Billy Idol – Rebel Yell (Album Review)

Released in 1983, Rebel Yell is the second solo studio album from Billy Idol and not only bests his solo debut release but further solidifies his status as a prominent figure in the 1980s rock and new wave scene. With its dynamic blend of punk energy, new wave aesthetics, and anthemic hard and pop rock, Rebel Yell remains a classic in Idol's discography and is one of the greatest albums of not only the 80s, but of all time.

One of the key aspects that makes Rebel Yell so compelling is the top-notch production. Keith Forsey did a wonderful job in producing Idol by ensuring he skillfully brought out even more raw intensity and focus from not only Idol himself, but the entire band. Add to that Idol’s signature snarl, Steve Stevens’ electrifying guitar riffs, and a selection of killer songs and there’s little doubt as to why Rebel Yell is amongst Idol’s greatest musical achievements.

As you listen to the album, you’ll be pleasantly surprised for it features a series of well-crafted upbeat rockers with the occasional introspective mellower tune that ensures the album is anything but dull. Without a B-side to be found, unlike Idol’s 1982 self-titled release, Rebel Yell is akin to a single performance that is best heard via Apple’s Digital Master for the previous CD releases simply didn’t have the same presence as the lossless streaming counterpart. There’s a tonal warmth and fullness present on the stream that is lacking from the somewhat more clinical Expanded Edition CD release. Yes, the dynamic range was technically greater on the 1999 CD reissue and the album has since been compressed a little more for the latest streaming releases, but they simply sound right. It’s as if the music needed to be a little more dynamically compressed in order to get an additional oomph out of the recording. As to whether or not that style of mastering appeals to you, I find from my subjective perspective that I much prefer the bolder sound signature of the stream and I don’t feel that we lose any of the detail, spacial separation between musical elements, or soundstage as a result.

The stream is so impressive that I’d argue that it’s a fool’s errand to seek out any other copy. No, we can’t rely on streaming being there indefinitely, or that particular master never changing again to something a little less compelling. Hence, with that in mind, I’d be seeking out any physical release post-2017 as they should all have this new mastering. Of course, you can always purchase this particular release on iTunes or Qobuz if you prefer digital ownership. Just a quick note regarding the digital edition available via Qobuz – Flesh For Fantasy is listed as being the 1999 remaster. Perhaps it’s a typo, I’m not sure, but purists will likely find that information relevant. For everyone else, let’s take a look at the songs that make up this classic release.

Rebel Yell kicks the album off with a killer and distinctive guitar riff that sets the tone for the entire record. Idol's snarling vocals convey a rebellious attitude and the chorus is infectious but it's the song's anthemic quality and energetic rhythm that make this song a timeless classic.

Daytime Drama has a mid-tempo driving rhythm that merges well with Idol’s characteristic vocal swagger, resulting in a thoroughly enjoyable song that showcases Idol's confident, charismatic, and diverse vocal style.

Eyes Without A Face slows down the pace of the album magnificently. Yes, Idol is known for his rock numbers, but just like Alice Cooper, he’s got a softer side and a vocal presentation that, when delivering ballads, is nothing short of world-class. The haunting dreamy nature of the musical backdrop is similarly exquisite, but that guitar riff mid-song, and Idol’s intertwining rap, really showcase his versatility.

Blue Highway returns the album to a more upbeat tempo, featuring a driving rhythm and catchy hooks. Stevens’ guitar work, once again, shines and I dare say he’s one of the most underrated guitarists in music history for his licks are second to none.

Flesh For Fantasy is one of the album’s highlights, but there are so many that that could be said about any of the nine tracks featured on this landmark release. Nevertheless, the song's sensual and seductive undertones, along with Idol’s magnificent vocal performance, are amplified by Stevens' sultry guitar riffs, thereby making it one of Idol’s most memorable tunes.

Catch My Fall is a mid-tempo song with a compelling combination of musical elements. That said, if there was a low point on the album, Catch My Fall would likely be it as there are times when I feel that Mars Williams’ performance on the saxophone isn’t suited to the song and that the chorus is a little run-of-the-mill. Perhaps it’s just a simple case that the other songs are so incredible, but Catch My Fall hasn’t aged well. That said, there are times when I thoroughly appreciate this tune so I have a classic love/hate relationship with this song.

Crank Call sounds as if it were taken from, or written for, a television show from the era; particularly the introduction. Nevertheless, once my mind gets past that aspect, I can’t help but rock out to this killer tune.

(Do Not) Stand In The Shadows has an upbeat and energetic sound with an infectious rhythm and catchy chorus. Yes, this is most certainly a song of the era, but it hasn’t aged and is just as exciting as when it was first released.

