Alice Cooper – Trash (Album Review)

Released in 1989, Trash marked a significant comeback in Alice Cooper’s career, with a shift towards the glam metal sound that dominated the late 80s. Produced by Desmond Child, known for his work with artists like Bon Jovi and Aerosmith, Trash is anything but the literal meaning of the word as the album is presented as a polished and commercially accessible version of Cooper’s signature shock rock style.

As we explore music that resonates with us, it isn’t uncommon to think of the magic as being that of a single entity; in this case Alice Cooper, either the man or the band. The reason we do this is that it allows us to compartmentalise a collection of songs far more succinctly than knowing every person associated with the making of the album. However, when you have such a titanic shift in one’s musical output, it’s worth examining the differences and the first place to look is the production and songwriting teams. In this instance, Child was paramount to the sound of Trash from both the production chair as well as being a co-songwriter on nine out of the ten songs on the album.

As much as I appreciate Cooper’s 80s output, Trash is Cooper’s most polished and radio-friendly album from the era. With its glam metal sheen, anthemic choruses, and slick guitar solos, Trash not only became one of Cooper’s greatest releases, but it would introduce him, or reintroduce him, to a broader audience and subsequent mainstream success. While legacy Cooper enthusiasts may declare that an album such as this was a sellout, there is little doubt as to how important songs such as Poison and Bed Of Nails have been to Cooper’s continued dominance post-1989.

As one of Cooper’s most popular albums, it has seen numerous reissues and I’m incredibly fortunate to own the 2017 Limited Edition, Numbered, Red Transparent Vinyl Reissue. Not only does it look incredible, but it’s a sonic powerhouse. To say it is the very best version of the album I’ve heard, wouldn’t be an understatement. The vinyl is so silent that if you were listening on headphones, you’d have a much better chance of hearing the blood cursing through your veins. Music On Vinyl (MOV) certainly reissued this masterfully with a dynamic presentation and soundstage that is wide and immersive. It’s an experience that needs to be had in person for you’ll find yourself looking in awe as the music emanates from your stereo.

Naturally, Vinyl isn’t for everyone and as it pertains to the CD release, I always found it a little too shrill. It’s a perfect facsimile but you’ll likely want to adjust your tone controls to rein it in slightly. Keeping with the digital formats, the Lossless Apple Music stream, an Apple Digital Master, is a little lacklustre. It doesn’t have the clarity of the CD release or the presence of the vinyl reissue. While saying that it sounds a little flat and lifeless would be an overstatement, the music is somewhat concealed when compared with the album’s physical counterparts.

Of course, if you’re not like me searching for the very best-sounding copy of certain albums, endlessly comparing editions, you’ll likely find the Apple Music stream to be very pleasing. That said, if you find yourself listening to the stream and questioning if it sounds right, then it may be worthwhile exploring other avenues.

Poison is a quintessential 80s rock anthem. Its infectious chorus, driving guitars, and Alice's signature snarl made it a massive hit, so much so that it could be said to be Cooper’s trademark tune. If nothing else, it is the song that he is most well known for and for good reason as it’s exceptional.

Spark In the Dark continues the album’s energetic vibe with catchy hooks and a strong, rhythmic drive. It exemplifies the album's glam metal styling, with layers of guitar riffs and a memorable chorus that will see you not only singing along but playing along via your air guitar.

House of Fire is another high-energy rocker that shines, due in part to its collaborative songwriting between Cooper, Child, and Joan Jett. Add a few killer guitar licks from Joe Perry (Aerosmith) and you’ve got an incredible rock and roll tune with melodic sensibilities.

Why Trust You features a punchy rhythm, aggressive guitar work and Cooper’s gritty vocal delivery. It may not be a standout, but it’s a hidden gem and a perfect album-only tune that works with the flow and overall style of Trash.

Only My Heart Talkin’ flows seamlessly from Why Trust You, before dropping the tempo to that of a power ballad, that features Steven Tyler (Aerosmith) on vocals; a combination that works exceedingly well. The collaboration between these two amazing vocalists, along with the ballad focus, ensures the song has emotional depth and a melodic structure that provides contrast to the heavier tracks thereby showcasing Cooper’s versatility.

Bed of Nails co-written with Cooper, Child, and Diane Warren is a perfect blend of hard rock and pop sensibilities. Its anthemic quality and catchy chorus make it a standout track and was mildly successful when released as a single. Although, if you ask me, Bed Of Nails is so good that it should have topped the charts, worldwide, in 1989.

This Maniac's In Love With You is 80s music 101 with its playful lyrics and upbeat tempo. While much of the focus of Trash is the album’s glam metal aspects, This Maniac’s In Love With You is a reminder of Cooper's roots in shock rock and performance art; one that tips the hat to his late 70s and early 80s releases. As a fan of that era, especially two of his blackout albums (Zipper Catches Skin [1982] and DaDa [1983]), This Maniac's In Love With You is, subsequently, one of my favourite songs from the album and is a genuine hidden gem for those not familiar with the record.

