus and thunderous rhythm, that makes it an instant classic.  

I Still Love You slows the tempo as it’s the only power ballad to be included on Creatures Of The Night. While many fans prefer KISS for their pure rock numbers, I must admit that I love a good power ballad and this is no exception for it not only works well within the album’s structure, but it’s perfectly suited to Stanley’s incredible vocal range.

Killer returns the album to its high-energy, riff-driven, sound that defines the album and is a quintessential B-side. 

War Machine closes the album with a bang and is so addictive that you’ll find yourself quickly playing the album again. The militaristic drumming and aggressive guitar riffs reinforce the overall theme and leave a lasting impression. While numerous songs could be declared as the best song in KISS’ extensive catalogue, War Machine is right at the top of any list for it doesn’t matter if you experience it via Creatures Of The Night, or in concert, you’re going to be blown away with the attitude of this incredible song. 

Creatures Of The Night was a much-needed return to form for KISS following the lacklustre Unmasked and the downright atrocious Music From “The Elder”. The impact from Creatures Of The Night reverberated through the 80s, influencing the glam and hair metal bands that followed but ultimately showcased that KISS still had it, along with the ability to evolve while staying true to their rock roots. Creatures Of The Night is, subsequently, a must-listen for both die-hard fans and those looking to explore the diverse landscape of 80s rock music.

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Dire Straits – Love Over Gold (Album Review)

While some may question if five songs can be considered an album, there is no doubt that Love Over Gold, Dire Straits’ fourth studio album from 1982, is a quintessential album experience. While each of the five songs stand out on their own, when you listen actively, to the intended album structure, you’ll encounter a rich and rewarding experience that will have you coming back to this incredible release. 

Exploring longer and more intricate compositions than ever before, Love Over Gold was arguably less commercial in its intent than their previous releases. While that could be seen as a missed opportunity, the artistic depth and musical sophistication of the album ensures that it’s timeless and remains an essential element in Dire Straits’ back catalogue. With complex arrangements, extended instrumental passages, and a greater emphasis on atmospheric elements, Love Over Gold is every bit a Dire Straits record but more importantly, it is an experience that has to be heard firsthand in order to be fully appreciated. While the music scene in 1982 was the launching pad for some of the greatest 80s releases, it’s fair to say that Love Over Gold was somewhat lost in the crowd for it truly is one of the greatest albums ever recorded; particularly within the progressive and art rock genres. Yes, it charted and sold respectfully, but it never quite reached the heights that an album of this calibre should have. 

Nevertheless, when looking at masterpiece releases, it isn’t uncommon to note that the artist had a guiding hand from an experienced producer to achieve the very best possible outcome. While that had previously been the case with Dire Straits’ earlier releases, Mark Knopfler showcased his vision by not only writing all the songs but also acting as the sole producer for Love Over Gold. Quite frankly, the man is a musical marvel and while I don’t find his post-Straits output to be as compelling, albums with the spit and polish of Love Over Gold usually only come once in a career. Yet, Dire Straits’ catalogue is remarkably impressive from their self-titled debut in 1978 to their final studio release in 1991. 

Speaking of the impeccable production quality, the lossless Apple Music stream is derived from the core 1996 CD remaster and while I’ve heard some declare these remastered editions to be somewhat lifeless, I thoroughly enjoy them. Granted, when it comes to this album I haven’t compared this mastering to any other, but perhaps that is a good thing. At some stage, even the most ardent of fans need to just rock out and thoroughly enjoy the version of the album that they have access to rather than continually trying to seek out a better copy. Yes, the stream could be a little smoother, in places, but I wouldn’t call it shrill; not by any stretch of the imagination. It just needs a little more fluidity to take it a few percent closer to absolute perfection. 

