Lenny Kravitz – Let Love Rule (Album Review)

Let Love Rule, the debut album by Lenny Kravitz, is a powerful introduction to his unique blend of rock, funk, soul, and psychedelia. Released in 1989, the album showcases Kravitz's diverse musical influences and his ability to meld them into a cohesive sound that would define his career.

Recorded between 1988-89, one may suggest that Let Love Rule would have an 80s sheen to it, yet it is, arguably, completely void of the era’s sonic stylings for Kravitz created a timeless masterpiece. Perhaps it was the lack of external influences, during the recording process, for Kravitz was the sole producer, primary writer, and instrumentalist for the entire album. If nothing else, the album remains true to Kravitz's vision and he didn't compromise or limit himself by producing music to fit into the zeitgeist.

While Mama Said and Are You Gonna Go My Way would catapult Kravitz to levels of success only dreamed of, Let Love Rule wasn’t an immediate hit but did prove just how talented Kravitz is. While it could be suggested that the albums above deliver a more polished production, it’s the rawer production of Let Love Rule that is part of its appeal; one which provides an early blueprint that Kravitz would continue to refine throughout the years.

Speaking of production quality, the recording, mix, and mastering are superb. Again, it doesn’t fall into the sonic trap of many late 80s-era recordings but forges a path that has made Kravitz one of the most revered musicians of our time. As it pertains to the lossless Apple Music stream, one really couldn’t ask for anything more for it offers a beautiful reproduction that’s lovely to listen to. The smooth, warm, and full-bodied sound is so captivating that I don’t feel the need to seek the album out, on another format, for the stream is really that good.

Sitting On Top Of The World opens the album with a laid-back groovy vibe. Kravitz's smooth vocals and the jangly guitars create an eclectic, but appealing, composition that sets the tone for the music to come.

Let Love Rule, as an anthem of love and unity, is timeless. The chosen style for the song ensures that this is one song you’ll be seeking out, outside of the album’s structure, for it’s a captivating Kravitz performance. The blending of acoustic guitar, steady drums, and soulful organ, along with Karl Denson’s exceptional saxophone elements, results in one of the best songs from the album and is the quintessential title track.

Freedom Train picks up the pace with a funky rhythm that will get you head-bopping from the very first note. The powerful bassline and dynamic instrumentation contribute to the sonic bliss you’ll experience with Freedom Train. However, it’s the rawness of Kravitz’s vocals that creates an interesting contrast. In many respects, while it’s a multi-layered composition, there’s also a freestyle element to the song that will appeal to many.

My Precious Love is a beautiful soulful ballad that showcases Kravitz’s ability to convey emotion through his music. Sonically, My Precious Love is magnificent and has been recorded so well that you’ll sense Kravitz is in the room as you pump the volume on this exceptional tune.

I Build This Garden For Us is an absolute masterpiece featuring a lush and dreamy atmosphere that’s reminiscent of the intricate compositions on The Beatles’ Abbey Road. With that in mind, it’s so incredible that had it been written by Lennon-McCartney, nobody would have been surprised; it’s that good!

Fear delves into introspective territory, with haunting melodies and contemplative lyrics. It’s another incredible hidden gem, one that is only heightened by the song’s overall moody production.

Does Anybody Out There Even Care is a solid album-only tune. Sometimes that is all that’s needed for an album experience to be profound for each song need not be a hit, or even a hidden gem, in order to produce a thoroughly enjoyable record.

Mr. Cab Driver is one of the more politically charged songs on the album as it speaks to issues of racism and prejudice. Interestingly, the upbeat tempo and catchy chorus provide a stark contrast to the serious subject matter. The result is that Mr. Cab Driver isn’t overly confrontational, but is thought-provoking, while also being accessible.

Rosemary is a lovely song that delivers a slight change of pace with its acoustic, folk-inspired, sound. As the song progresses, Kravitz's emotive vocal performance, and delicate guitar work, take centre stage and form a thoroughly enjoyable and incredibly immersive presentation.