Trash is a rebellious high-energy number with a raw edge. Despite being the title track, it isn’t the strongest song and one that, while I can appreciate it, simply doesn’t meld with my soul. Jon Bon Jovi’s vocals don’t work as well on this track as Steven Tyler’s did on Only My Heart Talkin’ plus the lineup of guest musicians, including Tom Hamilton and Joey Kramer (both of Aerosmith fame) adds to a confusing mismatch. It just goes to prove that no matter how many talented musicians get together, if they aren’t on the same page, creatively, you’ll end up with a song that fails to impress.

Hell Is Living Without You is a magnificent tune with a moodier and slower tempo. When I consider Trash to be one of the greatest albums released in 1989, it’s songs such as Hell Is Living Without You that I think of for it’s a masterpiece.

I'm Your Gun closes the album out with a bang, but I really wish the album had been re-tracked to have this song positioned prior to Hell Is Living Without You as I feel the previous track would have been a much stronger closer for the album. Nevertheless, this fast-paced rocker with aggressive guitar riffs and an unapologetically bold attitude is a fitting end to an album full of high-energy tunes.

Overall, Trash is a landmark album in Alice Cooper’s career, blending his iconic shock rock style with the glam metal sound of the late 80s. With memorable hits, expert production, and Cooper’s charismatic performance style, this album stands as a testament to his adaptability and enduring appeal. Whether you’re a long-time fan or new to his music, Trash offers music lovers a thrilling and enjoyable listening experience.

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Aerosmith – Pump (Album Review)

Released in 1989, Aerosmith’s tenth studio album is amongst their tightest for its all killer with no filler; with the minor exception of a Hidden Track closing out the album. Teaming up again with producer Bruce Fairbairn, following the success of 1987’s Permanent Vacation, proved to be a wise decision as Pump would not only close the 80s out with a bang but, in retrospect, has stood the test of time whilst simultaneously becoming a timeless addition within the annals of hard rock and glam metal history.

With a blend of hard rock, blues, and ballads, Pump showcases Aerosmith's versatility. Of course, with impeccable production values, Aerosmith’s high-energy sound is captured, as is the essence of the band's 70s raw edge, while still appealing to the contemporary rock scene at the time. The album's sound is clean yet powerful, allowing each instrument to shine. As such, Joe Perry and Brad Whitford deliver exceptional guitar work, ranging from blistering solos to intricate riffs. Tom Hamilton's bass lines provide a solid foundation, while Joey Kramer's drumming drives the album's relentless energy. Steven Tyler's vocals are a highlight throughout, demonstrating his wide range and emotive power. His ability to convey both raw energy and deep emotion is a key component of the album's success and appeal to a broad audience.

That said, while the recording and mix of the album are top-notch, the mastering has been an issue throughout the years as there are very distinct differences between releases. For instance, the 2001 remaster boosted the volume across the entire album by crippling the album’s dynamic range. It gives it a punch-in-your-face approach, but you’ll be looking to turn the volume down before too long as it’s simply too fatiguing. The original releases were arguably perfect but as they are long out-of-print, the new music lover, uninterested in attainment via the secondhand market, will need to be content with current offerings.

While I was fortunate to have owned the 2013 vinyl picture disc release, the mastering on that particular edition is perfect and while the picture disc format always has an increased noise floor, you can only really hear it at the beginning of each side, before the music starts, and momentarily between tracks. While no mastering information was given for the picture disc release, Universal Music gave music lovers an admirable reissue that proves a well-mastered album is essential. Nevertheless, most people these days stream and for that purpose the Hi-Res Lossless Apple Digital Master is interesting.

Where the 2001 remaster is mastered too hot, the Apple Music streamed edition is a little too reserved. For instance, Aerosmith’s trademark cowbell positively rings through your soul on the 2001 remaster whereas it is somewhat lost in the soundstage on the streamed version. Some may suggest using tone controls to dial back the 2001 remaster but the fatigue is still present as the entire recording is brickwalled. Similarly, because of the mastering style, the shimmer of the high notes from the Apple Music stream is somewhat lost. Think of it this way, the Apple Digital Master is akin to what one may have heard had they turned on Dolby Noise Reduction in the Compact Cassette days as it reins in the treble range.

As to which release I prefer, I have to say that it’s the Apple Music stream for despite owning the 2001 remaster, that version is too fatiguing to thoroughly enjoy. Plus, it’s Aerosmith, you should want to turn the volume up, not down, and the Apple Music stream allows us rockers to do just that.

Young Lust opens the album with a high-octane tune full of raw energy that sets the tone with its driving guitars, rhythmic drumming, and bass performance as well as Steven Tyler's unmistakable vocal prowess.

F.I.N.E. as an acronym for “Fucked Up, Insecure, Neurotic, and Emotional” is bloody brilliant! The energetic pace, infectious riffs, and catchy chorus ensure that this playful number is not only a standout but an anthem-worthy tune.

Going Down / Love In An Elevator is one of the album's most famous tracks, combining a funky groove with rock sensibilities. The escapades in an elevator add a cheeky and memorable structure to the song's dynamic approach that keeps it engaging throughout. At its core, however, Love In An Elevator is a solid blues-based rock and roll tune that is a forerunner to Aerosmith’s Livin’ On The Edge from 1993’s Get A Grip.

Monkey On My Back is brilliantly distorted with gritty guitar work and a compellingly addictive rhythm that will see you head-bopping and toe-tapping throughout.