Nevertheless, I couldn’t be happier with the stream for every musical element is given room to breathe in an expansive soundstage that has plenty of headroom available to pump the volume while also adjusting the EQ without adding degradation to the album’s overall presentation. While I tend to enjoy Love Over Gold, when listened to with no added EQ, the aforementioned smoothness could be achieved with minor manual adjustments to the EQ settings. It’s just a shame that modern EQ options, particularly in the case of Apple Music, apply an all-or-nothing approach and unless you’re on a Mac, you’ll find there are no manual EQ settings available to adjust; a major oversight, certainly! That all said, join me as we explore the music that makes up this essential album from Dire Straits’ illustrious career.  

Telegraph Road is an epic 14-minute musical wonder that serves as the perfect opener for Love Over Gold as it sets the tone for that which we’re about to hear. If you haven’t already, you’ll want to turn the volume up for the initial moments, before the building of the song, are simply magical and the increased volume will only enhance the experience as the song unfolds gradually. It really is a musical journey that showcases Knopfler's storytelling capabilities and the band's ability to build tension and release it with masterful precision.  

Private Investigations is akin to a broody, noir-like tune with elements of classical and folk music that further highlights Knopfler’s virtuosity as a songwriter and musician. It’s a beautiful song that has a cinematic quality that will leave you in awe every time you listen to what can only be described as a masterpiece. Plus, that bass-driven rhythm is hypnotic.

Industrial Disease is a departure from the album's overall intensity, yet don’t let that aspect deter you for it flows seamlessly when listening via the album structure. Featuring witty lyrics and a more upbeat musical arrangement, Industrial Disease is classic Dire Straits as it’s a commentary on modern society backed by some addictively good rock and roll licks. 

Love Over Gold is a magnificent title track that can be best described as Jazz rock; albeit with a slightly bolder rock edge. While the entire album is an incredible audible journey, the mix of this particular song is stunning. The stereo imaging alone is so expansive you’d swear it was a surround mix, yet it is just stereo done right. 

It Never Rains with its more upbeat, rock-oriented sound, serves as the perfect closing bookend to an album that is not only one of the greatest ever recorded by Dire Straits but is amongst the greatest albums ever released. It Never Rains, however, is the weakest song on the album but given the quality of the music that preceded it, it is more than acceptable and is, arguably, more closely aligned with the overall style of Dire Straits’ prior releases. Either way, as an album-only tune, It Never Rains is thoroughly enjoyable.

Love Over Gold stands as a bold and ambitious statement in Dire Straits' discography. It's an album that rewards attentive listening, offering a rich tapestry of sound and thought-provoking lyrics. While it may not have been as well received, commercially, as some of their other works, its artistic depth and musical sophistication make it a timeless and essential part of the Dire Straits catalogue as well as the 80s music scene.

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Glenn Frey – No Fun Aloud (Album Review)

Released in 1982, No Fun Aloud is the debut solo studio album by Glenn Frey. As a founding member of the Eagles, Frey had already established himself as a prominent figure in the music industry, and this album followed that legacy; albeit with a different style and a selection of songs that are, at times, considerably different from his Eagles output. Spanning various musical styles, blending rock, pop, and elements of country, No Fun Aloud showcased Frey’s ability to stand on his own as a solo artist and as far as 80s debuts go, this is one thoroughly enjoyable release. 

What is a little lacklustre, however, is the album artwork. While it doesn’t qualify for inclusion in the The Worst (And Most Disturbing) Album Covers Of All Time list, it is indicative of the visually cringeworthy 80s. Seriously, take a look at the Eagles’ album artwork from the 70s, then compare them to No Fun Aloud. It’s almost comical and one can only wonder what Frey and his record label were thinking. 

Thankfully, the uninspired album artwork doesn’t represent the music within. The album’s production reflects the standards of the time. Yes, some may argue that it isn’t up to the same quality as that heard via the Eagles’ works, but given the Eagles didn’t release an album in the 80s, we won’t ever truly know if their production quality would have shifted with the increased adoption of synthetic elements and emerging digital recording techniques. Hence, such comparisons are trivial. Interesting, yes, but trivial nonetheless. 