Be is simply magnificent. While its musical composition is held back, the low-end rhythm provides the ideal background for Kravitz’s incredible vocals to shine through, atop the musical bed. The result is that Be is not only one of the best songs from Let Love Rule, but it is among the greatest songs that Kravitz has ever recorded.

Blues For Sister Someone is raw, yet smooth, with a compelling gritty guitar riff set to a classic blues backdrop with a modern twist. What’s not to like?

Empty Hands is one of the three bonus tracks added to the CD releases (and now streaming editions) of Let Love Rule but it’s somewhat lacklustre. It isn’t fundamentally bad, but as is the case with bonus tracks, not all are exceptional and there is certainly a case to be made that Empty Hands should have been omitted from the album for it fails to enhance the record.

Flower Child closes the album with a free-spirited psychedelically-infused tune. As with Empty Hands, it isn’t the strongest song but it’s a solid closer that will compel you to listen to the record again and reflect on the music you’ve just heard.

Let Love Rule, despite not being an instant hit, is an exceptional debut that established Lenny Kravitz as not only an incredibly talented and multifaceted artist but one who possesses a unique and eclectic style that remains relevant and timeless. His ability to draw from various musical influences and create something fresh and authentic is evident throughout and results in a rich and rewarding experience for all music lovers.

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Faith No More – The Real Thing (Album Review)

It may not have been their first record, but The Real Thing, released in 1989, is Faith No More's breakthrough album and so happened to be the debut with their new lead vocalist, Mike Patton. With a blending of genres, including funk, metal, rap, and elements of progressive rock, The Real Thing is a groundbreaking release that has become not only a classic of the associated genres but is amongst the very best music released during the era.

While fans of Faith No More’s previous vocalist, Chuck Mosley, may lament the lineup change, it’s fair to say that Patton, much in the same way as Brian Johnson did with AC/DC, took on the role as new lead vocalist and not only paid respect to his predecessor but ensured that his unique styling melded perfectly with the band. Additionally, as solid as their earlier albums We Care A Lot and Introduce Yourself are, both pale in comparison to the higher production values, songwriting, and musical performance featured on The Real Thing; a release that would see Faith No More rise to the top of the charts for the first time in their career.

While the recording and mix of the album are excellent, the mastering of the lossless Apple Music stream is less than ideal. The soundstage is a little too boxed in, meaning that you’ll notice your speakers rather than them disappearing. There’s adequate separation between all elements, and the lead vocal does position itself perfectly atop and slightly in front of the musical bed. It just isn’t as immersive an experience as one would ideally like. If you have a manually adjustable equaliser, attached to your stereo, you’ll likely find it useful in extracting a sonic presentation that best suits your subjective tastes.

From Out Of Nowhere was the first single released from The Real Thing but it failed to set the charts on fire. It’s a great tune, and an incredible album opener, but it just doesn’t have the hook that Epic does. Nevertheless, its energetic driving rhythm makes it an ideal album opener.

Epic is funk metal gold. It is also one of Faith No More's most popular songs. Featuring a mix of rap verses, killer guitar riffs, and a memorable piano outro, along with Patton’s charismatic vocal, Epic is, for lack of a better term, EPIC!

Falling To Pieces is a bass guitarist's dream come true. That groove-filled introduction is exceptional and doesn’t stop there for the catchy hooks, playful vocal delivery, and overall tight performance ensure Falling To Pieces is another standout.

Surprise! You're Dead! limits the funk and is straight-up thrash metal. It’s raw and relentless with an aggressive vocal and rapid-fire guitar riff that is worthy of comparison with any other thrash metal release of the era. While it’s a great little tune, and showcases Faith No More’s diversity, I must admit that I prefer their funkier and more easily accessible tunes.

Zombie Eaters opens with a gentle acoustic guitar and soft vocal approach before quickly evolving into a powerful and dynamic track. The alternating between mellow verses and explosive choruses is intriguing for it shouldn’t work. Yet, the band had the talent to not only pull it off but to blend the contrasting elements perfectly. While it isn’t one of their most well-known songs, Zombie Eaters is a hidden gem.