The Dead Next Door has a beautiful opening that in some respects reminds me a little of U2. Each time it comes on it signifies the end of an exceptional album and is the type of song that permits reflection as well as compelling me to spin the record again.

Capturing the spirit of the 80s with its bold and rebellious attitude, Rebel Yell is a timeless classic that blends various musical elements, from punk and new wave to rock and ballads thereby creating a cohesive and memorable listening experience. Idol's charismatic persona, coupled with the album's exceptional production and Steve Stevens’ magnificent guitar riffs, ensure Rebel Yell is a must-listen for fans of 80s rock and remains a testament to Idol's enduring influence within the music industry.

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AC/DC – Flick Of The Switch (Album Review)

Flick Of The Switch is an interesting release for it was most certainly overshadowed by the mammoth success of Back In Black and to a lesser extent, For Those About To Rock (We Salute You) but despite leaning into the band’s signature blend of hard-hitting riffs, catchy melodies, and tongue-in-cheek lyrics, what we have is a thoroughly enjoyable selection of songs but not a perfect album experience. 

In some respects, Flick Of The Switch could almost be seen as a collection of songs that were cut from the aforementioned releases. It isn’t, after all, uncommon for a band to write more than they require for a given release, only to work on those songs at a later date and release them on a future album. That is, after all, how Rock Or Bust and POWER UP were conceived. To my knowledge, however, that wasn’t the case here. What is acknowledgeable is the stylistic shift towards rawer production values, similar to those heard on the Bon Scott era AC/DC albums. 

It well could be the more straightforward, no-frills sound that limits the overall flow of the album experience; particularly if listening to their discography in chronological order. That said, Flick Of The Switch features numerous killer tunes and while I have ranked it as 12th in AC/DC’s discography, it remains one of the best releases from 1983 and is only ranked so low because AC/DC’s greater discography is impressive, to say the least. I do, however, stand by my statement, in the ranked list, that the album doesn’t have a memorable quality. If you were to quiz me on specific songs, from this release, I’m not sure I’d be able to answer correctly, despite thoroughly enjoying the songs when I play the album. I don’t want to suggest that this record is best listened to in the background, but there’s nothing offensive regarding the song selection, there just isn’t a chart-topping hit to speak of.

Rather than working again with Robert John “Mutt” Lange, AC/DC decided to self-produce this release and that significantly contributed to the overall style of the record for Lange’s production focus was bold and dynamic with a focus on chart-topping stadium-filling hits. While we can ponder what Flick Of The Switch may have been with Lange in the production chair, it wasn’t to be and if we’re to endorse artistic intent, then fans have to be content to acknowledge that while Flick Of The Switch may lack focus, and the bold production values of Lange-produced albums, it is ultimately what the Young brothers were aiming to achieve. 

None of that, however, limits us from rocking out to this release, although the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is a little underwhelming in places. Perhaps it’s the way the album was recorded and mixed, but there’s a sense of the music being concealed slightly as well as some annoying cymbal crunching. As the album was remastered in 2003, and the stream is the direct counterpart, it very well could have been a result of the 2003 remastering process that significantly reduced the dynamic range of the recording. 

Other than that, the stream sounds good and you’ll find it easy to appreciate Angus Young's blistering guitar solos and Malcolm Young's rhythm guitar providing the backbone of the album, driving each song with relentless intensity. Brian Johnson's raspy vocals soar above the instrumentation, delivering gritty and impassioned performances throughout, while Cliff Williams' solid bass lines and Phil Rudd's powerhouse drumming anchor the rhythm section, adding depth and groove to the entire album.

Rising Power kicks the album off with a magnificent guitar riff that, when combined with the rhythm, creates an energetic track with some thunderous drumming from Phil Rudd and driving basslines from Cliff Williams. Brian Johnson's gritty vocals complement the lively instrumentation, but the bridge and chorus, with the backing vocals, are a distractive element in an otherwise perfect tune. 

This House Is On Fire maintains the album's high energy with a relentless rhythm and infectious guitar hooks. The lyrics convey a sense of urgency that matches the intensity of the music and in many respects, This House Is On Fire is so close to an anthemic sing-along tune that it, with a little more spit and polish, could have been a standout track. 

Flick Of The Switch is a fierce and unapologetic anthem that captures the essence of AC/DC's raw, no-frills sound. It’s, subsequently, the perfect title track. Again, it is only let down by the rawer production. 

Nervous Shakedown introduces a mid-tempo groove with a killer guitar riff that would have been perfectly suited to Stiff Upper Lip. Johnson's vocals take on a smoother more melodic tone, adding a dynamic contrast to the album, but it’s the catchy chorus and addictively good hooks that make Nervous Breakdown, arguably, one of the best songs from the record.

