Bob Dylan – Oh Mercy (Album Review)

Released in 1989, Bob Dylan’s twenty-sixth studio release, Oh Mercy is amongst his greatest records following a somewhat lacklustre series of albums throughout the 80s. As a significant return to form, Dylan, alongside renowned producer Daniel Lanois, delivered an album that is Dylan to the core while leaning into the layered and textured production Lanois is often associated with. The combination is profound and while Oh Mercy isn’t among Dylan’s best-selling albums, nor is it always at the forefront for consideration as one of his greatest releases, Oh Mercy delivers a tight and cohesive album experience.

There’s no doubt as to the musical prowess of a legendary artist like Dylan, but perhaps one of his greatest qualities throughout the decades has been allowing producers to guide him. Yes, at times, the combination of producer and artist may have been questioned as not all Dylan albums are created equally. In Oh Mercy, however, Lanois' knack for creating mood and atmosphere helps to elevate Dylan’s songwriting, providing a sonic backdrop that feels both timeless and contemporary. Perhaps this is why the record still appeals to many music lovers so many years after its release for the production infuses the album with a lush, ambient sound that complements Dylan’s gravelly voice and poetic lyrics.

As is often the case, I’m not always drawn to Dylan’s lyrical context as much as many of his fans are. Instead, I appreciate his vocal dexterity for its tone and delivery as an instrument within the mix. While I can’t deny his pronunciation is exquisite, I feel it further highlights his skill as a singer/songwriter in that his music can be appreciated from both literal and musical perspectives. That said, you’ll notice that I’ll offer cursory comments on the lyrical meaning for, as with most of Dylan’s music, his intent is often difficult to ignore.

Of course, enjoying the music also comes down to how well it was mastered and in this instance, Oh Mercy is impeccably presented. The Apple Music stream, a Hi-Res Lossless Apple Digital Master, is nothing short of amazing. I’ve no doubt fans of this album will point to the various vinyl editions and the SACD release from 2003, but I implore you to give the Apple Music stream a go as it’s a sonic masterpiece. The soundstage is wide and enveloping with every layered aspect floating in the air as it permeates from the speakers. It’s so surreal that there were moments when I could have sworn Dylan and the band were in the room with me. Of course, when music sounds this good via a stream, other than the ownership element, I don’t feel the need to seek out a better copy, from a sonic perspective. That, naturally, can’t be said about all streamed releases, as the Apple Digital Master for Billy Joel’s Storm Front is atrocious, but it’s certainly valid for Oh Mercy.

Political World opens the album with a slow build comprised of a gritty, driving rhythm with sharp and observational lyrics. While it isn’t the smoothest tune, it’s Dylan 101 and with a mix that focuses on his vocal delivery, you’ll find yourself sitting up and taking notice.

Where Teardrops Fall shifts the tone to that of a more mellow presentation. It’s a soulful tune with a bluesy undertone that sees Dylan’s voice, again, rise above the mix but not detract from the musical bed that is in a similar style to what one would expect from a Santo & Johnny recording.

Everything Is Broken is a brilliant song that addresses the chaos and disintegration Dylan sees in the world around him. With a catchy, upbeat rhythm, the song’s groove and infectious melody contrast, interestingly, with the lyrical direction of the music. Regardless of how you appreciate Everything Is Broken, either from a lyrical or musical standpoint, this is one of the highlights from Oh Mercy and is anything but broken.

Ring Them Bells, again, shifts the tempo of the album, but the song’s gentle piano blends beautifully with the choral musical backing and Dylan’s tender and gruff vocal presentation, making this one of the record’s most moving tracks.

Man In The Long Black Coat is a musical marvel and I dare say one of the greatest songs Dylan has ever recorded; most certainly from a musical perspective. The moody haunting quality of the song rings out as Dylan’s eerie narrative adds to the foreboding atmosphere. It has a gothic folk tale feel to it, one that is thoroughly enjoyable. Man In The Long Black Coat is, most certainly, a hidden gem.

Most Of The Time is a beautiful ballad-focused tune with an arrangement that is subtle and doesn’t detract from Dylan’s vocals. Yet, if you listen to the musical bed alone, you’ll be amazed at just how multi-layered Most Of The Time is.

What Good Am I? is one of my all-time favourite Dylan compositions, yet it is Tom Jones’ interpretation that I think of most when I listen to this classic tune as his weathered vocal adds a little more character to the song than Dylan’s vocal does. That said, had I never heard Jones’ rendition, I’d be smitten with Dylan’s original as it is truly magnificent.