The Real Thing has a sprawling expansive structure with an epic eight-minute runtime. In classic Faith No More style, The Real Thing is so carefully crafted that you’ll be captivated from the very first note to the last, even if the outro is unnecessary.

Underwater Love returns the album to its funkier vibe with a laid-back groove, killer bass track, and smooth vocal presentation. While Underwater Love was never destined for anything greater than being an album-only tune, it’s songs such as this that make The Real Thing one of the best albums released in 1989.

The Morning After is another tune that shows off Bill Gould’s incredible skill on the bass. In many respects, his bass tracking is the backbone for the entire song and makes for a memorable hook and the skeleton on which the song's dynamic arrangement rests.

Woodpecker From Mars truly showcases the band’s musical prowess for the intricate guitar riffs, dynamic drumming, and atmospheric keyboards come alive sans a lyrical component. It’s fair to suggest that vocals can, at times, overshadow the musical genius of the band, but Faith No More has proven that in the absence of vocals, a different kind of intensity is possible; one that tells a story of the Woodpecker From Mars through our emotional response to the music.

War Pigs is a Black Sabbath cover and stays true to the original whilst simultaneously adding their own unique touch to this classic tune.

Edge Of The World closes the album with a jazzy, lounge-inspired track, that further showcases Patton’s vocal versatility as well as the band’s talent and ability to not limit themselves to specific styles and genres. Yes, the song's smooth piano, laid-back rhythm, and crooning vocals provide a surprising conclusion to the album, but it’s delightful and is most certainly in the key of Faith No More.

No matter which way you look at it, The Real Thing was a groundbreaking album that solidified Faith No More's place in the alternative, rap, and funk metal scenes. Its seamless fusion of genres, innovative songwriting, and charismatic performances make it a timeless classic. Mike Patton's debut as the lead vocalist brought a new dynamic to the band's sound, and the album's diverse range of tracks ensures there's something for everyone. Whether you're a fan of metal, funk, rap, or hard rock in general, The Real Thing has it all, making it an essential listen for any music enthusiast.

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Electric Boys – Funk-O-Metal Carpet Ride (Re-Release) [Album Review]

Initially released in 1989, Funk-O-Metal Carpet Ride is an exceptional debut album by the Swedish rock band Electric Boys. With a unique blend of funk, metal, and hard rock, Electric Boys created an album that is not only energetic with catchy grooves but is a time capsule of the late '80s funk metal movement. In many respects, we’re incredibly fortunate to have an album such as Funk-O-Metal Carpet Ride because, for reasons that escape my understanding, the funk metal scene never truly captured the attention of the mainstream music-loving public.

While funk metal may not be as prominent as many of us would like it to be, there are some incredible artists, including Electric Boys, who not only personified the genre but recorded some of the most amazing music in recorded music history. Bands such as Faith No More, Red Hot Chilli Peppers, and Rage Against The Machine are the most well-known purveyors of the art. Still, the Electric Boys’ overall style is arguably more focused, on the genre, than the headliners mentioned above, thereby making Funk-O-Metal Carpet Ride one of the most compelling albums from the funk metal genre that you’re ever likely to hear.

As alluded to earlier, the original 1989 release of the album isn’t the only available edition for the 1990 US release, with the updated album artwork, is the most readily available release for modern music lovers. What is interesting, and a tad confusing, is that when the album was reissued for the US market, the linear structure was changed and interspersed with new songs produced by Bob Rock. Up until that stage, the initial release had been self-produced by the band. It’s a bit of a hodgepodge, but thankfully a 2004 CD reissue returned the album to its original linear structure with the Bob Rock recordings tacked onto the end of the album. There are also a couple of live recordings and a demo that was included. That is the version that we now find readily available via Apple Music et al. However, for this review, I’ll be sharing the 15-track release in a playlist style, sans the live and demo recordings, as I feel the studio-based material forms a perfect album from start to finish.

So, what can you expect from the lossless Apple Music stream, as this isn’t an Apple Digital Master, nor is it a remaster of the original album? Well, I have good news. It sounds phenomenal. You’ll want to turn the volume up and groove out to the record for it will not only encapsulate your body, but it will touch your soul as only the very best music does. To say it is flawless is an accurate assessment for it allows you to simply enjoy the music; just the way it should be. With that in mind, dear reader, join me as I take a look at the songs that make up this incredible album.