Landslide opens with some lovely noodling on the guitar that builds momentum with its driving rhythm, and Johnson’s raw vocal delivery. Landslide is a solid album-only tune, but it is unlikely to be anyone’s favourite song and is largely unforgettable. That said, every time it comes on when I play the album, I thoroughly enjoy it. 

Guns For Hire, much like Nervous Shakedown, is one of the standout tracks on the album. It's a high-octane rocker with a relentless groove that, when coupled with Angus Young's electrifying guitar solos and Johnson’s soaring vocal performance, creates an impressive listening experience.

Deep In The Hole is another of AC/DC’s incredible bluesy numbers that showcase not only their versatility but penchant for songs with a swaggering vibe.

Bedlam In Belgium with its upbeat tempo and catchy rhythm is an engaging listen but it’s unlikely that you’ll seek this song out, outside of the album’s linear structure as it simply isn’t a standout. 

Badlands maintains the album's momentum with a driving beat, catchy guitar riffs, and a dose of the blues. The track's straightforward structure and memorable hooks contribute to its overall appeal but Johnson’s vocals sound a little strained. Nevertheless, Badlands is a killer tune that reminds me fondly of ZZ Top as it would have been perfectly suited to the trio. 

Brain Shake is grossly underproduced and the cymbal crunching drives me insane each time I hear it. It’s a shame because it’s an adequate closing track otherwise. Yes, I believe Badlands would have been a stronger closer, one that would ultimately encourage the spinning of the album again, but that wasn’t to be.

Flick Of The Switch may not have achieved the same commercial success as its predecessors, but it remains a solid entry in AC/DC's discography. Its raw sound, and infectious energy, capture the essence of the band, even if the production on this release is a let-down. Nevertheless, Flick Of The Switch continues to resonate with audiences decades after its release and is one of the best albums released in 1983 and would likely have ranked higher within AC/DC’s discography had they not had so many other exceptional albums both prior and after this album’s release. 

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Icehouse – Primitive Man (Album Review)

Released in 1982, Primitive Man became a landmark album for the Australian band that had been formerly billed as Flowers. While the name change may confuse newcomers, this second release under the name Icehouse, led by frontman Iva Davies, is not only an evolution but includes Australia’s unofficial national anthem; Great Southern Land. 

Adding more sophistication and production qualities, when compared directly to their debut album, Primitive Man offers music lovers a sensory experience that explores a variety of musical styles. The pristine production enhances the clarity of each instrument and allows the atmospheric and electronic elements to shine. Perhaps most importantly, Primitive Man, as with all of Icehouse’s recordings, sounds exceptional via both legacy and modern formats. Although, I will say that the 2017 vinyl reissue, pressed from the 2012 digital remasters, has a slight edge over the digital counterpart. It’s simply the analogue warmth (distortion) of the format that is the differential aspect here as it just smooths the overall presentation of the album. 

Visually, Primitive Man is striking and as solid as the stream or CD releases can be, none are quite as impactful as when this album is released on the larger vinyl canvas. While I’ve yet to compile a list of the best album covers of all time, Primitive Man would certainly be at the top of the list for Icehouse’s artwork has always been exceptional, but Primitive Man certainly plays into the overall thematic elements of the album and is a perfect visual counterpart to the audible journey. 

Further reflecting on the music itself, while not entirely void of new wave rock influences, that were a focal point of their debut, Primitive Man certainly focused more on the synth-pop elements that would further catapult the band to mainstream success. While newcomers to the band would be advised to check out White Heat: 30 Hits; make sure you check out the music that makes up not only this album but Icehouse’s entire back catalogue as the album-only songs as as pivotal to the band’s success as the hits. Hence, join me as we take a look at the songs that make up this landmark Australian release. 

Great Southern Land is Icehouse’s magnum opus. While it wasn’t the only standout hit from Primitive Man, it has remained in the social consciousness since its release, for there likely isn’t an Australian who hasn’t heard this incredible tune. Perhaps they don’t know the artist or never purchased the album or the single, but one thing is for certain, every Australian knows the song when they hear it. Few songs are so influential in this way that when a tune such as Great Southern Land comes along, you need to sit up and take notice. Characterised by a haunting melody, atmospheric instrumental backing, and sweeping arrangements, Great Southern Land captures the soul from the very first note to the last. While some may lament the use of synthesised elements, to do so would be at their peril for this classic tune is representative of some of the very best synthesised music in all of recorded music history. 

Uniform appears after a longer fadeout than one would normally expect, but the slow build ensures that it isn’t a jolt to the senses following the melodic Great Southern Land as Uniform has a rhythmic dance vibe that is quite different to the album’s opening tune. Nevertheless, Uniform is a fantastic song from the era and while it likely isn’t a standout for many people, Primitive Man wouldn’t be the same without it. 