Disease Of Conceit flows seamlessly from What Good Am I? and the song’s slow, dirge-like pace enhances its contemplative nature, especially if you’re following along to the lyrical interpretation, that is. If not, you’ll still be blessed with a sonically beautiful song that adds to the overall album experience of Oh Mercy.

What Was It You Wanted has a most interesting musical composition, particularly during the early stages of the song; an aspect that can make it challenging for the mind to attach itself to a single element. That, however, dissipates as the song progresses and the focus within the mix is placed on Dylan’s magnificent vocal and harmonica performance. As the song comes into its own, What Was It You Wanted will talk to every music lover for when a song deals with communication breakdowns in relationships, we’ve all been there and what better way to deal with the associated frustration and confusion than via this song.

Shooting Star is a wistful ballad that’s straight out of Dylan’s wheelhouse. It’s, subsequently, the perfect closer, one that will see you contemplating the music you’ve just heard, whilst simultaneously feeling compelled to play the record again.

No matter which way you look at it, Oh Mercy is one of Bob Dylan’s greatest releases. Each song contributes to the album’s overarching themes and musical cohesion, thereby making it a compelling work that not only showcases Dylan’s enduring artistry but is a standout within his extensive and celebrated discography. Whether you’re a long-time Dylan fan or a new listener, Oh Mercy is an essential listen, offering a deep and rewarding musical experience.

Check out more Bob Dylan reviews by Subjective Sounds

Billy Joel – Storm Front (Album Review)

Released in 1989, Storm Front marks a significant moment in Billy Joel’s career, one which brought about a transformation in both musical style and thematic exploration. As his eleventh studio album, Storm Front arrived at a period where Joel was keen to experiment and evolve from his earlier, more piano-driven compositions. Co-produced by Mick Jones of Foreigner, Storm Front integrates more rock elements than ever before with Joel's signature storytelling. The result is an album that feels both familiar and refreshingly new.

One of the most notable aspects of Storm Front is its robust production. The influence of Jones is palpable, with a heavier emphasis on electric guitars, synthesisers, and a polished, radio-friendly sound. Granted, it isn’t as though Joel hadn’t ventured into these techniques, and similar ones, in prior releases, but the tightness of Storm Front, as an album-focused experience, knows few peers. Its linear structure and song selection are amongst the greatest in Joel’s illustrious career, even if the style of the album has its detractors who may have preferred Joel’s more subdued, piano-centric, compositions. Don’t worry, they’re there, but songs such as the lead single, We Didn’t Start The Fire, were always going to be divisive amongst fans.

While I’m generally not a music lover focused on lyrical meaning and subsequent interpretation, instead appreciating the human vocal as another instrument in the mix, one can’t ignore the themes Storm Front brought to the social consciousness upon release. We Didn't Start the Fire, for instance, is a rapid-fire chronicle of historical events from 1949 (the year of Joel's birth) to 1989. Whereas, Leningrad offers a poignant narrative contrasting Joel's life with that of a Russian man, Viktor. It reflects on the Cold War and humanises political tensions through personal stories. This song, like much of the album, demonstrates Joel's knack for blending personal and political narratives and remains just as important today as when the album was released.

With worldwide sales exceeding 5,000,000, one would assume that Storm Front was not only extremely successful but was one of Joel’s most popular releases. Yet, statistics indicate that it sits somewhere in the middle of Joel’s discography with his 1993 follow-up, River Of Dreams, exceeding Storm Front’s sales by over 1.5 million units; a surprise considering it’s more of a hodgepodge album experience. Nevertheless, Storm Front remains, upon reflection, one of Joel’s greatest works and if you’re anything like me, this may be one of your most treasured records.

As alluded to earlier, the production of the album is top-notch with a thoroughly pleasing mix and overall sonic quality that presents itself via a well-developed soundstage accompanied by a punchy bass and drum rhythm. However, depending on which platform you choose to listen to the album on, you may find the experience to be a little underwhelming. While I can’t confirm the provenance of the Hi-Res Lossless Apple Music stream, there are numerous cases where the album sounds concealed and congested. Subsequently, when listening to the stream, I can’t help but notice a lack of dynamics for it simply fails to come alive, unlike the experience that I get from listening to the 1998 CD reissue.