Psychedelic Eyes opens the album with a beautiful sonic soundscape that blends into heavy guitar riffs and a funky bass line. The song's infectious energy and catchy chorus make it a standout track that will grab your attention from the very first note whilst simultaneously setting the tone for the entire album.

All Lips 'N Hips has an incredible twang to it, but that’s merely the introduction because All Lips 'N Hips quickly transforms into a perfect fusion of funk and rock. The memorable riff, pounding rhythm section, and Conny Bloom’s charismatic vocals make the song come alive. With a danceable beat, and sing-along chorus, you’ll likely find that All Lips 'N Hips is one of the most enjoyable songs from the album.

Who Are You dials the tempo down a little, but if you’re hearing a little of Aerosmith's influence, you’re not alone. The rhythmic pace, mixed with some exceptional vocal overlays and echoing, along with a touch of blues-based rock, makes for a simply magnificent and memorable song.

Electrified is raw and electrified, as the title suggests, for this high-energy track, with its powerful rhythm and driving beat, is a perfect addition to the album’s dynamic lineup.

Freaky Funksters is funk meets speed metal. As a result of the increased tempo, Freaky Funksters is a little left-of-the-centre and it would have been stronger had the tempo been dialled back a little. That said, I’m sure many will consider it one of the best songs on the album. If nothing else, there is a killer guitar solo to be heard and Funk-O-Metal Carpet Ride simply wouldn’t be the same sans this tune.

Halleluja! I'm On Fire is rhythmic gold and is a stadium-filling rock tune. It’s music such as this that amazes me as to how Electric Boys didn’t see greater success throughout the years.

Cheek To Cheek - In a Moonlit World is a slower, more soulful number that allows the band to show their musical diversity. That guitar lick, in particular, leaves me speechless for it isn’t overly complex, yet it not only suits the song perfectly but is the type of lick that I’m sure all guitarists dream of coming up with.

Get Nasty is a basic rocker, but sometimes that is all that's required to make an album experience thoroughly enjoyable.

Party Up flows seamlessly from Get Nasty and brings back the funk. If, by this stage in the album, you’re not bopping along to the music, you’re listening wrong. Party Up certainly lives up to its name for this song, and the entire album, will get the party started.

Funk-O-Metal Carpet Ride encapsulates the entire album and is, subsequently, the perfect title track. Combining funky grooves, dynamic sonic shifts, and an engaging rhythm ensures that Funk-O-Metal Carpet Ride is representative of the band’s style.

Rags To Riches has a Motley Crue meets the Red Hot Chilli Peppers vibe; what’s not to like? With a strong groove and catchy chorus, wrapped in the band’s distinctive funky style, Rags To Riches is not only one of the best songs from the album but is amongst the greatest 80s-styled hard rock metal-infused songs you’re ever likely to hear.

The Change slows the tempo a little, providing an ideal contrast to songs such as Rags To Riches. The more laid-back, bluesy feel, really highlights Bloom’s vocal qualities, thereby adding depth to the overall album experience. This melodic approach allows each musical element time to shine, within the mix, thereby showing just how talented Electric Boys already were on their debut release.

If I Had A Car is another funky upbeat number with a catchy melody. It also happens to be one of the most engaging songs on the album.

Captain Of My Soul returns the album to its heavier sound, one that features powerful guitar work and a strong vocal delivery that creates a sensational composition worthy of the Electric Boys’ legacy and the funk metal genre.

Into The Woods closes out the Re-Release perfectly with a funky and infectious rhythm that will compel you to listen to the album again as Funk-O-Metal Carpet Ride is one album that you can seldom listen to once.

Funk-O-Metal Carpet Ride is a testament to the band's innovative approach to blending genres. Each track offers something unique, from high-energy anthems to soulful ballads, yet the album’s fluidity is to be praised as there isn’t a dull moment to be heard. Additionally, the re-release of this album not only preserves the legacy of the debut, but with its eclectic mix of funk, metal, and rock, this record remains a vibrant and influential piece of music history, ensuring the Electric Boys’ distinctive sound remains relevant to long time fans and newcomers alike.

