T. Rex – Futuristic Dragon (Album Review)

Released in 1976, Futuristic Dragon, T. Rex’s eleventh studio album is both unique and experimental as it showcases the continued evolving music style of the English rock band. With this change in direction, you may find that it requires repeat listens to fully grasp, and appreciate, the record’s overall intent. Longtime fans will likely feel right at home, despite the differences from T. Rex’s earlier works, but newcomers should look beyond the renowned catchy tunes and appreciate Futuristic Dragon as it was originally intended; as an album experience first and foremost. 

While Futuristic Dragon doesn’t deviate too far from T. Rex’s classic output, the incorporation of elements of soul, funk, and reggae ensure, when mixed with their glam rock original sound, that the album not only remains fresh but becomes a timeless musical experience. 

While there’s little doubt that T. Rex was a band effort, Marc Bolan has again written thirteen memorable tunes that all have the renowned T. Rex quality, but  with the aforementioned shifts. The result is an album that features catchy melodies and an overall groove that not only highlights Bolan’s lyrics, but one that will captivate your soul. Speaking of Bolan’s lyrics and vocal delivery, you’ll likely hear a little John Lennon influence on songs such as My Little Baby, Calling All Destroyers, and Dreamy Lady. Intended, or not, the correlation is fantastic and you’d be forgiven for mistaking these two musical legends, as you listen to the album, for I have even got the two mixed up on various occasions. 

As it pertains to the sonic qualities of the lossless Apple Music stream, I can say with complete honesty that it could be better. Yes, the stream is a direct counterpart to the CD release of the album and while there aren’t any glaring issues and is subsequently adequate, the stream gives off a sense that there is more to be heard, yet elements are concealed in the mix and subsequent master. It’s also a little boxed in as the soundstage is concerned and a remaster, by a skilled mastering engineer, would ensure the stereo soundstage would be wide and enveloping. The recording could also do with a slight bump in the mid to low-end range of the audio spectrum and while I acknowledge that this can be done in the digital domain, modern EQ settings often lack fine manual controls meaning that the preset options can boost audible elements too far. The result of such extreme measures is that it can be detrimental to other aspects of the recording that are otherwise perfect; hence, my recommendation for a remaster by a well-respected mastering engineer who can ensure the intent of the original recording is maintained.

Forgoing a remaster, for the moment, it is plausible that Futuristic Dragon would be best delivered on vinyl for the format’s inherent limitations would naturally help to produce a smoother, more fuller, and fluid presentation than the streaming counterpart is capable of. Of course, there’s no guarantee that this would yield greater results, but I have observed such occurrences in the past. That all said, the stream remains thoroughly enjoyable, I simply feel that the reproduction could be better than it already is for the music contained within is exceptional and is deserving of the very best production possible. As it is all about the music, however, join me as I take a look at the songs that make up this incredible release. 

Futuristic Dragon (Introduction) is far from the greatest opening track of all time, but if you listen to the album, with a little Alice Cooper in the back of your mind, it becomes more than palatable. If nothing else, the segue to Jupiter Liar is well presented and much appreciated. 

Jupiter Liar is a groove-based masterpiece. With a mix of funk and rock elements, you’ll quickly find yourself tow-tapping and head-bopping along. As to why Jupiter Liar was never released as a single, I’ve no idea, but it is beyond comprehension for I feel this song would have rocketed to the top of the charts. 

Chrome Sitar takes us on a psychedelic dreamlike journey with an incredible rhythm and sensational hooks. The mix and overall composition of Chrome Sitar is impressive; so much so that I consider Chrome Sitar to be one of the greatest songs T. Rex ever recorded.  

All Alone presents us with a song that’s a little more upbeat. Think the Motown vibe mixed with a little soul and a touch of T. Rex. On paper, it shouldn’t work, yet it does. While All Alone may not be the strongest song from the album, it is nothing if not addictively good. That said, if you struggle to get into this tune, may I suggest you listen to it independently a few times as it grows on you the more you listen to the song. 

New York City is utterly brilliant! Yes, you’ll hear elements of Get It On, from Electric Warrior, but the repurposing of musical techniques, particularly in this instance, isn’t a bad thing. New York City is, subsequently, not only a standout but its energy and catchiness ensure it’s one of the best songs on Futuristic Dragon.   

My Little Baby possesses a romantic styling that doesn’t really suit T. Rex, but I’d be lying if I said that it doesn’t grow on you. If nothing else, it shows us a different perspective to what T. Rex could have been, had they chosen a different direction; one more aligned with pop than rock. 

Calling All Destroyers has a driving rhythm with some killer guitar licks and a vocal style that reminds me fondly of John Lennon. It’s a classic rock tune that is not only one of the best songs from the album but one of T. Rex’s greatest recordings. 