While the stream may be labelled as an Apple Digital Master, the CD has a bolder presentation, one filled with energy and pizzazz. The stream, by comparison, sounds more akin to a high-quality radio broadcast of the album than it does a spectacular mastering direct from the studio. I’ve even downloaded the stream, to no avail, in the hope that the download would yield a different sonic presentation; one not reliant on variations due to network conditions. Granted, the CD is a little louder, but even when the volume is matched (by ear) the CD compels me to move my body to the rhythm whereas the stream leaves me wondering where the emotive element has gone.

While I’m a strong proponent of letting you decide how to best listen to and enjoy music, this is one example where I implore you to consider another option as the version submitted to music streaming platforms doesn’t offer the best sonic presentation for this exceptional release. Coincidentally, while I was unable to ascertain the provenance of the Apple Music stream, the edition available via Qobuz is shown to have quashed the album’s dynamic range to an average 7 out of 14 whereas the 1998 CD remaster is a 9 out of 14. This variance could account for the difference in presentation and, for those interested, both perform significantly worse than the album’s original release in 1989 when its average dynamic range was recorded as 13. As with many things, dear reader, more is not always a guarantee that it's better but it gives us a data point, that could be a contributing factor, when various releases of the same album sound different. Yes, it’s a mastering issue, but unless I’m mistaken, Ted Jensen is the sole mastering engineer for this album, including its various reissues. There should be little differences, certainly, but not substantial ones like that which I have experienced. Of course, your own experience may be different to my own and that is where music is ultimately subjective. With that in mind, join me as I take a look at the songs that make up this landmark release.

That's Not Her Style is a slick opening track driven by a strong rock arrangement, yet I consider it to be one of Joel’s weakest recordings, from a vocal perspective, as it sounds as though he didn't find the correct vocal style for the song. The musical elements, however, are incredible and while it may not be my favourite song from the album, having heard it so many times over the years, I can appreciate it as part of the album experience.

We Didn't Start The Fire is a rapid-fire anthemic number and while it divides many of Joel’s fans, it’s a song I’ve thoroughly appreciated ever since I was first exposed to it upon release. The arrangement is straightforward, allowing the lyrics to take centre stage, and as a historical retrospective, detailing significant milestones between 1949 and 1989, it’s superb.

The Downeaster “Alexa” shifts the tempo somewhat to that reminiscent of a haunting folk-rock tune. While one would expect the sonic shift between We Didn't Start The Fire and The Downeaster “Alexa” to cause a jolt to the senses, the truth is that The Downeaster “Alexa” has such a bold composition that it flows seamlessly. Joel sings from the perspective of a Long Island fisherman, detailing the hardships and economic difficulties faced by those in the fishing industry. It's a poignant narrative about survival and resilience and while focused on one industry, during a very specific period, songs such as this could easily be applied to anyone’s profession and any era. Even if you don’t follow the song for its lyrical context, the layers of masterful musical composition make this one of Joel’s greatest recordings.

I Go To Extremes returns the album to an upbeat tempo with this high-energy rocker that has a catchy hook and driving rhythm. While the piano is more prominent on this tune, and it blends well with the guitar-driven arrangement, the stream is so congested that the cymbals crunch horribly and the piano elements are effectively lost in the mix. It's as if Joel is playing in another studio entirely. It isn’t that way on the CD, I assure you, but it’s disappointing to note that core elements are missing from the stream. I honestly don’t know what they’ve done in the mastering of this Apple Digital Master, as they’re normally quite respectable, but this is one example of where relying on new technologies just doesn’t compare to decades-old technology.

Shameless is a lush soulful bluesy ballad that will captivate you from the very first note with its rich and vibrant arrangement. The guitar solo is what air guitar dreams are made of and when combined with Joel’s passionate lyrical delivery, there’s little doubt as to why this is one of my favourite songs from the album.

Storm Front is another tune that features a strong rock arrangement but despite the prominent guitar riffs and powerful rhythm, the style of the song could have perfectly suited 52nd Street, for it instantly fits alongside a song such as Stiletto. Nevertheless, it’s an ideal title track, one that is not only memorable but one that also suits Joel’s style perfectly.

Leningrad is simply magnificent. It isn’t difficult to suggest that it’s one of Joel’s greatest musical accomplishments for despite the sombre tone, this ballad is reflective with a lush orchestral arrangement that will touch your soul from both interpretive and musical perspectives.

