Billy Ocean – Suddenly (Album Review)

Released in 1984, Billy Ocean’s fifth studio album Suddenly is a masterpiece; one that not only has a plentiful supply of hits and addictively good rhythms, but one that even by today’s standards, and upon nostalgic reflection, sounds vibrant and fresh. It also happens to be the album that would catapult Ocean to international success.

By the time Suddenly was released, the post-disco era was in full swing. While Disco-styled music was quickly becoming a thing of the past, Disco elements, merged with R&B and Soul influences ensured that artists such as Ocean had a unique sound unlike anything that had come before. Yes, we could point to artists such as The Jacksons and Stevie Wonder and look at their 70s-era releases and suggest that they had already achieved a post-disco styling, despite being right in the middle of the movement, but suggesting that would detract from the wonder that is Suddenly, for this is one album that shouldn't be overlooked as it’s a landmark release of the 80s. Suddenly is so impressive that it plays like a greatest hits release for there isn’t a dull tune to be heard. While every song didn't have the potential to set the charts on fire, when the linear structure of an album is this strong, even the album-only tunes become essential recordings.

While songwriting and the musical style were a crucial element in the success of Suddenly, and its corresponding single releases, the recording, mix, and mastering are second to none. Despite being a multi-million seller, Suddenly has received minimal attention post-release. It’s as if the now-defunct Jive Records (distributed, currently, via Sony Music Entertainment) forgot that they had released the record. However, while it is difficult to come by on physical formats, unless you seek it out on the secondhand market, the one benefit of a lack of interest from the record industry has meant that the existing mastering remains untouched.

While the Discogs listing states it as being remastered, and it would have needed to have been for the label to include the bonus tracks for the Expanded Edition, there’s no indication as to who had undertaken the remastering process. Regardless, they’ve done an exceptional job for the sonic qualities of the recording are so pleasing that you’ll simply become immersed in the music. Seriously, take a listen to the lossless Apple Music stream (a CD counterpart of the 2011 reissue); it’s a sonic marvel. Ocean is front and centre and the soundstage is as deep as it is wide. The result is you’ll be enveloped in music as the songs won’t merely emanate from your speakers. Every musical aspect is given room to breathe and the result is that Suddenly is one of the best-sounding records from the 80s.

Caribbean Queen (No More Love On The Run) is a stunning album opener and if the rhythm doesn’t get you, that saxophone will; thank you, V. Jeffrey Smith. With a catchy synth riff and pulsating beat, embodying the essence of the 80s, there’s little wonder as to why Caribbean Queen became not only a massive hit but Ocean’s most successful. A little of Michael Jackson’s influence can also be heard, in the musical backing, so fans of his will likely find this song extremely compelling.

Mystery Lady slows the tempo slightly but don’t let that deter you for this mid-tempo number has a smooth, jazzy feel, and a laid-back rhythm that is Ocean 101.

Syncopation is, perhaps, one of the most interesting song titles one could come up with, yet it works perfectly for Ocean’s pronunciation style. That aside, Syncopation is a beautiful tune that, despite being an album-only number, is a contributing factor as to why Suddenly is such an incredible album experience from start to finish.

The Long And Winding Road is a Beatles’ cover from their 1970 release Let It Be and is one of the most beautiful interpretations of the song I’ve ever had the pleasure of hearing. It remains true to the original, but with Ocean’s style and a touch of the 80s to go along with it for good measure.

Loverboy is an atmospheric dream come true, as it applies to the song’s introduction, for the multi-layered presentation is superb. Ocean’s vocal is exceptional here, particularly during the bridge, but it’s the chorus and the musical accompaniment that sets Loverboy apart from the other songs on the album. The driving rhythm, with its mixture of pop and rock stylings, will quickly meld with your soul as this is one catchy tune.

Lucky Man has a somewhat relaxed groove, following Loverboy, but this mid-tempo number with its smooth bassline and subtle synth elements is a thoroughly pleasing tune. It’s a quintessential album-only number and all songs need not be a standout for an album, such as Suddenly, to be exceptional.

Dancefloor will compel you to get on the Dancefloor for despite having two left feet, this song permeates my soul with its funky rhythm.

If I Should Lose You is a lovely mid-tempo album-only tune that further confirms Ocean’s exceptional vocal talents. While the backing musical bed is fundamental in its approach, its arrangement is thoroughly pleasing to the senses, thereby allowing you to lose yourself within the music.