Hey, Little Girl again shifts the tone for it’s a more relaxed and introspective inclusion. At this stage, I’ve been enjoying Primitive Man for well over three decades and I truly have a love/hate relationship with Hey, Little Girl. In some ways, it reminds me of Love In Motion; another song that I have mixed feelings about. It isn’t that these tunes are bad, anything but, I’m just not a fan of ballad-styled tunes when Icehouse records them as I feel Davies’ vocals become a little too campy throughout. It’s not the synth-pop element either as I simply adore the musical bed and the short instrumental passage about three-quarters of the way through the song. Nevertheless, Hey, Little Girl is one of Icehouse’s most popular tunes and yes, dear reader, I do enjoy it as part of the album’s structure; I’m just unlikely to play it outside of the album’s intended sequencing. 

Street Cafe is one of my all-time favourite Icehouse songs for its soft rock at its very best as Davies knocks his vocals out of the park on this track. Add to that the chosen guitar licks, and shifting rhythm between the verse and chorus, and you’ve got what can only be described as the perfect track. 

Glam is a thoroughly enjoyable dynamic tune infused with energy and a danceable rhythm. Featuring a combination of electronic and rock elements, Glam quickly becomes an earworm (an enjoyable one) that you’ll find yourself humming along to all day.  

Trojan Blue opens with atmospheric synth textures and a slower tempo that perfectly suits the second half of the album. It’s a beautiful song and while never destined to be a hit, it’s most certainly a hidden gem.

One By One is a mid-tempo track with a pulsating rhythm that is addictively good. Yes, it’s another album-only tune, but it’s songs such as this that ensure Primitive Man is a memorable album experience. 

Break These Chains is a killer rock song. If you’re not head-bopping and toe-tapping, or up on your feet bouncing around; you’re listening wrong. While Icehouse has an incredible legacy, Break These Chains is yet another hidden gem that has to be heard firsthand; it’s extraordinary! 

Mysterious Thing flows beautifully in the intended sequencing and adds to the album’s overall atmospheric quality. Album-only tracks are seldom this enjoyable, but if you listen past their well-known hits, you’ll find that Icehouse has much to offer for the music that never hit the radio waves is just as enjoyable, sometimes more so, as some of their better-known tunes.

Goodnight Mr Matthews (USA Re-record) closes the album beautifully. Featuring some of the most magical guitar work I’ve ever been fortunate to hear, Goodnight Mr Matthews will leave you in a reflective mood while also encouraging you to play the album again for it is a rarity when I listen to Primitive Man only once.

Overall, Primitive Man stands as a pivotal album in Icehouse’s discography, showcasing artistic growth and experimentation with a more polished and sophisticated sound. The combination of memorable melodies, introspective lyrics, and innovative production makes this record a timeless classic that continues to resonate with fans; particularly those of us who are nostalgic for the music of the 80s. Synth-pop has never sounded so good!

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John Cougar – American Fool (Album Review)

Released in 1982, American Fool was a highly successful release for John Cougar (Mellencamp) as his previous four albums were somewhat lacklustre performers at the cash register. Granted, sales don’t always represent the musical skill of an artist, but American Fool was different. It was mature. Focused. Musically and lyrically rich. Perhaps most importantly, there isn’t a bad song to be heard on the album and the radio-friendly styling was guaranteed to make Cougar’s music more appealing to the masses than any of his prior releases. 

Rising to the top of the charts, with American Fool, John Cougar would forever become a household name and with classic tunes such as Hurts So Good and Jack & Diane, there’s little doubt as to why this album was a success and is one of the best albums released in 1982. Yes, the production quality is exceptional and the lossless Apple Music stream, derived from the 2005 CD remaster, is sonically pleasing even though it’s been heavily compressed. While purists may dislike that aspect, and the fact that the remaster introduced the song American Fool to the album for the first time, to ignore this release would be shortsighted for I’m unwilling to give up that bonus song for a version of the album, sans American Fool, but with a greater dynamic range.

The Dolby Atmos mix, by comparison, is really nice. While it isn’t the greatest surround sound mix, it’s non-offensive and offers a slightly fuller presentation than the stereo counterpart. You’ll also experience greater instrument separation on the surround mix. Elemental aspects that were previously concealed in the stereo mix are presented with clear spatiality, thereby allowing you to experience every nuance. You’ll get a sense of Kenny Aronoff being in the room with you as he batters rhythmically on the drum kit. It really is a case of more, not less, and it isn’t distracting. There is a problem, however, and that is that you’ll have to listen for yourself and decide which version is your preferred to listen to. As I’m more focused on two-channel audio, I’ll likely stick to the stereo version, but it does sound really good on my Atmos-compatible system. 