Theme for a Dragon is a lush instrumental piece that suits the album perfectly. Further embracing the album’s boldness, Theme For A Dragon is perfect for its intended purpose but I will say that the faux audience element can be a little grating on the senses and I, for one, would have preferred that aspect to be removed from the mix. 

Sensation Boulevard is another funky tune that adds to the overall style of the album. While it was never going to be a standout recording, it’s groovy and utterly compelling. 

Ride My Wheels is a little more eclectic than the other songs featured on Futuristic Dragon, but don’t let that deter you as it is the album’s diversity that makes it such a fascinating release. 

Dreamy Lady is T. Rex meets disco with a touch of Lennon. It’s brilliant and is without a doubt one of Bolan’s greatest vocal recordings. 

Dawn Storm shifts the musicality again, but the soul-inspired approach, particularly in the vocal department, is nothing short of musical genius. Dawn Storm is, subsequently, one of the most beautiful songs you’re ever likely to hear. 

Casual Agent closes the album on a high note with a dynamically engaging approach that will compel you to play the album again. Yes, the repeated chorus becomes an earworm; but it’s a thoroughly enjoyable one. 

No matter which way you look at it, Futuristic Dragon remains a fascinating release in T. Rex’s celebrated discography. Featuring sonic transitions and musical explorations like that never heard by T. Rex before, this timeless classic remains compelling for fans and newcomers alike. While not as successful as their earlier releases, the artistic boldness and genre-bending approach make for an enthralling musical experience that showcases the evolution of T. Rex and Marc Bolan’s musical journey, thereby ensuring that Futuristic Dragon is not only one of the greatest albums released in 1976 but one of the best releases of all time. 

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John Cougar – American Fool (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cold Chisel – Circus Animals (Album Review)

An Australian masterpiece ruined by remastering! 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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KISS – Creatures Of The Night (Album Review)

Released in 1982, Creatures Of The Night marked a pivotal moment in the storied career of KISS. The band, facing challenges and lineup changes, unleashed an album that not only revitalised their sound but also solidified their status as rock and roll legends. With their last truly epic album being the 1979 release, Dynasty, KISS returned to their hard rock foundations with Creatures Of The Night; a sound that was refreshing at the time and is ultimately timeless even when appreciating the album some four decades after its initial release. 

Part of the appeal is due to the production of the album as Paul Stanley and Gene Simmons, along with co-producer, Michael James Jackson, were able to successfully capture the raw energy of KISS' live performances while maintaining studio precision. The result is a highly polished, yet edgy, production that allows each musical element to shine.  

While there is never any guarantee as to the sonic prowess and stature of remastered releases, the 2022 remaster of Creatures Of The Night is superb. Sure, some will complain that it isn’t as dynamic as the original analogue releases of the album, but in all honesty, it rocks! As such, it’s a fun, lively listen, that I could listen to on repeat for hours on end. 

While the lossless stereo mix is my preferred edition of the album, the Dolby Atmos mix, via Apple Music, is a little muddy in the low end and lacks instrument separation as a result. That said, on some tracks the surround mix does enhance the music, but the question that has to be asked is if it makes the album more compelling. The short answer is: No. The Atmos mix is fuller, less treble-focused, and as such reminds me fondly of the sound that I’d get from high-quality compact cassettes. That, of course, doesn’t mean that I dislike the surround option; anything but, I just find myself gravitating to the stereo mix more often as it simply sounds right.   

Creatures Of The Night serves as a powerful opener, setting the tone with its thunderous drums, blistering guitar riffs, and anthemic vocal delivery by Stanley. 

Saint And Sinner has a swagger about it that becomes infectious. While it’s a run-of-the-mill rock tune, the groove is catchy enough that you’ll find Saint And Sinner quickly becomes an earworm; an unlikely one, but one nonetheless. The guitar work, including Simmon’s bass, is some of the greatest on any KISS recording as it becomes the driving force behind the song.

Keep Me Comin’ is a killer tune that’s KISS 101. With soaring instrumentals throughout, compelling vocals, and an addictive harmonious chorus; what’s not to like? Yes, those who don’t like glam metal may find it to not be to their tastes, but rather than focus on influences and subgenres, I much prefer to rock out to this dose of raw, unbridled rock. 

Rock And Roll Hell is magical! That bass guitar entry is what bass guitar dreams are made of and I’m so glad that Simmons was the lead singer on this tune for it suits his style perfectly and simply wouldn’t have worked if Stanley had been the vocalist. Most interesting, however, is that Bryan Adams co-wrote the song with Simmons and Jim Vallance. While Adams is an accomplished rock star in his own right, he was still in his infancy when this song was written and it’s a masterpiece if there ever was one. 