Water Song / Janie’s Got A Gun is an incredibly powerful song and another highlight from the album. Tyler’s vocals are particularly strong on this socially conscious tune that addresses issues of abuse and revenge. Perhaps the most appealing aspect of this song is that it can be appreciated for both its lyrical intent and musicality.

Dulcimer Stomp / The Other Side has an upbeat and infectious nature that’s hard to resist. The Dulcimer Stomp portion of the song provides the perfect segue into The Other Side; a song that is quintessentially, Aerosmith.

My Girl has a bluesy rock twist that, despite being modern, feels as though it could have been a 50s tune; one that would have set many a dance floor alight.

Don’t Get Mad, Get Even has one of the greatest didgeridoo performances, thanks to Randy Raine-Reusch, that has ever been recorded outside of the Indigenous Australian music scene. With a swaggering rhythm and sense of defiance, Don’t Get Mad, Get Even is a killer tune and is somewhat of a hidden gem for if you’re not familiar with Pump, you may have overlooked this masterpiece.

Hoodoo / Voodoo Medicine Man is a darker more experimental tune that features complex instrumentation and an eerie atmosphere. While it may very well shift the style of the album, especially as it applies to the introduction, the brooding intensity stands out as a unique element that envelops your soul and doesn’t let go until the final note.

What It Takes will appeal to fans who have been captivated by songs like I Don’t Want To Miss A Thing. Aerosmith's ability to blend emotional depth with rock balladry knows few peers and as a closing tune, it encourages me to play the album again. Plus, as it pertains to Aerosmith’s ballads, What It Takes is one of their best. One aspect, however, that I wish to lament about is Randy Raine-Reusch’s closing instrumental ‘Hidden Track’. I’ve never been a fan of hidden songs and while I’ve got used to hearing it on the back end of What It Takes, I simultaneously wouldn’t object to it being removed as I feel it detracts from an otherwise exceptional song and album.

Overall, Pump stands as one of Aerosmith's defining albums, representing a peak in their late 80s and early 90s career resurgence. Its blend of hard rock, blues, and ballads, combined with a polished production and memorable songwriting, make it a highlight in the band's discography. It is most certainly one of their very best.

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Ringo Starr – Old Wave (Album Review)

It’s fair to say that Ringo Starr never quite received the recognition that his fellow bandmates, from The Beatles, did when embarking upon a solo career. Whilst he may have flown under the radar, the glorious thing about our modern music streaming world is that any music lover can easily experience classic albums, such as Old Wave, and decide if they’re worthy of adding to their collection. For me, it most certainly is. Showcasing a mix of musical styles and collaborations, Old Wave captures the essence of the 80s while incorporating elements of Starr's signature sound. It also just happens to be one of the very best albums Starr ever recorded and one of the greatest albums released in 1983.

Old Wave is Starr’s ninth solo studio release and is notable, in part, as Joe Walsh co-produced the record with Russ Ballard whilst also writing and co-writing many of the songs. Walsh also performed on the album and you’ll hear his signature licks throughout. Old Wave very well could have been called Ringo Starr meets Joe Walsh, but while purists may detest that proposal, Old Wave maintains a classic rock sound that, due to the combination of these incredible musicians, ensures that it is one of Starr’s most rocking releases.

While Starr’s previous album, Stop And Smell The Roses (1981) already has a place in The Worst (And Most Disturbing) Album Covers Of All Time, Old Wave almost qualifies for inclusion. Only a mugshot would have been more intriguing and while the art direction is relevant to the album’s title, and the throwback photo further adds weight to a counterposition of the new wave movement that was sweeping the social consciousness at the time, it’s just not a piece of visual art that you’d display proudly.

The music is, of course, another thing entirely and thankfully it’s exceptional. As it pertains to sonic quality, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite. It’s so good that as I listen to the album my mind is not drifting and wondering whether or not the album would sound better via a vinyl or CD release. Yes, dear reader, sometimes the stream can be that good.

In My Car opens the album with a catchy melody that will see you toe-tapping and head-bopping along. With a synth-driven upbeat style, In My Car is perfectly suited to the era and quickly becomes an earworm that you’ll be listening to long after the album has stopped spinning. Joe Walsh went on to record the tune in 1987, but I truly believe Starr’s is the superior version as Walsh’s is a little too overproduced, and pop-driven, for my liking. Whereas, the rock-edge on Ringo’s edition is sensational.   

Hopeless has a killer country-inspired twang to it and its quirkiness is perfectly suited to Starr’s persona. Again, you’ll find yourself involuntarily moving to the rhythm, but that’s part of the appeal for Hopeless is anything but.

Alibi is a fantastic song but, as much as I thoroughly enjoy it, this is one song that would have been perfect had Starr collaborated with Paul McCartney, for it has his manner written all over it. Nevertheless, Walsh provides a more than adequate accompaniment and that’s, really, quite an understatement for Alibi may not be a standout tune, but when you have songs as compelling as this one, you’ve got an exceptional album experience.

Be My Baby has an offbeat rock edge to it that is simply superb. Your senses may struggle to connect with a particular aspect of the song initially, but once you sync with a specific element, Be My Baby comes into its own and is one of the best songs that Walsh has ever written.