While No Fun Aloud hasn’t been remastered and the edition available via Apple Music is the CD counterpart, you’ll be met with a dynamically audible presentation that has plenty of headroom thereby allowing you to turn the volume up and rock out. Modern music lovers may dislike this approach, however, as it isn’t loud and therefore can initially sound inferior by comparison, but when listening to the stream there are no digital artefacts to contend with, nor is it fatiguing. Yes, that quality can, in part, be attributed to the production of the album, but it also showcases that loudness, such as that associated with the loudness wars and modern recordings isn’t as desirable as some would make it out to be. Yes, we all love listening to music loud, but I want to control the volume and set the mood myself. Still, the result is an album that is polished, well-crafted, and perfectly complements Frey's musical styling.

I Found Somebody may not be the strongest opening track. But as a music lover who simply adores the saxophone, I get drawn in every time I listen to the album. Frey’s poetic delivery makes the song even more compelling and the infectious chorus certainly helps in that regard. However, it is Al Garth’s tenor saxophone that steals the show here and ensures that even though the song wasn’t a hit, it could have been a radio-friendly tune that could have done well had it been released in that capacity. 

The One You Love is simply magnificent and I’d argue that it should have been the album’s opener. Regardless, the intermingling of Jim Horn (tenor saxophone) and Ernie Watts (saxophone) is a musical masterstroke that makes The One You Love an even stronger song than it otherwise would have been. Yes, the smooth melody and emotional depth would have remained sans the horn element, but it enhances Frey’s soulful vocals and poignant lyrics thereby making The One You Love one of the greatest ballads ever recorded.

Partytown is a fantastic rock-infused number. Granted, it is a significant sonic shift from The One You Love, but after you’ve listened to the album a few times, you no longer notice the jolt but look forward to the upbeat vibe and some killer late 50s-inspired guitar and vocal work. 

I Volunteer, again, shifts the tone of the album and upon first listening you may feel it’s a distractive element, but the ebb and flow grows on you the more you listen to the album. I know, in the age of playlists, and short attention spans, we no longer focus on the album experience as we once did, but No Fun Aloud shines when you appreciate it as a single body of work, rather than a collection of tunes. That said, I Volunteer is a solid album-only song.

I've Been Born Again starts with a skit usually associated with the Hip-Hop industry and while it’s a little corny, it works rather well. Frey's vocals exude passion, via this bluesy soulful number, resulting in a compelling tune that you’ll find yourself toe-tapping and head-bopping along to. Fantastic! 

Sea Cruise continues the light-hearted approach with this cover of the Huey "Piano" Smith original and while it has been covered by a who’s who of the music industry at this point, Frey performs it masterfully and in many ways it can be seen as an introduction to the Great American Songbook that he’d adopt when recording the delightful After Hours album in 2011-12.

That Girl is a beautifully dynamic tune with some of the loveliest vocals Frey has ever recorded. 

All Those Lies has an Eric Clapton vibe; hence, I love it! Correlation aside, the mid-tempo groove, with some magical soft rock elements, and Frey’s smooth and introspective vocal, make this a hidden gem and a song that should have, in my opinion, been released as a single for it has hit written all over it.

She Can't Let Go is a twanging number. While some may appreciate the narrative-driven approach, and I don’t dislike it, it results in this song being an album-only tune that flows well within the album’s structure but was never  destined to be a standout in Frey’s back catalogue. 

Don't Give Up closes the album with a high-energy number that conveys a sense of hope. While it can be seen as a heartfelt longing for love tune, its driving rhythm and chorus vocal “Don’t Give Up” is so poignant that you’ll likely find yourself using it as inspiration for any number of life’s challenges. 

No Fun Aloud is a thoroughly enjoyable debut solo album from Glenn Frey. It showcases his broader musical skill, both as a songwriter and performer, with each track offering a different sonic experience and standing as a testament to his enduring influence in the world of rock and pop music. While No Fun Aloud may not be as widely remembered as some of Frey's other works, it remains an important milestone in his solo career and a noteworthy release in the broader landscape of the 80s music scene.