Suddenly is a true masterpiece. Ocean’s vocal prowess is on display and his tones are so smooth, and recorded so well, that you’ll feel as if he is in the room with you, singing this beautiful ballad. It’s an ideal closer, one that offers reflection whilst also encouraging you to play the record again as Suddenly is one album that is easily put on repeat for it’s nothing short of exceptional.

If there was one album that could adequately showcase 80s-era post-disco pop to a new music lover, Suddenly would be that album. Impeccably recorded with a series of songs that meld together beautifully, Suddenly is not only one of the greatest albums Billy Ocean ever recorded, but is amongst the best albums released in the 80s; particularly in 1984. If you don’t have this album in your music library, ask yourself why not as it’s a timeless classic.

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Tracy Chapman – Crossroads (Album Review)

Released in 1989, Crossroads is Tracy Chapman's sophomore album, following her critically acclaimed self-titled debut, and maintains Chapman's signature blend of folk, soft rock, and soul. With themes relating to social justice, personal introspection, and resilience, Crossroads is a compelling album that, while not quite as profound as her debut, is an incredible follow-up and one of the best albums released in 1989.

While the cover art isn’t as striking as her debut, one thing is for certain and that’s the music contained within has been recorded, mixed, and mastered with kid gloves. That shouldn’t shock longtime fans of Chapman’s music, for her music production has always been pristine. It is notable, however, as quality such as this is often the exception rather than the rule.

As it pertains to the lossless Apple Music stream, it’s simply exquisite. You’ll be amazed by the sonic wonder of this edition as you’ll get a sense that Chapman and the band are in the room with you. The presentation is immersive and the soundstage is well-developed with clear separation between all musical elements thereby ensuring that Chapman shines on vocals while the backing musical bed is luscious. Of course, don’t take my word for it, give it a listen as we take a look at the songs that make up this incredible release.

Crossroads opens the album with a contemplative relaxed tone and a steady rhythm. It is, exactly, what fans would have been expecting at the time, having just come off the success of Chapman’s debut. While it isn’t necessarily the strongest song from the record, despite being released as the first single, it’s still lovely in its own right and a worthy opener that sets the tone for the entire album.

Bridges has a gorgeous acoustic arrangement and is, without a doubt, one of Chapman’s greatest recordings. If there is a hidden gem from the album, this is most certainly it and if I had my way, this masterpiece would have been released as a single.

Freedom Now is a lovely tribute to Nelson Mandela and the struggle against apartheid. However, as I don’t generally appreciate music for its literal interpretation, I find that the musical aspects of Freedom Now are a little pedestrian. It is, for lack of a better term, an album-only number; one that holds the album together, yes, but one that you’re unlikely to seek out on its own.

Material World picks up the tempo with a catchy melody and overall rhythm that melds with your soul. While I just got through mentioning that literal meaning isn't the way I define my love of music, the song’s critique on consumerism, and the obsession with wealth attainment, are topics that are still, sadly, at the forefront of humanity. Nevertheless, Material World is a reminder for us all to seek fulfilment beyond material acquisitions.

Be Careful Of My Heart is ballad-focused and is simply stunning. Chapman’s vocals are, as always, exquisite, but it is the delicate musical bed that not only allows the vocals to shine but makes Be Careful Of My Heart such a memorable tune.

Subcity is a mix between Bob Dylan and Neil Young, in relation to the chosen style, and topical nature, of the song. It’s another solid album-only tune and it’s songs such as this that make Crossroads so compelling for each song on a record need not be exceptional for the album to be thoroughly enjoyable.

Born To Fight has a jazzy undertone that makes it unique, when compared to the other songs on Crossroads, but it’s this distinctive nature that ensures it’s one of the standout songs from the album as you’ll feel compelled to move to the rhythm.

A Hundred Years is a lovely tune and while it could be suggested that the musical backing is a little pedestrian, Chapman’s vocal prowess absolutely shines with the gentle flutter she is renowned for. Yet, at no time, does her vocal go beyond the acceptable range as she has exceptional control over her delivery. The result is that A Hundred Years is thoroughly enjoyable to listen to.   

This Time opens with a magnificent acoustic element that’s so good I wish that it was an instrumental number. Of course, when Chapman’s vocal enters the mix my thoughts change and I become immersed in the entire song, but when music is this extraordinarily good, every element stands on its own and the culmination of all aspects only strengthens the recording. Magnificent!