She's About A Mover is a fun little cover. If it sounds familiar, you’ve probably heard the original performed by the Sir Douglas Quintet. Regardless of which rendition you appreciate more, She's About A Mover is a timeless tune.

I Keep Forgettin’ is another cover and as much as I love the Chuck Jackson original, there’s a broodiness in Starr’s presentation that makes this my preferred edition as it has a little more attitude in its presentation. The mix, as is the case throughout the entire album, is also exquisite and is a textbook example of how to correctly mix for stereo. Incredible!

Picture Show Life is a fun album-only tune that is suited perfectly to the album.

As Far As We Can Go is a beautiful ballad-styled tune. Don’t get me wrong, it isn’t Starr’s greatest vocal achievement and you’re unlikely to seek it out on its own, but it’s a value-added proposition for those of us who appreciate fluid album structures.

Everybody's In A Hurry But Me shifts the styling considerably, but that's hardly surprising when you’ve got Eric Clapton and John Entwistle performing on the song as well as being co-writers. There’s plenty of Clapton’s Slowhand to be heard here as well as the jamming elements you’d often associate with The Who. In truth, Everybody's In A Hurry But Me is more akin to a demo than a fully-fledged tune, but none of the musicians featured here had anything to prove and have earned the right to be self-indulgent.

Going Down is a perfect closing tune that will encourage contemplation as well as compelling you to play the album again. With Walsh’s screaming signature guitar sound, this is one thoroughly enjoyable rocker.

Old Wave is best described as a hidden gem within Starr’s extensive discography; offering listeners a diverse and engaging musical experience. It may not have been commercially successful, but that metric has rarely been an accurate indication of creative quality. What Old Wave does offer fans, and music lovers alike, is a window into Starr’s enduring talent and musical evolution as it delivers some of the most enjoyable music from the early 80s.

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Quiet Riot – Metal Health (Album Review)

Released in 1983, Quiet Riot’s Metal Health is a landmark release within the metal music scene. Delivering a relentless barrage of heavy riffs, thunderous drumming, and explosive vocals, this legendary album not only catapulted the band to mainstream success but also played a pivotal role in bringing heavy metal, and hard rock, to the forefront of the music scene during the early 80s.

While music lovers will contend that it’s all about the music, there is no doubt that the iconic cover art played a crucial role in the album’s success as it perfectly encapsulates the rebellious and energetic spirit of the music within. Plus, music in the early 80s, was still primarily distributed on vinyl, meaning that engaging artwork such as that seen on Metal Health would have stood out from the crowd at any local record store.

Of course, album artwork alone couldn’t secure the multi-million-selling sales success that Quiet Riot experienced with this release, so the music does play a pivotal role. From start to finish you’ll be met with the spectacular guitar riffs of Carlos Cavazo, providing a solid backbone for the album's raw and aggressive sound. The rhythm section, comprised of bassist Rudy Sarzo and drummer Frankie Banali, lays down a foundation of power and precision, driving the music forward with unwavering force. However, perhaps most notable is Kevin DuBrow's vocals for they showcase both power and range. His ability to seamlessly transition from gritty, aggressive delivery to melodic harmonies is stunning and his charismatic presence adds the final layer of intensity that makes Metal Health such a dynamic listening experience. It’s also fair to say that Metal Health is the famed album it is because of each member and musical element for when working in conjunction, they know few peers.

Metal Health may be rooted in heavy metal, but the diversity of musical styles, throughout, also leans towards hard rock and glam metal. The result is that the music offers enough variety that it can be enjoyed by a broad range of music lovers whilst, simultaneously, staying true to its roots.

Turning our attention to the lossless Apple Digital Master, available via Apple Music, it's dynamically charged thereby ensuring that you’ll be rocking out to every song as the soundstage is well-developed and every music element is carefully presented in the mix. 80s metal releases can often be hit and miss, regarding their mastering, Metal Health sounds fantastic via Apple Music. While it may not be the final word in sound quality, as I feel there is a little more of the recording that can be attained from the original master tapes, it certainly is not lacking in bass, treble reach, or dynamics.

Interestingly enough, and this may only apply to music lovers who like to seek out the very best possible releases of their favourite albums, Qobuz has a Hi-Res 24-bit/192 kHz edition of the album. That is in contrast to the lossless 24-bit/44.1 kHz version on Apple Music. As to whether or not you can hear a difference, or if there is indeed a difference to be heard, is highly subjective, but what is frustrating is that there isn’t a single master for music fans to rely upon. For instance, the Apple Music stream lists the album as Remastered, yet the publication date remains as 1983 rather than 2001 (when the last CD remaster was issued). Is the Apple Digital Master a specific remaster? Or is it just derived from the previous remaster?

Qobuz, on the other hand, doesn’t reference their release as remastered and maintains the publishing date as 1983. This is an ongoing issue with streaming and its relationship to the provenance of the recording for the higher-quality edition, on paper, is no guarantee that the album is a much more pleasurable listen. I really don’t understand, and perhaps this is my naivety showing, why there isn’t a singular master that is used for every edition. I understand mastering for vinyl is different to CD etc, but in the case of Apple Music vs Qobuz, you would think that it would be best for both companies to stream the same edition. These variances only manage to frustrate fans who don’t wish to listen to a substandard version of an album they hold dear and near.