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Lionel Richie – Self-Titled (Album Review)

Released in 1982, Lionel Richie's self-titled album marked a pivotal moment in his career. Stepping away from his tenure with The Commodores this eponymous album saw Richie establish himself as a solo artist with a unique sound that would shape the R&B and pop landscape for decades to come. The album, often referred to simply as Lionel Richie, is an iconic piece of 1980s music history, combining smooth vocals, heartfelt lyrics, and memorable melodies.

Comprised of nine tracks, with each song showcasing Richie's exceptional songwriting and vocal talents, this self-titled release is a pleasure to listen to for the lossless Apple Music stream, an Apple Digital Master, is simply exquisite. It certainly helps that the album's production is top-notch for Richie worked with talented musicians and producers to create a sound that was fresh, innovative for its time, and remains timeless in retrospect. The arrangements are lush and well-crafted, with a perfect balance of instruments to complement Richie's vocals. The result is a memorable musical experience that is one of the greatest releases in all of recorded music history. 

Serves You Right kicks off the album with a lively, funky groove and infectious rhythm that makes it impossible to resist toe-tapping or dancing along to.

Wandering Stranger slows the tempo, allowing Richie to showcase his incredible vocal range and emotional depth. With a tender moving arrangement, featuring gentle piano notes and strings, Wandering Stranger becomes a melancholic beauty that is amongst Richie’s greatest recordings, for it’s nothing short of a masterpiece and Joe Walsh’s guitar solo ensures that Wandering Stranger is taken to the next level for what can only be described as being a perfect composition.

Tell Me is an up-tempo number that perfectly suits Richie’s vocal style. While it isn’t a standout, and you’re unlikely to seek it out on its own, as an album-only tune it holds the album together and Lionel Ritchie simply wouldn’t be the same record sans Tell Me. 

My Love is one of the album's standout tracks with a lush arrangement that showcases Richie's incredible vocal range, tender delivery, and ability to deliver heartfelt ballads that continue to touch the hearts of music lovers everywhere.

Round And Round is a pleasant and easygoing track with a touch of Motown influence, particularly in the song’s chorus. Richie's vocals are relaxed and smooth, but it is the catchy melody and the harmonious backing vocals that ultimately make Round And Round so enjoyable. While it may not be as prominent as other songs on the record, the success of an album is the sum of all its parts, rather than a couple of exceptional songs. Round And Round is, subsequently, a quintessential B-side.

Truly is, arguably, the most iconic song from the album. It’s a classic love ballad with a simple, yet unforgettable melody. Richie's vocal is at its most soulful throughout this song, and the lyrics express deep and genuine affection. The song's timeless quality has made it a staple at weddings and romantic occasions, and it remains one of Lionel Richie's signature tunes.

You Are oozes warmth and sincerity as Richie's vocals are filled with tenderness and love. It’s another of Ritchie’s timeless classics with a chorus that you simply can’t help but sing along to. Exceptional!

You Mean More To Me is a gentle, heartfelt ballad that perfectly suits Lionel Richie's signature style. The song's lyrics express deep affection and gratitude for a loved one, and Richie's vocals are so tender and sincere that you simply can’t help but be drawn into this song. The melody is simple and memorable, with a delicate arrangement composed with the use of soft piano keys and subtle orchestration, along with the entire band, resulting in a beautiful song that will captivate your soul. 

Just Put Some Love In Your Heart is a short, but ideal closing track as it leaves a lasting impression that will compel you to play the album again. 