All That You Have Is Your Soul is a beautiful closer with its straightforward acoustic arrangement and deeply personal lyrics. As with all good final tracks, All That I Have Is Your Soul will leave you in both a contemplative mood and one willing to play Crossroads again for this singer/songwriter folk-focused record is amongst the best you’re ever likely to hear.

Crossroads is a compelling follow-up to Tracy Chapman's landmark debut that showcases her growth as a songwriter and artist. Chapman's ability to blend addictively good music with potent storytelling makes Crossroads a timeless and essential listen, especially for those of you who have yet to venture beyond her acclaimed debut and the associated hits. Crossroads, subsequently, is not just a collection of songs, but an album experience; one that should be in every music lover’s collection.

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Spandau Ballet – Heart Like A Sky (Album Review)

Released in 1989, Heart Like A Sky is Spandau Ballet’s sixth studio album; a record that is an often-overlooked gem that encapsulates the band's sophisticated pop and new wave sound. Delivering a mix of introspective lyrics and a highly polished production, Heart Like A Sky showcases that even though it was to be the band’s final studio release, of completely original material, it’s amongst their best recordings with a song selection that plays akin to a greatest hits release. Granted, the album failed to set the charts on fire, but success at the cash register is often a poor indicator of quality.

Speaking of quality, the album artwork is exquisite and while released during the era when the vinyl record was declining in popularity, this is one album deserving of a reissue on the larger vinyl format. Interestingly, the reissue label, Music On CD (the CD counterpart to Music On Vinyl) re-released the album in 2017, yet no vinyl release was forthcoming. This omission was most likely due to the lacklustre sales performance of the album, but I believe that all music should be reissued on both formats as it not only appeases fans but has the potential to deliver the album to an entirely new audience; one that may be experiencing it for the very first time.

Turning our attention to the production values of the record and the lossless Apple Music stream, a CD-equivalent counterpart, it sounds simply exquisite. One can appreciate the recording, mix, and mastering, for 80s-era music is seldom this sonically pleasing. You’ll be met with an encapsulating soundstage, one that is perfectly balanced and allows each musical element space to breathe. Most importantly, however, it screams of Spandau Ballet’s style. With that in mind, dear reader, join me as we take a look at the music that makes up this hidden gem.

Be Free With Your Love opens the album vibrantly with its upbeat tempo and catchy chorus. Tony Hadley’s vocals are, as usual, exceptional but it’s the culmination of all aspects that make Be Free With Your Love such a compelling opening that is also perfectly suited to the sounds of the late 80s.

Crashed Into Love is a melodious number characterised by its lush instrumentation, as well as Hadley’s emotive delivery. It is, however, the bridge and chorus that grab me each time I hear this classic tune for it’s thoroughly pleasing to the senses.

Big Feeling is layered with the synth-driven elements that categorised the 80s. That isn’t a bad thing, unless you’re not interested in 80s nostalgia, but the catchy hook, sleek production, and blend of electronic and traditional rock elements highlight the band's versatility.

A Matter of Time is a slower, more contemplative song with a minimalistic arrangement that allows Hadley’s soulful vocals to take centre stage. It is, subsequently, one of the most beautiful tunes Spandau Ballet ever recorded and one of the very best songs released in the 80s.

Motivator brings the album back to a more upbeat tempo and while it isn’t a jolt to the senses, following the exceptional A Matter Of Time, Motivator is most certainly an album-only tune. That shouldn’t be seen as a negative aspect for songs like Motivator are essential in ensuring the album experience is memorable.

Raw is a standout track with its blending of elements of rock and funk, with a bold and edgy 80s new wave sound. It’s addictively good and you’ll no doubt find yourself toe-tapping and head-bopping along to the song.

Empty Spaces has a melancholic tone with a haunting melody that will resonate with your senses. Hadley’s vocal presentation is, again, flawless and perfectly positioned in the mix and the musical bed is layered beautifully, ensuring that you’ll not only hear each element perfectly, but upon repeat plays, you’ll likely come away from Empty Spaces with a greater appreciation for the tune and Spandau Ballet.

Windy Town is a mid-tempo number with a breezy melody. It’s a standout track and that’s partly due to the addition of The Phantom Horns for their inclusion ensures that Windy Town goes beyond what one would consider to be a Spandau Ballet tune.