Naturally, you can trust your ears and listen to both if you wish, but I’m already experiencing subscription fatigue to the extent that I have no interest in testing alternatives. If I had more disposable income I’d be better off seeking out a physical release that I could add to my permanent collection to ensure a lifetime of enjoyment. That, however, brings up another contentious issue and that’s a case that should I choose to go with a CD reissue, all editions include bonus tracks that impact the flow of the album. Plus, to be completely frank, vinyl in Australia is priced so badly at the moment that most music lovers, myself included, simply can’t afford the ~AUD$60 price tag to attain even our favourite records, with the original sequencing; especially when the CD release is close to a third of the price.

Yes, dear reader, all the above are first-world problems, but music-loving collectors will undoubtedly understand that it’s the little elements that make our collections unique; elements that can be frustrating when the music industry, as a whole, does not share the idealistic perspective that reissues should mimic the original release so that an entirely new audience can experience Metal Health as if it were 1983 all over again.

Metal Health (Bang Your Head) kicks the album off with its anthemic title track. Featuring heavy guitar riffs, pounding drums, and DuBrow's powerful vocals, the song's energetic and rebellious spirit became a defining anthem for the era and headbangers everywhere.

Cum On Feel The Noize is the only cover song on Metal Health and as solid as Slade’s original is, Quiet Riot mastered it and made it their own.  The song's catchy chorus and heavier edge propelled the song to mainstream success and has become a quintessential part of 80s hard rock.

Don't Wanna Let You Go slows down the tempo somewhat and showcases Quiet Riot’s ability to balance heavy hitters with melodic numbers. Don't Wanna Let You Go is, most certainly, an album-only tune and is a little weak, particularly when contrasted against the other songs from the album. However, after all these years, I couldn’t imagine listening to Metal Health sans Don't Wanna Let You Go.

Slick Black Cadillac with its driving rhythm, gritty vocals, and overall raw intensity, returns the album to its high-octane, hard-hitting, style that will appeal to headbangers the world over.

Love's A Bitch flows seamlessly from Slick Black Cadillac and is an absolute masterpiece. Love's A Bitch really should have been released as a single for it’s one of the very best songs on Metal Health and one of the greatest hard rock songs of not only the 80s, but of all time. With a blend of heavy guitar riffs, a brooding atmosphere, and DuBrow’s impressive vocal range, you’ll find yourself turning up the volume, if you haven’t already, while rocking along to that addictively good chorus with your air guitar in hand.

Breathless is a killer tune with a relentless energetic pace and pulsating rhythm section, along with some incredible vocals.

Run For Cover maintains the high-energy aggressive momentum. It’s a solid track, nothing to write home about, but every song on an album need not be a hit for the album to be exceptional.

Battle Axe is a purely instrumental number that presents us with a masterful guitar solo, thereby adding variety to the album while maintaining the record’s overall energy.

Let's Get Crazy flows perfectly from Battle Axe with its high-energy riff-driven approach that makes this tune one of the very best songs from the record and an ideal B-side that could have been a chart-topper under the right circumstances.

Thunderbird is a beautiful way to close the album, paying tribute to the late Randy Rhoads (Quiet Riot’s original guitarist). As a ballad, it showcases a different side of the band, highlighting their ability to deliver emotionally charged and heartfelt compositions. However, more importantly, it allows for contemplation while simultaneously encouraging repeat plays of the album.

Quiet Riot's Metal Health not only helped to define a genre but also left an indelible mark on the history of heavy metal, hard rock, and glam metal. Its raw energy, memorable hooks, and rebellious spirit make it a timeless classic that continues to resonate with metal fans across generations. Whether you're a seasoned metalhead or a newcomer to the genre, Metal Health is an essential listen.

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Petra – Not Of This World (Album Review)

Petra's Not Of This World, released in 1983, stands as a landmark rock album that seamlessly blends powerful messages with some exceptional music.

While Petra is billed under both Christian and Inspirational rock genres, you’ll note that I referenced Not Of This World as a rock album and for good reason; I don’t listen to music for its lyrical interpretation. I, instead, prefer to enjoy the human vocal as another instrument within the mix. The benefit of that, in this case, is that I’m not influencing my love of the music based on the interpreted meaning of the lyrics. Granted, not everyone appreciates music in that manner, but I only mention it because if you’re opposed to Christian-based music, you’re going to miss out on some of the very best rock music from not only the 80s, but from all of recorded music history.

Visually, the album’s artwork is stunning and perfectly suited to the era and the vinyl format; the leading distribution medium for music during the early 80s. Thankfully, modern music lovers can still access this classic release as it was reissued beautifully on CD in 2021 and vinyl in 2022. That said, both releases are nearly impossible to pick up in Australia, with both commanding high prices when available. So, until I can track down one of the two physical releases, streaming will have to suffice.

Speaking of the stream, the Apple Music version is a direct CD-quality counterpart to the CD release from 1988 and is dynamically pleasing. Turn the volume up and you’ll be met with a rocking album that has an ample soundstage, clarity and definition between all music elements, and enough mid to low-end bass to please even the most ardent stadium rockers.