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Don Henley – The End Of The Innocence (Album Review)

Best known as a co-founder of the Eagles, Don Henley has carved out a solo career that complements his success with the legendary band. While his solo work may not have matched the Eagles' astronomical success, albums like The End Of The Innocence feature career-defining songs that encapsulate the sound of the late 80s.

Recorded between 1987 and 1989, The End Of The Innocence is Henley’s third solo album and one of his finest. Though not every track is stellar, the album’s high points are truly exceptional and are most certainly ensconced in the sounds of the era. Of course, for an album to be enjoyable, all songs need not be hit-worthy. Instead, the songs need to flow and exist cohesively and in this case, The End Of The Innocence is an exceptional album; one of the best from 1989.

While the album’s artwork is reminiscent of the era, the production is timeless. Add to that a brilliant level of musicianship, and a mix that allows each musical element room to breathe, and you have an exceptional sonic experience that is only enhanced by the Apple Digital Master, available via the lossless Apple Music stream. While the Apple Digital Master process is a series of best mastering practices, it isn’t always on par with, or superior to other editions. That said, while I don’t have another copy of the album to compare it to, what I can say is that I’m not actively seeking a better copy, via another format, for the stream is simply magnificent and satisfies my needs as it pertains to this album for it is warm, smooth, and enveloping with plenty of detail. Don’t take my word for it, of course, check it out below as you peruse my thoughts regarding each of the album’s 10 songs.

The End Of The Innocence is a magnificent title track and the perfect opener for the album. The piano focus and backbeat rhythm are distinctive but never detract from Henley’s vocals as the mix is textbook perfect and is, subsequently, one of the best songs Henley has ever recorded.

How Bad Do You Want It? picks up the tempo with an upbeat jazzy feel. While the flow from the opening track can be a little jolty, there’s an argument to be made that How Bad Do You Want It? would have been an ideal album opener as between the driving beat, lively horns, and Henley's raspy vocals, How Bad Do You Want It? is one of the more energetic, and purely 80s, songs on the album.

I Will Not Go Quietly has a heavy rock sound that further traverses the album’s varied musical styles. While some may lament the sonic shifts, none are so alien as to remove one’s attention from the Don Henley experience. Interestingly, however, Axl Rose (Guns N’ Roses) appears as a backing vocalist, although I’m not certain I agree with his inclusion. Rose has one of the most recognisable and strongest vocals in the music industry, but to hear him so recessed in the mix makes his inclusion almost trivial. Of course, with such a different vocal style, any additional amplification of Rose’s vocal would have likely detracted from Henley’s performance; hence my suggestion that it wasn’t an ideal coupling.

The Last Worthless Evening slows the tempo, with a country-styled song, yet the transition from I Will Not Go Quietly flows extremely well. While The Last Worthless Evening was never going to set the charts on fire, even though it was released as a single in 1989, it’s a lovely tune nonetheless.

New York Minute is, as I’ve mentioned before, a great song and while I do wish it was an Eagles’ original, it is here and Henley knocked this song out of the park. Exceptional!

Shangri-La has a killer tempo that will see you head-bopping and toe-tapping along. It isn’t one of Henley’s greatest songs, but it reaches far enough into my soul that I find it thoroughly enjoyable and sometimes that is all that is required of an album-only tune.

Little Tin God flows perfectly from Shangri-La as the styles are somewhat similar, but if there is a song that I feel would have been better had it been omitted from the album, it would be this one. While some may appreciate the reggae feel, I feel it doesn't suit Henley's style. Still, The End Of The Innocence wouldn’t be the same without Little Tin God.

Gimmie What You Got has a funky groove, catchy chorus, and lively arrangement that makes it a banging tune which compels me to turn the volume up each time it comes on. It’s a great album-only tune and if you can sit still while listening to this song, you’ve got more self-control than I do.

If Dirt Were Dollars is a great song with a killer bluesy rock arrangement to complement Henley’s raw vocal energy.