A Handful of Dust is a stunning closing song that will not only leave you in a contemplative mood but will encourage you to play the album again. Featuring a rich and layered arrangement, with Hadley’s evocative vocals, A Handful Of Dust is another hidden gem that ensures Heart Like A Sky is the sum of its parts, rather than merely a series of haphazardly thrown-together tunes.

Heart Like A Sky is, truly, a testament to Spandau Ballet's musical prowess and artistic growth. The album blends catchy pop melodies with deeper, more introspective themes, showcasing the band's ability to evolve while staying true to their roots. Each track offers something unique, contributing to a cohesive yet diverse listening experience that is equally memorable. If you’ve yet to experience Heart Like A Sky or have dismissed it over the years, give it a play for you may find, as I have, that this album is one of the most underrated releases of 1989.

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Resurrection Band – Innocent Blood (Album Review)

Released in 1989, Innocent Blood, Resurrection Band's ninth studio album stands out for its raw energy, lyrical depth, and a fusion of rock styles that span from classic blues-based rock to more contemporary sounds of the late ‘80s. Also known as Rez, particularly during this era, the Resurrection Band was not only a pioneer in Christian rock but are amongst the greatest recording artists within the subgenre. Of course, to label them as a Christian rock band would do them a great disservice for despite their lyrics delivering messages of faith, social justice, and personal introspection, they are an incredible rock and roll band, in general, and Innocent Blood is, arguably, their greatest release.

While it’s true that Christian rock generally has a focus on positivity, the cover art adorning this exceptional album tells a different story entirely. According to the band, in the CD booklet liner notes, the girl featured on the cover, named Trish, was abducted and sadly never found, despite the knowledge that she had become a victim of a pedophile network. It isn’t easy to comprehend, for the girl on the cover is full of life and happiness, yet it’s an admirable memorial. It should also be noted that the original album artwork is slightly different on CD and Spotify; when compared directly to Apple Music. Apple Music’s edition seems to censor the artwork more than originally intended. While I don’t disagree with that approach, the 2023 CD reissue maintains the original artwork which I feel doesn’t require additional censorship.

As it pertains to the sonic presentation of Innocent Blood, you’ll likely be pleased as the recording, mix, and mastering have been done beautifully for the style of music. The result is that you’ll find yourself immersed in a three-dimensional soundstage that requires no tweaking to sound its best. So, dear reader, sit back, relax, and take a listen to this hidden gem.

Rooster Crow is a short and sweet album opener that sets the tone for the entire record with its blues-focused approach.

Altar Of Pain kicks things up a notch, yet offers a superb transition from Rooster Crow. The riff is off-the-charts and Glenn Kaiser’s vocals are simply stunning and are amongst some of the very best in hard rock music history. Whichever way you look at it, Alter Of Pain is intense, with powerful guitar solos, exceptional vocals, and a driving rhythm that will see you rocking along as the song plays.

The House Is On Fire has so much energy that you’ll feel the song reaches right into your soul and not let go until the very last note has been played. Wendi Kaiser’s vocal performance is perfect for this tune and she can certainly belt out some incredible lyrics, but it’s also the energetic guitar work and overall rhythm that makes The House Is On Fire so memorable.

80,000 Underground continues the rebellious mid-paced rhythm and is reminiscent of AC/DC; a compliment for 80,000 Underground is an exceptional tune.

Fiend Or Foul slows the tempo a little but the compelling rhythmic nature that has been prevalent so far is maintained. Wendi Kaiser is, once again, perfectly suited to the song and for those of us who adore the bass guitar, you’ll be pleased with Roy Montroy’s solid bass performance for it remains prominent throughout the mix. Similarly, the guitar solo again highlights the talent of Stu Heiss for each solo benefits the song rather than detracts from it. Fiend Or Foul is, subsequently and most certainly, a hidden gem and one of the best songs on the album.

Where Roses Grow rings out like a Gary Moore blues-based masterpiece. Exceptional!

Right On Time is synth 80s 101 with some magical vocals and a compelling musical bed that’s perfectly suited to the era.

Child Of The Blues is, as you may expect, a blues-based number with a masterful arrangement. Glenn Kaiser’s vocal dexterity here is magnificent, but it’s the culmination of all elements that makes this bluesy rock song a hidden gem.

Laughing Man returns us to a hard rock pace. Despite encouraging you to toe-tap and head-bop along, Laughing Man is one song that you’ll not seek out on its own. Still, it’s a solid album-only number that enhances the record.