State Of Grace shifts the tone to that of a smooth, melodic rock feel. The mix is superb, ensuring that the driving rhythm, killer guitar riff, and Joel’s explosive vocal, as well as his impeccable piano solo, are delivered perfectly (on the CD, that is). It may not have been released as a single, but when album-only tunes are this good, there is little wonder as to why Storm Front is so compelling.

When In Rome features a jazzy, upbeat arrangement, that stands out for its swing influences and playful energy. It’s another song that could have been well-suited for inclusion on 52nd Street as Joel has a knack for these types of lively numbers that are directly influenced by the sounds of the 50s.

And So It Goes closes the album with a stripped-down, piano-driven ballad. Its simplicity and emotional depth make it a powerful and intimate finale to the album that permits reflection and also compels one to play the record again.

Storm Front stands as a pivotal release in Billy Joel's illustrious career, reaffirming his prowess as a songwriter and storyteller. Each track on the album offers a unique blend of musical innovation and lyrical depth, reflecting Joel's ability to tackle both personal and universal themes with equal finesse. From the historical sweep of We Didn't Start The Fire to the intimate reflections of And So It Goes, the album captures the complexities of the human experience against a backdrop of social and political change. Storm Front is, subsequently, an album that solidifies Joel’s legacy as one of the most compelling artists in music history.

Check out more Billy Joel reviews by Subjective Sounds

Belinda Carlisle – Runaway Horses (Album Review)

Released in 1989, Runaway Horses represents a pivotal moment in Belinda Carlisle’s career as despite it being her third solo studio release, and her being most notably associated as a co-founder and lead vocalist of The Go-Go’s, Runaway Horses can be viewed as her magnum opus. Yet, it wasn’t as successful as her preceding solo studio release, Heaven On Earth; a solid album but one that is slightly inferior to the fluidity offered with Runaway Horses. Popularity aside, Runaway Horses cemented Carlisle’s place in the pop-rock pantheon of the late 80s for it is all killer with no filler.

With an eclectic mix of upbeat pop anthems and introspective ballads, Runaway Horses is a compelling showcase of Carlisle's vocal prowess and artistic evolution. That said, it’s important to correctly credit the creative individuals behind the music we love for as talented as Carlisle is, she only co-wrote a single song (Shades Of Michaelangelo) with the core songwriting across the record being done by Rick Nowels and Ellen Shipley. Nowels and Shipley were also responsible for Carlisle’s hit single Heaven Is A Place On Earth from Heaven On Earth. While some purists may be perturbed by the following statement, it is nevertheless true that Carlisle’s success, as a solo artist, can be attributed to the incredible songwriting of Nowels and Shipley. The amalgamation of their songs and Carlisle’s exceptional vocal delivery created a lasting impact on both Carlisle’s career and the era’s musical landscape.

Speaking of Nowels, he also produced the record, ensuring that each track was meticulously crafted. The album also has just about every 80s cue you can imagine for its lush, multi-layered, soundscapes will not only deliver longtime fans a healthy dose of nostalgia, but will transport them, and any modern music lover back to what could be considered a simpler era where singles, live performances on television, interviews in magazines, and albums reigned supreme. Unlike the modern era, the excitement for a new release was palpable and an event in and of itself. Whether or not you lived through the 80s, one thing is for certain, Runaway Horses is reflective of the era, with a focus on a rich and immersive listening experience.

Of course, once the singing, songwriting, and production values have been considered, one has to turn their attention to the musicians. While the highly talented Nowels contributes throughout on guitar and keyboards, you also have industry legends such as Kenny Aronoff, Bryan Adams, and George Harrison, amongst others, contributing to the album’s sound. Yes, dear reader, it's that George Harrison; the one from The Beatles. Granted, Carlisle was already well-established by this time, but to have a legend such as Harrison play on your record must have been an incredible honour.

As it pertains to the listening of the album, while I’ve never been fortunate to have owned this release, the lossless Apple Music stream is derived from the 2013 remastered edition and is a sonically admirable release. It isn’t, however, representative of the very best sonic reproduction, for the low end is a little anaemic, thereby slightly reducing the bombastic presentation often featured in pop music from the late 80s. That said, if you’re not a fan of bass, you’ll probably appreciate the chosen mastering and there’s nothing wrong with tweaking the EQ levels, on occasion, to boost the low end of the spectrum. As our subjective tastes differ, I implore you to give the stream a listen, as you read through my thoughts on the songs themselves, but if you’re like me you may feel the mastering is a little too reserved.