Overall, Lionel Richie's 1982 self-titled album is a timeless classic that remains a pinnacle release from the 80s. With its unforgettable melodies, heartfelt lyrics, and Richie's exceptional vocal delivery, it continues to resonate with listeners across generations and is a testament to Lionel Richie's enduring talent and his ability to create music that speaks to music lovers everywhere. Whether you're a longtime fan, or discovering it for the first time, Lionel Richie is a must-listen for anyone who appreciates the beauty of love songs and the magic of a truly gifted artist.

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Michael Jackson – Thriller (Album Review)

Iconic best describes Thriller, but is it Michael Jackson’s greatest album? 

From a sales perspective and the ability to capture the zeitgeist; absolutely! However, the more I reflect on the album, the more I find that it isn’t as cohesive as the masterpiece that is Off The Wall. It also isn’t as energetic as Bad and while Dangerous rounds out his most successful solo era releases, and is a little too lengthy, it too is a stronger album. 

Don’t get me wrong, dear reader, Thriller is an exceptional release, but once you get past the fanfare and key singles that came from the album, the album-only songs don’t necessarily ensure that Thriller is a fluid album experience from start to finish. Nevertheless, one thing is indisputable and that is that Thriller forever changed the world of music upon its release in 1982. 

As a game-changing cultural phenomenon, Thriller continues to captivate audiences, transcending generations, to this day and remains one of the greatest releases from 1982. Of course, it wasn’t just the music that made Thriller so successful, for it arrived hot on the heels of the MTV era and Jackson took thorough advantage of this new platform ensuring that his music videos were every bit the visual spectacle counterpart to his audible wonders.

In many respects, had it not been for the emerging music video revolution and the Motown 25: Yesterday, Today, Forever television special, where Jackson performed Billie Jean and debuted the moonwalk, one must question if Thriller, Jackson’s sixth solo studio album, would have been the cultural landmark it turned out to be.

Album artwork, certainly in the 80s, played a key role in attracting an audience and while Thriller was successful for a multitude of reasons, the iconic cover art would have been stunning when seen on the shelves of your local record store. It isn’t far-fetched to suggest that the artwork alone could have sold the album for it has a unique quality that allows it to stand out from the crowd. With a level of visual sophistication, you immediately get a sense that what you’re about to hear is something very special. While we shouldn’t judge a book, or a record, by its cover, it is often true that compelling artwork mimics intriguing music and in this case, Thriller doesn’t disappoint. 

However, with over 700 different versions of Thriller, modern collectors face an incredible challenge in finding an edition that best suits their tastes. The good news is that due to its high production, most fans will be content to listen to any version of the album. There are, of course, reasons why one may wish to own multiple copies of Thriller but I find myself content with not only the Hi-Res Lossless Apple Music stream, an Apple Digital Master, but with my 2009 Music On Vinyl (MOV) reissue edition that I’m fortunate to own. Yes, I could track down the various versions, many of which are highly regarded, but I increasingly find myself tiring of such endeavours as it becomes more about finding perfection than simply appreciating the music I love. 

As to which edition I prefer, both have their unique qualities. The Apple Music stream is exquisite and if you haven’t got a physical copy, the stream is likely all you will ever need; it’s that good! However, the vinyl reissue is musically fluid with exceptional dynamics and plenty of bass punch. It’s a lovely all-rounder. The only flaw that I can speak of is that there is a little too much sibilance throughout Side 2 of the record. The sibilance becomes less apparent when playing on my smaller, less revealing system, but it’s something that some of you may find distracting. That said, Jackson does have a small lisp in his vocals anyway, but it’s an issue here as it is amplified a little. Additionally, there are some minor musical elements that sound too distant in the mix on the vinyl reissue, whereas they are much clearer on the streaming counterpart. Again, these issues are not major, and most music lovers won’t even notice them, but if you choose to pick up the vinyl reissue from 2009 as I have, knowledge of this may help you make an informed decision. 