Bargain is a cover of The Who’s classic; a fine one at that. While it pays homage to the original and contains all the energy and spirit you’d expect from the Resurrection Band, I’d still consider The Who’s original to be the standard that has yet to be surpassed.

Great God In Heaven is, arguably, a perfect closer for a Christian rock band that’s anthemic and creates a sense of grandeur and reverence. Most importantly, however, it allows for reflection and encourages the listener to play the album again for Innocent Blood deserves to be heard more than once.

Overall, Innocent Blood is a testament to the Resurrection Band's ability to blend blues-based rock and roll with deep, meaningful lyrics. Each track offers a unique perspective, from reflections on personal faith to broader social issues, but it’s the band's musicianship and vocal performances that are consistently strong throughout the album, making it a compelling and thought-provoking listen.

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Queen – The Miracle (Album Review)

Released in 1989, Queen’s thirteenth studio album, The Miracle, is a remarkable, significant, and memorable musical achievement. Recorded during a period of personal trauma, for both Brian May and Freddie Mercury, the built-up angst was reappropriated superbly with creative energy that will captivate you from the very first note to the last. Featuring a blend of rock, pop, and operatic influences, The Miracle is one of Queen’s greatest records and is a landmark release from the era.

While the music is, naturally, the most important aspect, the cover art for The Miracle is interesting. While I neither love nor hate it, it’s compelling to look at while the album is playing. I’d love to offer a reason as to why I find it captivating, but words somewhat escape me for it’s far from Queen’s best album artwork, yet it is strangely perfectly suited to the band.

Moving our attention to the sonic qualities of the album, as one might expect, the recording, mix, and mastering of The Miracle is beyond reproach. However, not all editions are created equal, despite the same core remastering. For instance, the vinyl edition from the Queen Studio Collection is nothing short of perfection with a warm, detailed, and enveloping sound. The CD release is equally impressive but lacks the tonal warmth that is a trademark of vinyl records. Whereas, the lossless Apple Music stream, an Apple Digital Master, sounds a little concealed and somewhat muffled by comparison. It isn’t fatiguing to listen to and remains thoroughly enjoyable, but the presentation isn’t as bold as it, arguably, could be.

Party is a fun high-energy tune that sets the tone for the music to come. With its dynamic guitar riffs and lively vocals, it may be short, but it flows quickly into Khashoggi’s Ship.

Khashoggi’s Ship continues the vibrant energy with a fast-paced rock sound, but the jolt between the opening song and this one can take a moment for the senses to adjust to. As the song progresses, it becomes apparent that this is an album-only number that is unlikely to be memorable. Still, for an album to be exceptional, all songs need not be a hit. With that in mind, Khashoggi’s Ship holds the album together as we head towards the title track.

The Miracle is a multi-layered masterpiece that is characterised by lush harmonies and a sweeping melody that combine to create an anthemic feel. It’s, subsequently, a perfect title track and while repeat plays can cause this incredible tune to become a little fatiguing, due to the chosen vocal style, there is little doubt as to why it has become such a popular tune amongst fans.

I Want It All is a powerful rock anthem and one of the very best hard rock songs Queen ever recorded. Featuring a memorable guitar solo by Brian May, and assertive vocals by Mercury, I Want It All is impossible to not sing along to for it’s an unforgettable Queen classic.

The Invisible Man sounds as if it was leftover from Queen’s Flash Gordon soundtrack. Despite that, The Invisible Man, with its quirky and innovative sound, showcases Queen’s ability to blend rock with a touch of funk and pop. The result is a catchy synth-driven tune with a unique charm that will appeal to just about anyone.

Breakthru is an uplifting and dynamic track that starts with a gentle vocal intro before transitioning into a driving rock rhythm. With its energetic tempo, infectious chorus, and blend of synthetic and electric guitar elements, Breakthru creates a sense of urgency and excitement that makes it one of the more compelling tunes from the album.

Rain Must Fall adds a touch of Caribbean influence to the album, with its laid-back rhythm and breezy melody. It’s most certainly an album-only tune and while it could be said that it isn’t the strongest song from the record, it surprisingly doesn’t feel out of place. Featuring a smooth blend of percussion, gentle guitar riffs and an associated solo, along with Mercury’s soothing vocals, you’ll be in a relaxed state to appreciate the hidden gem of the album; Scandal.

Scandal is utterly brilliant and is not only one of the best songs that Queen ever recorded, but it’s one of the best songs from the 80s. That said, you won't find it on any compilation release, most likely due to its lacklustre chart performance when released as a single. Nevertheless, the riff and rhythm are off-the-charts and it’s impossible to sit still while this unforgettable tune is playing.