Regardless of which version appeals to you, an album is nothing if not for its collection of songs. So, join me as I take a look at the songs that make up this classic release. 

Hurts So Good has an energetic and rebellious spirit that resonates with even the most anhedonic humans amongst us. With Cougar’s gritty vocals, a bluesy-rock style, and an incredibly addictive clap track, Hurts So Good is one of those songs that requires no fanfare for once it comes on, you get it immediately.

Jack & Diane is a classic rock anthem with a catchy melody and relatable lyrics. I’m sure there are numerous examples of this, but the one-two combination of Hurts So Good and Jack & Diane is unprecedented as it pertains to the opening of an album. You’d be forgiven for thinking that it is all downhill from here, but you'd be wrong by coming to that conclusion for as exceptional as this tune is, American Fool is most certainly an album-first music experience. 

Hand To Hold On To is more melodic and traditionally pop-oriented, when compared to the previous two songs, but with catchy hooks, and a sing-along quality, you’ll find that Hand To Hold On To adds diversity to American Fool. If nothing else, it’s a killer soft rock tune that is only depreciated by the two incredible songs that came before it.  

Danger List is a fantastic soft-rock number that will see you toe-tapping along. With Cougar’s raspy vocals laid atop the energetic instrumentation, Danger List is a hidden gem and one of the best songs Cougar has ever recorded. 

Can You Take It is a solid blues-based rocker with a driving rhythm. Yes, it’s a classic album-only tune and can be a little corny in places, particularly in the chorus, but American Fool wouldn’t be the same without it. 

Thundering Hearts has some killer guitar licks and a rhythmically thrilling drum and bass beat. While the verses are somewhat mundane, the lyrical highlight of Thunder Hearts is its chorus. As a result, you’ll find yourself toe-tapping throughout the verses and singing along during the chorus.

China Girl is simply magnificent! The song’s catchy guitar riffs and Cougar’s extraordinary vocal range ensure that China Girl is a lively classic rock tune. Interestingly, China Girl is a song that I feel would have been perfect had Cold Chisel ever decided to cover it for it has Jimmy Barnes’ lead vocals written all over it along with Ian Moss’ harmonious backing vocal; not to mention the entire band and overall style of their music.   

Close Enough is a great mid-tempo rock number that will compel you to toe-tap and head-bop to the addictively good rhythm.  

Weakest Moments is a simply beautiful song that's both introspective and contemplative. As the original closing track, I can see why it was chosen for that position for it not only compels you to listen to the album again, but it will allow for a reflective moment of the music you’ve just heard. Either way, it’s an incredible tune and one of the very best songs from the album.   

American Fool (Bonus Track) is an interesting addition to the 2005 remastered edition of American Fool for title tracks are normally included on the albums that are their namesake. Nevertheless, while I’m normally uninterested and unimpressed with bonus material, this is an exception. It should have always been included on the record as the album flows perfectly with this song on the back end. It’s also worthy of inclusion in its own right as the catchy guitar hooks and driving rhythm ensure the rock edge of the album is maintained to the very final note. 

When considering American Fool, as a complete body of work, it isn’t far-fetched to regard it as a landmark release that showcases Cougar’s ability to craft catchy and memorable songs that resonate with a broad audience. Yes, much of the album’s success can be attributed to Hurt So Good and Jack & Diane, but to limit its notability to those two amazing songs is incredibly shortsighted for American Fool is an album experience first and foremost. It just happens to have a couple of the most recognisable tunes from the 80s as the album's opening tracks. Subsequently, whether you're a longtime fan or a newcomer to John Cougar's music, American Fool remains a must-listen for anyone interested in the sound and spirit of 1980s heartland rock.

Diamond Head – Borrowed Time (Album Review)

Diamond Head's 1982 studio album, Borrowed Time, stands as a pivotal release in the band's discography, for it’s a musical masterpiece that further cemented their enduring legacy and influence on the metal genre; despite a shift towards more mellow compositions. While their unique blend of New Wave and British Heavy Metal resulted in Diamond Head being a core influence to the likes of Metallica, commercial success was sadly not achieved. However, as music lovers know only too well, what is successful with the masses is seldom representative of the greatest music ever recorded. 

Given the early 80s was still dominated by the vinyl record, as the predominant format of the era, it amazes me that the album didn’t see more success, for who wouldn’t have wanted to have that incredible artwork on display in their homes? Rodney Matthews certainly created a magnificent piece of visual art; one that is perfectly aligned with the music contained within and it is as fresh today as it was when first released.  