Leave A Light On is an infectious upbeat track with a catchy melody and vibrant arrangement that will draw you in from the very first note. Carlisle's vocals are both powerful and polished, perfectly complementing the song’s energetic rhythm, ensuring that Leave A Light On is the quintessential opening track. It also features George Harrison’s masterful slide guitar that adds additional depth to the tune and matches the song’s musical style perfectly. Leave A Light On is, subsequently, one of the greatest songs ever recorded.

Runaway Horses slows the tempo slightly, but this title track, with its mid-tempo beat and lush arrangement, creates a rich sonic landscape that is highly compelling. Again, as will also be the case throughout the entire album, Carlisle’s vocal control is capable of conveying deep and emotional narratives for those of you who are interested in lyrical intent. Even if, like me, you prefer to appreciate the human vocal as an instrumental element within the mix, rather than a storytelling device, Carlisle’s pronunciation is so incredible that you’ll find yourself captivated.

Vision Of You is a magnificent ballad with sweeping melodies that highlight Carlisle’s vocal prowess and when you listen to her quivering pitch, you can’t help but be reminded that this was recorded before the introduction of autotune; an example of just how exceptional a vocalist Carlisle is.

Summer Rain is a testament to Carlisle's ability to tell a compelling story through her music, thereby making it one of the album's most enduring songs. The arrangement builds beautifully throughout, but her chosen vocal pitch is what truly makes the song shine, for the lower range in the verses, and the higher octaves throughout the chorus, make Summer Rain a textbook example of how to vocally deliver an exceptional song.

La Luna adds a touch of mysticism and variety to the album with its Latin-inspired rhythms and atmospheric production. The song’s exotic feel is enhanced by Carlisle’s sultry vocal performance and the instrumental elements featuring flamenco-style guitars and percussion that create a lush and immersive soundstage.

(We Want) The Same Thing picks up the pace with a driving beat and a rebellious spirit. This energetic song is a quintessential late-80s pop-rock anthem; particularly regarding the song’s powerful chorus. Carlisle's dynamic vocal performance, coupled with the song’s infectious energy, make it a standout track that exemplifies the album’s overall upbeat and optimistic vibe.

Deep Deep Ocean is a hidden gem for those not familiar with the record. It’s also one of those songs that is guaranteed to create a mondegreen in your mind as you’ll likely hear the lyrics Deep Deep Ocean as Deep Devotion. Intentional, or not, I love it as it creates a deeply immersive and emotionally resonant listening experience.

Valentine is another magnificent highlight from the album; one that could be classed as a hidden gem. While Valentine wasn’t released as a single, even though it could have done exceptionally well on the charts during the era, it’s album-only tracks such as this that make Runaway Horses an exceptional album experience from start to finish.

Whatever It Takes has a solid pop-rock arrangement and engaging melody. It’s another of Carlisle’s exceptional album-only tunes and what’s most intriguing is the mixing decision for the vocals are laid beautifully atop the instrumental bed, but Bryan Adams’ backing vocals are so recessed that unless you check the liner notes, you’d likely miss his inclusion as his trademark vocal cues are a little too subdued in the mix. That said, his backing vocal is meant to be complementary to Carlisle’s lead vocal and, therefore, doesn’t detract. As a result, it could be argued that it’s a perfect mix.

Shades Of Michaelangelo features a dramatic build-up and expansive sound, with Carlisle’s vocals soaring over the grand arrangement. As the closing track, the Shades Of Michaelangelo brings the album to a powerful and satisfying conclusion. Whether or not you listen to the album again, or simply reflect on the music you’ve just heard, there is little doubt as to why Runaway Horses is such an exceptional record as it’s arguably perfect from start to finish.

Runaway Horses is, subsequently, a quintessential late-80s pop-rock album that showcases Carlisle at her artistic peak. With its memorable melodies, emotive vocals, and polished production, it remains a standout in her discography and offers fans and newcomers alike, a rewarding listening experience.

Check out more reviews by Subjective Sounds

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 his blackout albums (Special Forces [1981], 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.

Check out more Alice Cooper reviews by Subjective Sounds

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.

Check out more Aerosmith reviews by Subjective Sounds

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.

Check out more Ringo Starr reviews by Subjective Sounds

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.

Check out more reviews by Subjective Sounds