My Baby Does Me has a smooth, laid-back, rhythm with some lovely bass tracking and some thoroughly enjoyable guitar licks. It’s an album-only tune, yes, but one that works extremely well within the tracking of the record.

Was It All Worth It is an incredible closer; one that will compel you to play the album again. Initially, things start on a gentler note, but the moment May’s riff comes into the mix, you know you’re in for a treat as the multi-layered production makes it thoroughly pleasing to listen to.

Ultimately, The Miracle is one of the greatest albums Queen ever released and stands as a powerful testament to the band’s enduring spirit and musical ingenuity, despite periods of personal struggle. While every song may not be a hit, each track showcases a different facet of Queen’s versatility. From Freddie Mercury's charismatic presence to Brian May's masterful guitar work, along with Roger Taylor's dynamic drumming and John Deacon's solid bass lines, The Miracle offers a cohesive yet varied musical journey that has remained timeless and is one of the greatest albums released in the late 80s.

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Nazareth – Snakes 'n' Ladders (Album Review)

Released in 1989, Nazareth’s Snakes 'n' Ladders is not only one of the most underrated albums released by this classic band, but it is the very definition of a hidden gem. Featuring soaring vocals and their signature hard rock flair, Snakes 'n' Ladders continued to showcase the band’s dedication to their art; even as their commercial success waned. Perhaps it could be suggested that the frequency in which Nazareth was pumping out albums caused fatigue amongst fans, or maybe it was simply a changing of the musical landscape that resulted in lacklustre sales and interest from music lovers. What it most certainly wasn’t, however, was Nazareth’s musical talent for as much as I adore and consider Hair Of The Dog to be their greatest album, it is but one album in an exceptional career spanning more than five decades and Snakes 'n' Ladders is, in every way imaginable, it’s equal.

For long-time fans of the Scottish rockers, Snakes 'n' Ladders is also notable in that it marked the final studio release to feature Manny Charlton, the legendary guitarist who laid down some of hard rock’s greatest licks and riffs. However, as with much of Nazareth’s back catalogue, the output was truly a band effort and singling out individuals only aims to highlight their specific musical contribution of which Charlton’s was essential.

From a visual standpoint, some may lament the low-key album artwork, but it’s one of their more compelling record covers and a massive improvement over the cover art of their 1986 release, Cinema. Sonically, while I don’t currently own a physical release of this classic album, the lossless Apple Music stream is more than adequate and is most likely an exact copy of the 1997 remastered reissue as it contains the same 14-track structure as that release. Subsequently, if you already have access to that reissue, the streaming edition is unlikely to offer you any sonic differences. That said, the recording, mix, and mastering are ideal and at no time will you feel as if the sound is lacking for the soundstage is well developed and the album rocks.

Additionally, while I appreciate that many of you enjoy bonus material, I am less enamoured with it, particularly as it pertains to adding live recordings to the backend of studio albums. Subsequently, as we take a look at the songs that make up this incredible release, you will notice that the two live recordings of Woke Up This Morning and Bad Bad Boy have been omitted.

Animals launches the album with a masterful rhythmic beat that melds into a song with country rock tuning. McCafferty’s vocals are exceptionally strong, as has always been the case, but when combined with the overall mix of Animals, you’ll be blown away by this underrated opening track as the raw essence of Nazareth’s rock roots comes shining through.

Lady Luck shifts the pace slightly with this mid-tempo bluesy number. Charlton’s guitar work on this song is to be commended for his playing is simply magnificent as it complements the song’s laid-back soulful vibe. The result is a killer tune that deserves to be heard by all but has sadly only been heard by die-hard fans of the band.   

Hang On To A Dream features a more melodic and contemplative sound, when compared to the previous tunes, but the ballad-like quality of Hang On To A Dream provides a pleasant contrast to the album’s heavier songs. McCafferty’s vocals are, again, a highlight, but as you listen to the song, you’ll likely be amazed by the lush production as this tune is multi-layered and has a mix that is an absolute pleasure to listen to.

Piece Of My Heart is a cover of Erma Franklin’s original 1967 tune and is a darn good one. While it pays homage to the original, Nazareth infuses the song with their signature style. The result is an exceptional hard rock interpretation featuring powerful vocals and a solid instrumental backing. Granted, there is no shortage of interpretations for Piece Of My Heart, but none are quite like Nazareth’s.