Sonically, while the band is in fine form, Borrowed Time could do with a remaster. I know, remasters are a dirty word when it comes to classic albums, but the lossless Apple Music stream, a direct counterpart to the current CD releases, is a little thin. You may need to adjust the EQ levels in order to increase the bass in both the low and midrange. Doing so gives Borrowed Time a greater sense of presence. Some fans may not be fussed by this aspect, and while EQ can indeed address some of the elements, the modern EQ settings are an all-or-nothing approach and if you don’t have access to a manual equaliser, you’ll likely agree that a remaster, by a skilled engineer, would be a better approach. That said, it’s a minor quibble and Borrowed Time is so good that I can usually look past this aspect and thoroughly enjoy the music; a selection of songs that when combined in the album format result in one of the greatest hidden gems the metal industry has ever known. 

In The Heat Of The Night opens the album with Diamond Head’s signature rhythmic heavy metal sound, killer riffs, and incredible vocals by Sean Harris. Ultimately, it’s one of Diamond Head’s greatest tunes; of course, that could be said about nearly all of the songs from Borrowed Time. 

To Heaven From Hell flows seamlessly and continues the driving rhythm while slightly increasing the aggression of the guitar riffs. The bass tracking by Colin Kimberley is fantastic, even if it is a little concealed in the mix. One thing that you’ll notice immediately is the sing-along nature of the song, for you won’t be able to help but sing along to the song’s chorus. 

Call Me is one of the greatest songs ever recorded in all of music history. If you were singing along to To Heaven From Hell, you’ll be chanting Call Me as the catchy chorus demands interaction. Harris shines even further on lead vocal, but so does the entire production as the melodic styling, coupled with the soaring musicality, ensures Call Me is nothing less than a masterpiece. 

Lightning To The Nations appeared on Diamond Head's debut album Lightning To The Nations but as solid as that original recording is, I much prefer the spit and polish that has been applied to the version on Borrowed Time. It’s simply more powerful and polished when compared to the original recording. The result is that this version sounds optimal while the original has always been closer to a demo than a fully-fledged recording.

Borrowed Time has a slightly darker tone, but that bass performance is exceptional and can be heard as an influence throughout Metallica’s first three records. Yes, dear reader, I adore the bass guitar and when it features prominently, especially as a buildup to a song, there’s nothing better.

Don't You Ever Leave Me is, arguably, the only B-side to be heard on this remarkable album. That isn’t a bad thing for it’s a solid and thoroughly enjoyable tune. What is lacking here, however, is a driving rhythm. Yes, it’s a slower-paced tune that showcases Diamond Head’s versatility as musicians, but I’d argue the tempo, and the length of the song, is the core reason why it’s not a standout. That said, that guitar and intertwining bass solo mid-song is a highlight. Hence, as I alluded to earlier, B-sides and album-only tunes aren’t always a bad thing for they offer further insight into the musicianship of an artist and quite frankly, every song need not be a hit for the album to be extraordinary. 

Am I Evil? is one of Diamond Head’s most recognisable tunes and it certainly helps when Metallica covered, and continues to perform, this classic. Metallica's rendition, as I previously declared, was bloody brilliant and if Satan has a playlist, this song would most certainly be on it. That statement can easily expand to this edition of the song and while it originally appeared on Diamond Head’s debut, Lightning To The Nations, I find myself continually gravitating towards this version on Borrowed Time as I simply prefer their second album. That said, if you’re after a rawer, more demo-styled, interpretation, the original has you covered. With a dark and brooding atmosphere, combined with truly captivating performances, Am I Evil? is not only a perfect closer, but it will encourage you to play Borrowed Time, time and time again for this is one album that can be seldom listened to only once. 

Borrowed Time, ultimately, is not only one of Diamond Head’s greatest releases, it's one of the best metal albums of all time. With a diverse range of tracks, showcasing the band’s musical prowess, this is classic metal at its very best. It really is a shame that this album didn’t receive the recognition from music lovers that it deserves, but thanks to their peers’ latching onto the album as inspiration, and covering a number of their tunes, we’re incredibly fortunate to still be able to appreciate Borrowed Time; even if it remains a niche release in music history. Of course, dear reader, if we share it as I have done here, then new listeners will be able to experience the music we know and love. So don’t be shy. Share this album with anyone who appreciates music for it may be metal-focused but Call Me, amongst others, will appeal to just about any music lover.  

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Cold Chisel – Circus Animals (Album Review)

An Australian masterpiece ruined by remastering! 