Before taking a look at the songs that make up Thriller, I wanted to take a moment to acknowledge the 2008 reissue and its series of remixes with various artists. Yes, it was officially sanctioned, but I don’t classify it as being true to the Thriller album experience. Subsequently, this review will focus on the core nine tracks that make up the original release of the album. The subsequent bonus material that was on the 2008 reissue remains readily available for those of you who are interested. The 2001 Special Edition is a little more uncommon and truthfully, I never appreciated the bonus songs, and interviews, tacked onto the backend of the album. It really should have been released as a separate disc, but alas, that is one edition that I’ll never experience the Fear Of Missing Out (FOMO) over. Finally, the Dolby Atmos mix on Apple Music is adequate. At this stage, I’ve been listening to Thriller in stereo for over four decades and the surround mix offers me nothing new. In my mind, Thriller should always be a stereo-only release.

Wanna Be Startin' Somethin’ is a superb funk-styled opening track that is a fantastic complementary counterpart, in Jackson’s catalogue, to Don’t Stop Till You Get Enough. With a dynamic rhythm and mix to match, Jackson’s vocal delivery is as catchy as the infectious melody. If you’re sitting still while listening to this song, you’re listening wrong as your body wants to move involuntarily to one of the greatest album openers of all time. 

Baby Be Mine offers a smooth disco-styled flow that slows the tempo somewhat. It should by all metrics be a jolt to the senses, especially following the album’s energetic opener, but the sequenced flow ensures that Baby Be Mine is not distracting in its chosen position.

The Girl Is Mine (with Paul McCartney) is playful and a little gimmicky, yet that is similar to the style these two master musicians had utilised previously with Say Say Say. Still, the interplay between these two legends is simply wonderful and while The Girl Is Mine is far from my favourite Thriller era tune; Thriller simply wouldn’t be the same without this light-hearted pop song. 

Thriller is a synthetic disco-funk masterpiece that is eerie, captivating, and a true musical marvel. The spooky atmosphere, incorporating Vincent Price’s unique voice-over, ensures that Thriller is not only the perfect title track but a song that remains part of the social consciousness to this day. In fact, Thriller doesn’t sound dated at all; thanks to the exceptional production. That aspect alone is surprising, especially considering 80s-era sound effects were applied to the mix, but good music will always stand the test of time and Thriller is timeless. 

Beat It is arguably the heaviest rock and roll song the King Of Pop ever recorded and is so good that I also consider it to be one of the greatest rock and roll songs of the 80s; an unlikely candidate, yes, but it’s right up there with the best of the best. Of course, it doesn’t hurt having the one and only Eddie Van Halen performing one of the greatest guitar solos ever recorded. Add Jackson’s dynamic vocal presentation, and the song’s anti-violence message, and you’re left with a song that can only be described as an anthemic rocker.

Billie Jean is dance meets funk with a touch of soul and R&B. Much like the other landmark songs on this release, as soon as you hear the first note, you know it's a Michael Jackson song. The captivating bassline and infectious rhythm further ensure Billie Jean will remain an earworm long after the album has concluded.

Human Nature is a soothing ballad that shifts the tone for the rest of the album. While it’s a lovely tune in its own right, and a perfect song for the album, I find that it’s one that I rarely seek out on its own. It isn’t that I dislike it, anything but, it just isn’t a standout when a record, such as Thriller, has so many other exceptional songs.

P.Y.T. (Pretty Young Thing) is so bad it’s good. It really is the embodiment of 80s pop with a touch of disco that our senses thoroughly enjoy, for it’s impossible not to dance along to this classic tune. 

The Lady In My Life is a simply gorgeous song to close the album on as Jackson’s tender vocal reaches right into your soul, encouraging you to spin the record again.

Thriller is ultimately a testament to Michael Jackson's versatility and ability to create music that resonates with a broad audience. While I don't rank it as his greatest release, and feel it is overrated, it is successful because it’s extraordinarily good. From energetic dance tracks to soulful ballads, Thriller offers a diverse range of musical experiences that will stay with you well after the album has ended, thereby making it an exceptional release in the world of music and one of the best albums released in the 80s.

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