Trouble brings back the hard-hitting rock sound with a fast-paced energetic rhythm. McCafferty sings his soul out, on this tune, and the musical bed showcases the band’s ability to craft engaging rock anthems for Trouble is a sonic delight and a highlight of the album.

The Key has a killer opening guitar lick that remains constant throughout the song. However, it becomes a little fatiguing as you’re waiting patiently for the song’s direction to change, but it doesn’t do so until almost halfway through the song, then returns to the same lick. It had promise, but The Key is most certainly an album-only tune, a solid one, but not a memorable one.

Back To School is a fun, upbeat track, with a rebellious spirit that captures the essence of rock ’n’ roll’s carefree attitude.

Girls is a straightforward rocker with a catchy hook and McCafferty’s characteristic raspy vocals shine through on this enjoyable no-frills track.

Donna - Get Off That Crack is a great tune, from a musical perspective, but more importantly addresses the serious issue of drug addiction; an aspect of life that is unfortunately still prevalent in the world today. It is, therefore, a shame that so few will hear this song for the gravity of the subject matter can’t be understated.

See You See Me is a melodic soft rock number that was never destined to be a standout, but I’ll be damned if it isn’t worthy of an Essentials, or Deep Cuts, playlist; it’s that good!

Helpless is the album’s original closer and while the slow build lacks the finesse and drive of Nazareth’s other songs, this Crosby, Stills, Nash & Young cover is a lovely tip of the hat to the supergroup. The instrumentation is rich and layered, with McCafferty delivering an impassioned vocal performance, and while it will leave you in a contemplative mood, I’m glad to say that my preferred tracking sees Winner On The Night as the closing tune for it’s a stronger finale, in an otherwise exceptional album.

Winner On The Night is an exceptional tune and one in which McCafferty knocks it out of the park for his vocal dexterity here is magnificent. My only complaint is that the fadeout is a little abrupt. Nevertheless, while some may prefer the closing track Helpless, Winner Of The Night is much more in line with Nazareth’s overall style and it therefore not only allows for reflection but will see you compelled to play the record again for this is one release that can be seldom listened to only once.

Overall, Snakes 'n' Ladders is a testament to Nazareth’s enduring ability to adapt and evolve while staying true to their rock roots. Yes, it wasn’t a commercial success for the band, but with the album’s mix of hard-hitting rockers and melodic ballads, this is one release that offers something for every fan whilst remaining a hidden gem within their extensive back catalogue. If you’re a fan of classic rock, don’t overlook this masterpiece for it is amongst their greatest works and is one of the best albums of the 80s; particularly 1989.

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Mötley Crüe – Dr. Feelgood (Album Review)

Mötley Crüe's Dr. Feelgood, released in 1989, stands as one of the band's most iconic albums, and is, without a doubt, one of the greatest hard rock albums of the 80s. Produced by the legendary Bob Rock, this album showcases a polished and powerful sound that blends the band's raw energy with a refined production style. Dr. Feelgood not only achieved commercial success, reaching No. 1 on the Billboard 200 with sales exceeding 6 million units, but also cemented their status as rock and roll legends.

Part of the appeal is due to the incredible album artwork that looks magnificent on the larger vinyl canvas. Of course, in 1989, CDs and the Compact Cassette had overtaken the vinyl record in album sales, but the striking nature of the album’s cover would have most certainly stood out in record stores worldwide. While I’m fortunate to own the 2008 Eleven Seven/Mötley Records reissue (cat: ESM/MR 342), a sonic marvel of a reissue, the artwork reproduction is sadly lacklustre.

Unfortunately, there’s a mottling effect that appears throughout; likely a by-product of the original album artwork being scanned incorrectly. The inner-sleeve liner notes and lyrics are reproduced clearly but the inner-sleeve artwork also exhibits this mottling effect. While it isn’t a major issue, and one should be more concerned with the sonic reproduction of their records, it’s an element that collectors may wish to look out for, should they consider picking up this particular reissue.

Of course, regardless of cover art, an album is only as strong as its songs and in this regard, there isn’t a bad tune to be heard for Dr. Feelgood is all killer, no filler; one that plays like a greatest hits release rather than a studio album. As it pertains to the 2008 vinyl reissue, the record is flat with a relatively low noise floor that is only audible between tracks. The mastering of the record, however, is spectacular. While the original album was mastered by George Marino at Sterling Sound, this particular reissue was re-mastered by Kevin Gray at Acoustech.