Yes, dear reader, Circus Animals is, without a doubt, one of the greatest Australian releases of the 80s, but the 2011 remastered edition makes me want to stop playing the album in disgust. Seriously, it sounds as if the life has been sucked out of the recording. The energy is gone. Barnsey might as well be a pop star from the 60s as much of his vocal grittiness is missing and the entire remastered album sounds so shallow that I’m not sensing a soundstage beyond my speakers. There’s certainly no room-filling sound that ensures their pub-rock legacy is maintained.

Adding insult to injury, Circus Animals is presented as an Apple Digital Master; proving that mastering matters far more than the delivery method for the Apple Digital Master process usually brings out the very best in the recording. Not this time! 

I’d turn to Qobuz, but the same mastering can be found there as well, meaning that to fully enjoy this album, I’m going to have to seek out one of the initial vinyl editions, or a pre-remastered CD. While many readers would likely declare that this should have been my first act before penning a review, think for a moment of the new fans, perhaps experiencing Cold Chisel for the very first time, and then suggest to them that they should go and get a beaten up original pressing because the record label, band, and mastering engineer had to reduce the dynamic range, increase the loudness of the recording, thereby making it more fatiguing to listen to. 

I just hope that in their infinite wisdom, someone kept, under lock and key, the original first-generation mastering tapes for a future reissue when this type of mastering style comes to an end. 

Yes, dear reader, I’ve reflected on the negative thus far but I’ll try to refocus my attention to the music itself for it is truly iconic and deserves to be celebrated nonetheless.

Released in 1982, Circus Animals, Cold Chisel’s fourth studio album, would not only top the charts but would deliver a slew of instant classics. Showcasing Chisel at the height of their creativity, Circus Animals perfectly blends the band’s raw energy, poignant lyrics, and a diverse musical palette while featuring one of the most remarkable ballads ever recorded; When The War Is Over. Of course, Circus Animals is far more than a singular song, so join me as I take a look at the individual songs that make up this landmark release.

You Got Nothing I Want is about as raw as Australian rock and roll gets. The song's catchy chorus, coupled with Barnes' powerhouse vocals, sets a rebellious tone, with a defiant and energetic rhythm, that establishes the album's overall attitude.

Bow River is a blues-infused rock masterpiece. It’s a shame that the mastering is lacklustre because this is not only one of the greatest songs Cold Chisel ever recorded, but it deserves to be turned up to 11 without the dreaded listening fatigue entering the equation.

Forever Now has a beautiful melody and arrangement and while some may prefer Chisel’s harder-hitting hits, Forever Now is an incredible ballad-styled tuned with a sing-a-long chorus that is simply captivating.

Taipan introduces a more experimental and atmospheric sound. The instrumental interplay, tribal rhythm, and dynamic shifts in this track showcase the band's musical dexterity, adding a layer of complexity to the album, thereby demonstrating why they are so revered.

Houndog might well be an album-only tune, but don’t let that deter you as this gritty bluesy number, with its driving rhythm, is exceptional.

Wild Colonial Boy is a solid tune, but while the combination of acoustic and electric elements is appealing, I’d argue that the song is too focused on the storytelling aspects. Granted, some people appreciate music for its literal interpretation, but as someone who considers the human vocal as an instrument in the mix, rather than a storytelling device, I find Wild Colonial Boy to be somewhat disjointed. 

No Good For You is a straightforward rock track and hidden gem. The guitar-driven arrangement and Barnes' commanding vocals, along with the backing vocals, are a perfect addition to the album as it has an infectious quality that will stay with you long after the album has ended. 

Numbers Fall has a killer synthetic entrance that morphs into a low-toned gritty bluesy masterpiece. With a blend of rock and new wave influences, Chisel further showcased their willingness to experiment with their sound ensuring that Numbers Fall sounds familiar, yet unique. 

When The War Is Over is, without doubt, one of the best songs ever written and recorded, by anyone, anywhere. Cold Chisel doesn’t get much better than this! Although, John Farnham’s rendition is spectacular. 

Letter To Alan is a fantastic closer that will encourage you to listen to Circus Animals again, but I’d suggest that When The War Is Over would have been a stronger closer. 

Remastering issues aside, Circus Animals is a masterful display of the band's musical prowess and artistic depth. While many consider this album to be Chisel’s greatest, perhaps only ever challenged for that position by East, I find that I would have to agree with that perspective for it is primarily hit after hit and plays like a Greatest Hits release, rather than a standard album. From the powerful vocals to the skilful instrumentation and thought-provoking lyrics, this album stands as a testament to Cold Chisel's status as one of Australia's most iconic rock bands. They certainly broke the mould when they chiselled out this masterpiece. 