The Heart Of The Matter is a lovely song to close the album on, but it does become an earworm; a thoroughly enjoyable one, but an earworm nonetheless. Still, it’s the perfect song that allows for contemplation of the music you’ve just heard while simultaneously encouraging you to play the record again.

In an era where individual songs often overshadow albums, The End Of The Innocence stands out as not only a timeless work but one that is cohesive and memorable. Yes, it is most certainly an album of the 80s, but its production is so strong that it can still be appreciated by modern audiences as Don Henley's talent as a musician knows few peers. For those with an interest in Henley, the Eagles, or classic rock, The End Of The Innocence is an essential listen.

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Chris Rea – The Road To Hell (Album Review)

With a masterful blend of rock and blues that captures the bleakness and anxiety of modern life in the late 80s, Chris Rea’s tenth studio album, The Road To Hell, is a monumental release that is not only Rea’s greatest record but is amongst the very best music to come out of 1989.

As Subjective Sounds’ motive is exploring the history of recorded music; one album at a time, part of the appeal of The Road To Hell is its cohesion as an album experience for each song blends seamlessly and complements the one that came before it in a concept album-like approach. Yes, there are hits to be heard, but if you have the time I implore you to give the album a listen for it’s a masterpiece that goes well beyond the singles; the most well-known being The Road To Hell (Parts 1 & 2). With a mix of blues and pop rock elements, The Road To Hell will appeal to a broad audience, but it’s the production and mix that are exceptional as the layers of music paint a sonic picture that will stay with you well after the album has finished.

As it pertains to the mastering of the album, the lossless Apple Music stream is exquisite. Every element within the recording is given space to breathe and floats in the air as the music emanates from your speakers. While it may only be delivered as a CD counterpart, a non-Apple Digital Master, when mastering, and the entire recording, is this good, there’s little reason to look further afield for a better edition for nothing is missing and the soundstage will envelop you and not let go until the very last note has played. If only all albums could be recorded, mixed, and mastered this well.

Additionally, there is a Deluxe Edition that was remastered in 2019 but it pales in comparison to the sonic wonder of the original mastering that I’ll share below. Of course, you may prefer the remaster, but I feel that it does nothing to enhance the recording and if anything, dulls the dynamics of the original release making it sound a little lifeless.

The Road To Hell, Pt. 1 opens the album with an atmospheric, almost eerie soundscape, that sets the tone for the music that’s to follow. The overly long introduction is both ambitious and unnecessary, yet as soon as Rea’s vocal enters the mix, you’ll find yourself captivated. That said, Pt.2 is the stronger part of The Road To Hell, and the most well-known.

The Road To Hell, Pt. 2 seamlessly transitions from Pt.1 and is more rhythmic and rock-oriented. It features one of Rea's most memorable guitar riffs, a riff that is only rivalled by maestros such as Mark Knopfler (Dire Straits) and Eric Clapton. Despite the correlation, there’s little wonder as to why The Road to Hell, Pt. 2 is one of Rea’s greatest recordings, for it’s nothing short of a masterpiece.

You Must Be Evil continues the rich blues-based arrangement that supports Rea’s gravelly vocal perfectly. While backing vocals are not as prominent in modern music as they once were, the backing vocal element on You Must Be Evil takes the song to another level entirely, resulting in a tune that will hook you from the very first note. It’s another masterpiece in what can only be described as a perfect album. If you haven’t heard this incredible song before, consider it a hidden gem, it really is that good.

Texas, not to be confused with the same named song from Rea’s 1983 album, Water Sign, are entirely different tunes. This song restrains the tempo slightly, when compared to the previous songs, but its laid-back approach allows Rea’s storytelling to shine through better than ever before. That said, as someone who appreciates the human vocal, more often than not, as an instrumental element, Rea’s vocal prowess will captivate you, just as the guitar solo does mid-song. If nothing else, it’s a quintessential album-only tune that contributes to making the album experience so profound.