While the average music lover may be unaware, these two mastering engineers are revered and are known for pumping out some of the very best-sounding records. As to why Dr. Feelgood was remastered in the first place, I’ve no idea, as I would assume the original mastering would have been superb. Nevertheless, if you’re after a warm, rich, analogue sound with an enveloping and rocking soundstage that offers clear separation between all musical elements, and bass that will penetrate your soul, you can’t go wrong with this particular release.

While the vinyl reissue is sonically impressive, the same cannot be said for the lossless Apple Music stream. By comparison, it sounds flat and lifeless with a shallower soundstage. Of course, you can’t easily take vinyl with you; unless you’re into creating needle drops, that is. As a result, I seldom listen to the stream for it simply doesn’t compare, but if you enjoy the Apple Music stream, may I suggest that you don’t compare editions for doing so will only bring about frustration and it really isn’t as bad as my comparison above makes it sound.   

T.n T. (Terror ‘n Tinseltown) is a great, to-the-point, starter track that is an ideal non-musical introduction for Dr. Feelgood.

Dr. Feelgood is a hard-hitting funk metal anthem, for the riff and rhythmic introduction is legendary; even if you’re new to the album and Mötley Crüe. Mick Mars’ sensational guitar riff, and performance throughout, is a highlight, but that could be said for the entire band as Dr. Feelgood is a textbook example of how to write, produce, record, and mix a killer rock and roll tune.

Slice Of Your Pie oozes with a bluesy groove and slows down the tempo of the album a little. It’s also great to hear a little Steven Tyler (of Aerosmith) in the song’s introduction, as well as on backing vocals, for his unmistakable vocal cues add to the overall appeal of the song. If nothing else, Slice Of Your Pie showcases the band's ability to blend different musical styles, combining their signature hard rock sound with a touch of blues-rock.

Additionally, if you’re a Beatles fan you may appreciate the closing elements that pay homage to I Want You (She’s So Heavy); one of their best songs from their legendary 1969 release, Abbey Road.

Rattlesnake Shake, with its swaggering rhythm and catchy chorus, delivers a high-energy rock and roll vibe that will see you toe-tapping and head-bopping from the very first note.

Kickstart My Heart is one of Mötley Crüe’s most well-known songs. The adrenaline-fuelled anthem, complete with rapid-fire guitar riffs and pulsating drums, creates a sense of urgency and excitement that will appeal to just about any music lover for it reaches into your soul and doesn’t let go.

Without You is a beautiful power ballad that showcases the band’s softer side without losing their edginess. The overall arrangement and layered production add a grandiose feel, but when you combine the emotional vocal delivery, and melodic nature of the song, particularly with regard to the guitar solo, it’s difficult to find fault in this classic tune.

Same Ol’ Situation (S.O.S) is an upbeat rocker featuring catchy hooks and a sing-along chorus. It successfully captures Mötley Crüe’s signature blend of glam metal and hard rock and quickly becomes one of the most enjoyable songs from the album.

Sticky Sweet brings back the bluesy rock vibe and Steven Tyler’s unique vocal backing. Interestingly, Bryan Adams is also credited for backing vocals, but his contribution gets lost in the mix. Nevertheless, between the playful lyrics and catchy rhythm, you really won’t have time to consider the individual guest vocalists on this infectious and memorable tune.

She Goes Down, with its raunchy lyrics and sleazy guitar riffs and overall rhythm, embodies the band's notorious wild side. It is, quintessentially, Mötley Crüe!

Don’t Go Away Mad (Just Go Away) features a mix of acoustic and electric guitars, creating a dynamic and engaging blues-based sound. While not a ballad, per se, the song’s catchy melody ensures that Don’t Go Away Mad (Just Go Away) is one of the album’s most memorable tracks.

Time For Change is not only epic, but it’s one of the greatest closers in all of recorded music history. Not only will it leave you in a reflective mood, but it will compel you to listen to the album again for Dr. Feelgood can seldom be listened to only once.

Dr. Feelgood is a testament to Mötley Crüe's ability to evolve while staying true to their roots. The album's diverse range of songs, from hard-hitting rock anthems to heartfelt ballads, showcases the band's versatility and enduring appeal. Add to that its polished production and memorable tunes and Dr. Feelgood becomes a defining album in Mötley Crüe's discography and a must own/listen for any hard rock fan.

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