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Alabama – Mountain Music (Album Review)

Released in 1982, Mountain Music solidified Alabama's status as one of the leading forces in the country music scene during the 1980s. With a unique fusion of country and southern rock, with a touch of pop, Mountain Music marked a significant moment in the band’s career and today still stands as one of their greatest releases. 

Alabama's musicianship is on full display throughout Mountain Music, due to the band's tight instrumentation and harmonious vocals that contribute to the album's cohesiveness. Despite being out-of-print for decades, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, has been made available by Sony Music and it’s quite lovely. However, I wouldn’t call it the final word in quality as I feel there is still room for improvement. Don’t get me wrong, the stream is solid but it just doesn’t sound as impactful as I believe it could and I’d love to see it in the hands of a well-respected mastering engineer. Admittedly, I haven’t had the good fortune of hearing Mountain Music via any other format and it may well be a case whereby this was simply how the album was recorded. Nevertheless, a slight adjustment to your EQ settings may be advised for this release to bring it closer to your subjective expectations.

While the sonic presentation is sufficient, an interesting difference appears when you look at the history of the album’s releases via Discogs. You’ll note on every listed format that the album artwork is considerably different to the modern streaming counterpart as the cover art no longer displays the flag of the Confederate States of America, instead opting for the current state flag of Alabama. Further investigation into this informed this Australian writer of the symbolism that the Confederate flag represents and while I can fully understand the artwork shift, I truly believe that it should remain unaltered with a further information statement to help educate, especially those of us outside of the United States, or within historical circles, as to why the album is no longer showcasing that particular flag. I suggest this merely because I feel it is essential that we learn from the past, rather than filter, delete, and then pretend it never existed.

Nevertheless, the music has remained unscathed and music lovers, the world over, can thankfully still appreciate Mountain Music, for it is a superb record that is amongst the best albums released in 1982. 

Mountain Music is a great opener. A truly epic song. However, that spoken introduction has always been a distractive element and I would much have preferred it if they would have omitted it, as they did for the single edit, as it would have been a far stronger way to launch the album. Still, once you get past that aspect, the catchy melody, infectious energy, and perfect blend of traditional country and rock elements set the tone for the entire album.

Close Enough To Perfect slows down the tempo with this poignant ballad. Randy Owen’s vocals add depth to the narrative of love and imperfection, making it a standout track on the album and one of the loveliest songs from the era.

Words At Twenty Paces is an incredible tune. That introduction is masterful, as is Owen’s vocal delivery, and the storytelling nature of the lyrics. Add to that the lively instrumentation that adds a playful element to the album and you’ve got a tune that all music lovers will thoroughly enjoy. 

Changes Comin' On flows beautifully from Words At Twenty Paces and it’s these smooth transitions that truly make Mountain Music an album experience. Of course, it helps if the song is as masterfully performed as this one is for Changes Comin' On is a hidden gem and one of the greatest songs Alabama ever recorded. Masterpiece is a grossly overused word, even here at Subjective Sounds, but when music is this perfect, no other word quite explains the audible experience as well as masterpiece does.

Green River is a thoroughly enjoyable Creedence Clearwater Revival (CCR) cover, but let’s be honest in saying that no one can perform this song as well as CCR themselves. As solid as Jeff Cook’s vocal delivery is, he’s no John Fogerty.  

Take Me Down is a lovely country-twanged tune that will have you toe-tapping from the very first note. 

You Turn Me On is sonically magnificent. Seriously, you’ll want to turn the volume up on this softer country tune as Owen’s vocal is stunning and the musical elements are hypnotic. I do, however, feel that the song would have been best served if Alabama had omitted the spoken word lyrics as they are a little distracting and not quite Barry White-level smooth. 

Never Be One is a song that would have resonated with a broader audience, and likely been a hit, had it been released as a single. Still, as an album-only tune, it’s a beautiful piece of music; until the closing moments that is. Yes, it’s cute, adorable even, but it detracts from the song and Teddy Gentry’s incredible vocal presentation. 

Lovin' You Is Killin' Me is a mid-tempo track that combines elements of country and rock. The song's catchy chorus and relatable lyrics make it an engaging addition to the album, showcasing Alabama's ability to balance fun and sincerity.

Gonna Have A Party continues the fun aspect and is a compelling closer that will get you toe-tapping, head-bopping, and excited to play the album again. Ultimately, the song lives up to its title, with infectious enthusiasm and a lively performance from the band.

In conclusion, Alabama's 1982 album Mountain Music is a timeless classic that continues to resonate with country music enthusiasts. Its blend of country, southern rock, and heartfelt ballads, with a touch of pop, solidifies its place as one of the best country music albums in all of recorded music history. Whether you're a fan of classic country-styled music, or not, Mountain Music is a must-listen and represents the very best of Alabama's musical legacy.

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