Looking For A Rainbow opens with a delicate composition, similar to that of The Road to Hell, Pt. 1 as there are correlations to be heard. Yet, as with the opening tune, once the upbeat tempo and lively instrumentation enter the mix, to complement Rea’s vocal delivery, the songs come alive with some gorgeous guitar licks that will have guitar purists in seventh heaven for album-only tunes aren’t always this impressive.

Your Warm And Tender Love is a simply magnificent ballad-styled tune that showcases just how exceptional Rea’s vocal control is for his lyrical delivery is so clear that you’ll swear he’s in the room with you. It really is quite profound.

Daytona, with its driving beat and powerful guitar solos, makes it one of the more dynamic and energetic tracks on the album. Rea’s vocal presentation is spectacular and, again, the backing vocals are notable for building on the song’s composition.

That's What They Always Say is one of the catchiest vocal-driven songs in the history of recorded music, yet it failed to set the charts on fire when released as the second single from the album. Rea's vocal delivery is underscored by a blues-rock arrangement that reinforces the song's message of disillusionment and scepticism. However, the only disillusionment I feel is how this sensational song failed to go directly to the top of the charts.

I Just Wanna Be With You has an upbeat and catchy rhythm that forms an infectious melody that will see you toe-tapping and head-bopping along. It’s most certainly an album-only tune that doesn’t stand out from the album, but that’s a good thing as it’s the more humble songs that often make the album experience so fulfilling.

Tell Me There's A Heaven is one of the most beautiful songs you’re ever likely to hear. Rea's soulful vocals are backed by a lush arrangement that creates a powerful and moving end to the album. The song's contemplative nature leaves a lasting impression, one that will see you coming back for more as The Road To Hell can seldom be listened to only once.

The Road To Hell is a compelling and thought-provoking record that showcases Chris Rea's ability to blend rock and blues with insightful social commentary. Each track contributes to the album's cohesive narrative, making it a standout in Rea's career and the blend of haunting introspections, biting critiques, and moments of tenderness ensures that The Road To Hell remains a significant and enduring piece of music history that is worthy of being in every music lover’s collection.

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Cher – Heart Of Stone (Album Review)

Few artists have such a storied career as Cher and while her output has been received with varied levels of acclaim, her staying power ensured that Heart Of Stone was a monumental success; one that is easily amongst the greatest albums released in 1989.

As her nineteenth studio album, Heart Of Stone stands as a career-defining moment and is, arguably, her greatest musical achievement. As versatile as Cher is, however, the song selection is incomparable for there isn’t a B-side to be found. Featuring music that blends rock and pop, a healthy dose of 80s-era styles, and songs written by a who’s who of the music industry, Heart Of Stone is a quintessential album experience that combines these cues with Cher’s vocal distinctiveness.

Speaking of contributors, from both the songwriting and production perspectives, when you have the likes of Michael Bolton, Desmond Child, Diane Warren, Jon Bon Jovi, and Richie Sambora all contributing, magic was bound to follow. Naturally, with so many different influences, the album’s fluidity could have become disjointed, but Cher’s vocal control ensures that the album and chosen songs are nothing short of exceptional. Her deep, resonant voice is perfectly suited to the rock and ballad genres and she brings a unique blend of power and emotion to each track, ensuring that all songs have a lasting impact and a contemporary sound that remains relevant to modern listeners.

While the songs, and album as a whole, are largely timeless, the mastering of the record is beginning to show its age. Granted, Heart Of Stone has all the 80s cues you could ask for when considering this album from a perspective of nostalgia, but it really needs a remaster; that is unless you have tone controls on your modern music playback system. Yes, dear reader, Heart Of Stone has a flat transfer, an aspect that was somewhat common in an era when just about every music playback system had some sort of equaliser built in. In the modern era, however, DSP (Digital Signal Processing) drives how we hear the music we love. While it doesn’t require the fiddling that was associated with legacy setups, and is sometimes unmodifiable by the end user, it isn’t nearly as flexible, and subsequently as subjective, as tone control settings once were. All that is to say that as much as I adore Heart Of Stone, it needs a boost in the mid to low-end range of the audio spectrum to really come alive.