Whether or not you find yourself interested in Inspirational music, one thing is for certain; Not Of This World is nothing short of an incredible rock and roll album. Therefore, dear reader, join me as I take a look at the songs that make up this landmark release; from my own unique music-focused non-lyrical perspective.

Visions (Doxology) opens the album admirably as the instrumental journey builds throughout this piece. If you’re into science fiction, you’ll likely appreciate and instantly connect with the audible vibe of Visions (Doxology), but it would be also fair to say that this instrumental opener is somewhat superfluous. It does, however, make for a worthwhile bookend to the final track Visions (Reprise).

Not Of This World sets the tone for the entire album with a highlight on Petra’s harmonies; some of which challenge the greats, such as the Eagles, for supremacy. That aside, this title track is one of the most beautiful songs to come out of the 80s.

Bema Seat picks up the tempo and while it may initially be a jolt to the senses, it quickly comes into its own, particularly when the song enters the chorus. While it may not be a standout tune, it’s a quintessential album-only song that drives the record forward; one that, in this case, is perfectly aligned with the era.

Grave Robber is simply magnificent. That acoustic introduction is superb and while that alone could be considered the reason as to why Grave Robber is such a memorable tune, the slow build to the chorus is masterful. The chorus itself is addictively good and as much as I don’t listen to the lyrics for literal interpretation, I do find myself singing along to the anthemic chorus. Grave Robber is, undoubtedly, one of the greatest songs from the album and one of the best songs ever recorded, by anyone. Exceptional!

Blinded Eyes was always going to be a challenge, following on from Grave Robber, but that need not be a concern for Blinded Eyes continues the musical brilliance with some incredible guitar licks, magical interplay between musical elements, and a perfect vocal presentation with a small amount of processing that adds to the overall style of the song without going too far that it detracts from the hard rock edge of the recording.

Not By Sight flows perfectly from Blinded Eyes and is a testament to not only the musical prowess of the entire band, but also the chosen sequencing for Not By Sight continues the rocking edge laid down by the previous songs.

Lift Him Up shifts the atmosphere back to that of melodic soft rock. Yes, the song may be a little campy and while I tend to appreciate the human vocal as another instrument in the mix, when it comes to Lift Him Up, you really get the Christian values presented front and centre. That isn’t a criticism, mind you, it’s just an observation and may be a deterrent for some music lovers.

Pied Piper kicks things up a notch as it returns us to a harder rock edge. It’s another album-only tune that is perfectly positioned and suited to the era, but it’s also fair to say that you likely wouldn’t seek Pied Piper out, outside of the album’s structure. That said, I couldn’t imagine the album sans this track as it simply wouldn’t flow as well as it does.

Occupy is an interesting song as the musical bed, and individual elements, are somewhat more reserved. While I like it, a lot, it would be interesting to hear a remix of Occupy with a slightly bigger soundstage, greater musical separation, and a more bombastic rock presentation that I feel would have made it an even stronger song than it already is.

Godpleaser is a fantastic song that particularly stands out when the bridge and chorus enter the mix. It’s addictively good and while the campiness of the Christian values may be a distractive element to some, I find that it’s just a great little rocker.

Visions (Reprise) is a minor annoyance in so far as Godpleaser would have been a perfect closing track. Yes, I acknowledge the bookending style that Petra was aiming for, but more than ever I feel Visions could have been omitted from the album and it wouldn’t have been missed. It isn’t a bad track, far from it, but it would be fair to say that it doesn’t fit perfectly with the other songs from the album.

While Petra's Not Of This World showcases a blending of rock styles, thoughtful lyrics, and a commitment to exploring Christian themes, at its core it’s a rock and roll album that rock and rollers everywhere will thoroughly enjoy. If you’re not enamoured with the topical approach of the record, listen for the music and try to ignore the lyrical meaning for doing so will only enrich a well-curated rock music library.

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Night Ranger – Midnight Madness (Album Review)

Released in 1983, Night Ranger's Midnight Madness stands as the quintessential rock album that captures the essence of the era with its dynamic sound, memorable melodies, and impressive musicianship. Add to that a remarkable selection of songs, with a polished production that allows the band’s collective talent to shine through, and you’ve got one of the very best hard rock albums of the 80s.

While most people would know Night Ranger from their highly successful song Sister Christian, it’s fair to say that this accompanying album has flown under the radar, thereby making it a hidden gem within the annals of hard rock music history. If, however, you give Midnight Madness a chance, you’ll find a perfectly sequenced record without a hint of a B-side to be found.

As strong as the album is, and while I applaud the production, there is one aspect that I find to be a little lacklustre. The mastering of Midnight Madness has clarity, and enough detail, but it borderlines on being a little lifeless. Granted, the current streaming editions are the CD-counterpart releases, but if you’re looking for a bombastic rock and roll concert, in your home, you’ll likely be a little disappointed as the lossless Apple Music stream is lovely, especially when pumping the volume, but it simply doesn’t have the mid to low-end oomph that I believe this album deserves.