Of course, if you’d like to hear how an album of the late 80s sounds sans a remaster, then the lossless Apple Music stream provides a great example. To some, we may have come a long way. To others, we may have gone backwards as the loudness wars and inefficient hardware have forever changed how music is mastered and delivered. What is undeniable, however, is how exceptional this classic album is, so join me as I take a look at the songs that make up this legendary release.

If I Could Turn Back Time is a quintessential 80s power ballad that has become Cher’s trademark tune. Written by Diane Warren, the song features a catchy chorus and memorable melody. While laced with 80s pop-rock stylings, If I Could Turn Back Time remains relevant in the modern era as Cher's commanding vocal performance, combined with the song's polished production, makes it an enduring pop-rock anthem.

Just Like Jesse James is a lovely mid-tempo number that highlights Cher’s unique vocal style; a performance that’s both powerful and nuanced.

You Wouldn't Know Love was also recorded by Michael Bolton for his 1989 album, Soul Provider. As solid as Cher’s rendition is, however, it doesn’t compare to Bolton’s recording; especially when the composition of the two is identical and the core difference is down to the lead vocals. That said, had Bolton not recorded the tune he penned with Diane Warren, Cher’s would be exceptional as it blends her gritty passionate vocals with a touch of rock intensity.

Heart Of Stone is a beautiful ballad-styled tune that stands out as one of the best songs from the album and is, subsequently, the ideal title track as Cher’s deep emotive vocals, and the accompanying backing vocal element, are sensational to listen to. As a cover of the Bucks Fizz original recording, Heart Of Stone most certainly suits Cher’s vocal style and complements the original recording; a thoroughly enjoyable rendition of Andy Hill and Pete Sinfield’s penned classic.

Still In Love With You has a killer melody and the 80s written all over it. That’s a good thing, in case you were wondering, as songs like Still In Love With You remain timeless.

Love On A Rooftop is a hidden gem for Cher’s vocals are vibrant and engaging, perfectly capturing the song's sense of excitement and spontaneity.

Emotional Fire is a high-energy rocker with a powerful chorus and dynamic instrumentation. Cher's performance is fiery and intense, but it is Bonnie Tyler and Michael Bolton’s backing vocals that set this track on fire, along with the driving rhythm and strong guitar presence.

All Because Of You is a magnificent ballad featuring heartfelt lyrics and a strong melody. As is the case throughout the entire album, Cher's vocals are rich and expressive but on songs such as All Because Of You, they come alive with a level of sincerity that adds to the warm and inviting sound of the record.

Does Anybody Really Fall In Love Anymore? is one of the best songs from the album and one of the greatest songs Cher ever recorded. Co-written by Jon Bon Jovi and Richie Sambora, along with Diane Warren and Desmond Child, it has Bon Jovi’s style written all over it, but the lush production ensures that Cher’s vocal performance of this hidden gem is spectacular. This is, however, one song that I feel would benefit most from a remaster for as good as the current edition is, I wouldn’t mind betting that there’s an additional level of oomph that’s present on the original master recording.

Starting Over isn’t a standout, per se, but it’s a lovely tune that ensures the album experience remains cohesive and fluid. When the chorus enters the mix, the song picks up as Cher’s vocals are both strong and uplifting, thereby allowing the song’s intent of creating a sense of hope and renewal to shine through.

Kiss To Kiss slows the tempo a little as this captivatingly seductive mid-tempo number highlights Cher’s sultry vocal delivery.

After All (Love Theme From "Chances Are”) is a duet with Peter Cetera and it’s absolutely magnificent. Cher's and Cetera's voices blend beautifully, delivering a poignant and memorable performance that will see you contemplating the music you’ve just heard, while also feeling compelled to listen to the album again.

Cher’s career can be defined in numerous ways, but it’s fair to say that as it pertains to her musical endeavours, Heart Of Stone is a career highlight; one that showcases her adaptability and enduring talent. Its mix of rock anthems and heartfelt ballads showcases Cher at her very best, supported by stellar production and songwriting. Yes, a remaster would be appreciated, but whether you're a long-time fan or new to her music, Heart Of Stone offers a compelling listening experience that captures the essence of both Cher and the era.

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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.

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