It isn’t only the stream that sounds a little too clinical and cold for my tastes as the MCA Records CD (MCAD-31160) release, that I was fortunate to have owned, also suffered from the same mastering technique. While there is a new 2023 remaster, from Rock Candy Records (on CD only), I’ve yet to hear that edition so I can’t comment on how it may compare. Nevertheless, it’s great to see that this classic album is getting reissued and if only we could have a mainstream vinyl reissue, I’d be thoroughly pleased because I feel the warmth (distortion) that is inherent in the vinyl format would help to smooth out some of the focus on the treble range that exists within the current streaming edition. Yes, I’m aware of the 2021 French vinyl reissue (limited to 1,000 copies) and despite having not heard it, I haven’t heard any reports, good or bad, regarding the sonic quality of that release either.

No doubt there are those of you who are thinking why not just adjust the tone controls or EQ settings and that most certainly can, and has, been done. The bigger concern is that more and more modern setups are lacking in this basic ability for the music lover to easily tweak the sonic signature to their subjective tastes. Hence, a flat transfer from an original master isn’t always the best approach as first impressions last and if an album isn’t presented in a manner that a modern music listener would be expecting, they may very well decide to skip what is otherwise an exceptional album. For us old timers, the currently available stream is reminiscent of early CD mastering efforts, in the 80s, and if you weren’t a fan of that sound then, you’re likely not going to be pleased with this particular version. However, as I mentioned earlier, if you pump the volume you’ll be met with pleasant results, that aren’t fatiguing, but still need work nonetheless. That all said, Midnight Madness really is all about the music, so let’s take a look at the songs that make up this classic release.

(You Can Still) Rock In America is a classic 80s anthemic powerhouse that kicks off the album with a bang. With its energetic riffs (including a killer guitar solo), infectious chorus, and driving rhythm section, (You Can Still) Rock in America is one of the many hidden gems from Night Ranger.

Rumours In The Air takes us sonically on a slight detour and that atmospheric opening would have been perfect had Rumours In The Air been chosen as the opening track. Nevertheless, as I mentioned earlier, I thoroughly appreciate the chosen sequencing and Rumours In The Air keeps the energy flowing with a fantastically addictive chorus and masterful bridge between chorus and verse. And, yes, there’s another soaring guitar solo to thoroughly enjoy.

Why Does Love Have To Change further demonstrates Night Ranger’s versatility for it may be rock and roll but it’s the variances within the genre that showcase just how exceptional these San Francisco rockers are. You’ll immediately connect with the driving rhythm and will be emotionally moved if not through the music, then via the lyrical depth. Plus, there’s even a little Brian May (of Queen) influence to be heard throughout, particularly in the solo, thereby making this tune nothing short of sensational.

Sister Christian needs no introduction. It is a masterpiece, in every sense of the word, and is one song that should be on every 80s playlist; I could, and have been known to, listen to it on repeat for hours at a time. Yes, it’s a ballad and I know some of you detest them, I just don’t share that viewpoint as I love them and Sister Christian is subsequently one of the greatest ever recorded. The gradual build-up, combined with a memorable keyboard melody, culminates in a timeless power ballad that is a true testament to Kelly Keagy’s musical prowess as he not only played the drums magnificently but wrote the song and took on lead vocal duties.

Touch Of Madness has a quirky introduction that works, yet I believe the song would have been just as impressive without it. Despite that, Touch Of Madness, with its upbeat tempo, catchy hooks, and core rock energy is an incredible album-only tune that’s easy to rock out to.

Passion Play takes a more subdued approach, particularly with regard to the introduction, with a mid-tempo groove that results in another exceptional album-only tune. Add to that the carefully crafted arrangements, with a meticulously textured sound, and you’ve got a song that aligns perfectly with the flow of the record.

When You Close Your Eyes is radio-friendly melodic rock at its very best. Yes, it’s a little campy, particularly in the chorus, but it’s such a good song that I look past that aspect and enjoy it for what it is.

Chippin’ Away returns the album to a more rocking vibe that features dynamic guitar work and a driving rhythm section. Yes, it’s 80s-driven rock, but it’s some of the very best ever recorded so don’t let these album-only tunes elude you, for they’re something special and in many cases match, or exceed, the singles that were released. Songs such as Chippin’ Away are what make the album experience so enjoyable for the hits are great, but it’s the quality of the album-only songs that make or break an album experience.

Let Him Run is a semi-acoustic marvel. As a closing track Let Him Run really shouldn’t work, but it does. I say it shouldn’t work because throughout the entire song you’re waiting for the non-acoustic element to kick in, a big rock opera if you will, yet it never does. It subsequently makes you feel as though something is missing and therefore permits reflective contemplation whilst also encouraging you to spin the record again.

Midnight Madness is a seminal work in the realm of 80s rock, delivering a balanced blend of anthemic rockers and heartfelt ballads. Its timeless appeal makes it a must-listen for fans of classic rock and whether you're a seasoned rock enthusiast or a newcomer to the genre, Midnight Madness remains a captivating journey that will have you hooked from the very first note to the last.

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Lionel Richie – Can't Slow Down (Album Review)

A timeless and beloved masterpiece would likely be an appropriate description for Lionel Richie’s 1983 studio album, his second solo release, Can’t Slow Down. Blending soulful melodies, heartfelt lyrics, and an exquisite production, this record stands as a timeless classic over four decades later and is a significant milestone in not only Richie’s career but also within the annals of pop and R&B music history.

As incredible as the album is, however, one thing has always struck me as bizarre and that’s the album artwork. There’s nothing wrong with it, per se, it just isn’t overly appealing. It seems somewhat irrelevant to the music; not that the visual accompaniment needs to always match the audible intent. It’s just that many albums, particularly the successful ones, do have linkages between the music and the artwork design. It’s even stranger when contrasted against the dominating elements of the era as the primary music format in 1983 was the larger vinyl record. The visuals, at that time, were essential to an album’s success and perhaps I’m missing an element, but it’s a little sparse and cold. In a strange dichotomy, however, I’ve grown accustomed to it. That is to say that I can’t imagine a different album cover for the selection of songs, yet I still don’t consider it to be an exceptional piece of cover art. Thankfully, I have the complete opposite opinion of the music contained within.

As it pertains to the sonic quality of the album, there’s no doubt just how well this record was recorded and mixed, yet different masterings yield varied results and depending on your subjective preferences some editions may appeal to you more than others. For instance, I had been fortunate to have owned the High Fidelity Pure Audio (HFPA) Blu-Ray release but I always found it to be a little too clinical and fatiguing to listen to. However, if you’re interested in extracting every musical element from the recording, that particular edition will likely impress. I, on the other hand, tend to lean towards a more musical presentation. I want to groove and dance to the music, I want to feel it in my soul, and I don’t require every minutia of the recording to thoroughly enjoy this release.

Subsequently, I have found the Hi-Res Lossless Apple Music stream, an Apple Digital Master, to be exquisite. It has detail, but more importantly, for me at least, it has oomph. The roundness of the sonic signature, as featured on the stream, results in what I consider to be a far more pleasant presentation than any other I have heard thus far. It’s so good that I don’t feel the need to seek out a physical copy or return to the HFPA Blu-ray release.

The bottom line is that with the stream, I feel compelled to play the album on repeat, whereas that hadn’t always been the case in the past. I’d usually play the Blu-ray release once and then file it away as the fatigue began to set in by the time I got to the end of the album. Of course, your perspective may, and likely will, differ from mine. Let’s just say that when you have an album as incredible as Can’t Slow Down, there’s no wrong way to listen to it. With that in mind let’s explore the songs that make up this classic release.

Can't Slow Down launches the album with a mid to upbeat rhythmic tempo that sets the tone for the music that’s to follow. While there isn’t a bad song to be heard on the album, Can't Slow Down is one of those songs that I have a love/hate relationship with. Perhaps it’s just me, but I feel Richie’s vocal is too recessed in the mix. Granted, it’s a stylistic choice, but I can’t help but disagree with the mixing decision. That said, I couldn’t imagine any other song from the album that would have been a more fitting opener.

All Night Long (All Night) has an incredible Caribbean-inspired rhythm that immediately captures your soul. Add Richie’s smooth vocal style to the mix and you have a compelling and upbeat celebratory atmosphere that could be played on repeat all night long (pun most certainly intended). The bottom line is that the song's catchy chorus and vibrant instrumentation make this not only one of the most exciting songs from the album, but one of the very best Richie ever wrote and recorded.

Penny Lover shifts the tonality of the album with this beautiful romantic ballad. Richie's soulful vocals and the smooth melody are nothing short of exceptional and ensure that this is one song that truly defines the term timeless.

Stuck On You continues the ballad-styled approach that is, arguably, a signature cue for Richie, but it’s the musicality that makes Stuck On You so impressive. With a touch of country, Richie shows just how skilled and diverse he is as a vocalist and musician.

Love Will Find A Way picks up the tempo with a groove that will see you toe-tapping and head-bopping along to this stunning album-only tune. While Richie is exceptional throughout the entire song, it is the moment when the backing vocals enter the mix that cements it as a hidden gem that will touch your soul as only the best music in recorded music history can.

The Only One maintains the soulful and romantic atmosphere of Love Will Find A Way. Featuring a masterful blend of R&B and pop elements, The Only One, while never released as a single, is one of the standouts from the album and I dare say that had it been released as a single, it too would have topped the charts as the other five releases from Can’t Slow Down had.

Running With The Night is one of the greatest songs from the 80s. Yes, it has the 80s vibe to it, as does the entire album, yet it doesn’t sound dated. I’d argue that it remains sonically fresh after all these years and perhaps that is due to its rock-inspired atmosphere as you get the sense of the song continually building to Steve Lukather’s magnificent guitar solo that graces the song from the midway point. Richie may not be a rock and roller, but as with Stuck On You, his vocal prowess knows few bounds.

Hello is, arguably, Richie’s most iconic song and for good reason; it’s an exceptionally powerful ballad with exquisite music layering and a vocal performance that is amongst the greatest Richie has ever recorded. It is, for lack of a better term, timeless!

While Can’t Slow Down was a monumental success, its true triumph was not in the awards, critical acclaim, or sales it achieved, but in the album’s timeless quality, perfect sequencing, and song selection, as well as its emotive storytelling. Each song stands out on its own, but the culmination of chosen songs knows few peers. It truly is one of the greatest albums ever released and is one that will continue to captivate audiences and inspire artists for generations to come.

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