Danger is fast-paced, adrenaline-fueled, and is one of KISS’ most relentless tracks as it relates to raw intensity. It’s a killer tune that continues to grow on you the more you listen to the album.

I Love It Loud has an interesting fade-out, similarly styled to The Beatles’ Helter Skelter. While it’s a recognised recording technique, and it works exceptionally well, I’m not entirely sure that it was necessary as it doesn’t add anything to the song. Subsequently, I feel it would have been better had this element been omitted, but that doesn’t change the fact that I Love It Loud is a quintessential KISS anthem, with a chanting chorus and thunderous rhythm, that makes it an instant classic.  

I Still Love You slows the tempo as it’s the only power ballad to be included on Creatures Of The Night. While many fans prefer KISS for their pure rock numbers, I must admit that I love a good power ballad and this is no exception for it not only works well within the album’s structure, but it’s perfectly suited to Stanley’s incredible vocal range.

Killer returns the album to its high-energy, riff-driven, sound that defines the album and is a quintessential B-side. 

War Machine closes the album with a bang and is so addictive that you’ll find yourself quickly playing the album again. The militaristic drumming and aggressive guitar riffs reinforce the overall theme and leave a lasting impression. While numerous songs could be declared as the best song in KISS’ extensive catalogue, War Machine is right at the top of any list for it doesn’t matter if you experience it via Creatures Of The Night, or in concert, you’re going to be blown away with the attitude of this incredible song. 

Creatures Of The Night was a much-needed return to form for KISS following the lacklustre Unmasked and the downright atrocious Music From “The Elder”. The impact from Creatures Of The Night reverberated through the 80s, influencing the glam and hair metal bands that followed but ultimately showcased that KISS still had it, along with the ability to evolve while staying true to their rock roots. Creatures Of The Night is, subsequently, a must-listen for both die-hard fans and those looking to explore the diverse landscape of 80s rock music.

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Dire Straits – Love Over Gold (Album Review)

While some may question if five songs can be considered an album, there is no doubt that Love Over Gold, Dire Straits’ fourth studio album from 1982, is a quintessential album experience. While each of the five songs stand out on their own, when you listen actively, to the intended album structure, you’ll encounter a rich and rewarding experience that will have you coming back to this incredible release. 

Exploring longer and more intricate compositions than ever before, Love Over Gold was arguably less commercial in its intent than their previous releases. While that could be seen as a missed opportunity, the artistic depth and musical sophistication of the album ensures that it’s timeless and remains an essential element in Dire Straits’ back catalogue. With complex arrangements, extended instrumental passages, and a greater emphasis on atmospheric elements, Love Over Gold is every bit a Dire Straits record but more importantly, it is an experience that has to be heard firsthand in order to be fully appreciated. While the music scene in 1982 was the launching pad for some of the greatest 80s releases, it’s fair to say that Love Over Gold was somewhat lost in the crowd for it truly is one of the greatest albums ever recorded; particularly within the progressive and art rock genres. Yes, it charted and sold respectfully, but it never quite reached the heights that an album of this calibre should have. 

Nevertheless, when looking at masterpiece releases, it isn’t uncommon to note that the artist had a guiding hand from an experienced producer to achieve the very best possible outcome. While that had previously been the case with Dire Straits’ earlier releases, Mark Knopfler showcased his vision by not only writing all the songs but also acting as the sole producer for Love Over Gold. Quite frankly, the man is a musical marvel and while I don’t find his post-Straits output to be as compelling, albums with the spit and polish of Love Over Gold usually only come once in a career. Yet, Dire Straits’ catalogue is remarkably impressive from their self-titled debut in 1978 to their final studio release in 1991. 

Speaking of the impeccable production quality, the lossless Apple Music stream is derived from the core 1996 CD remaster and while I’ve heard some declare these remastered editions to be somewhat lifeless, I thoroughly enjoy them. Granted, when it comes to this album I haven’t compared this mastering to any other, but perhaps that is a good thing. At some stage, even the most ardent of fans need to just rock out and thoroughly enjoy the version of the album that they have access to rather than continually trying to seek out a better copy. Yes, the stream could be a little smoother, in places, but I wouldn’t call it shrill; not by any stretch of the imagination. It just needs a little more fluidity to take it a few percent closer to absolute perfection. 

Nevertheless, I couldn’t be happier with the stream for every musical element is given room to breathe in an expansive soundstage that has plenty of headroom available to pump the volume while also adjusting the EQ without adding degradation to the album’s overall presentation. While I tend to enjoy Love Over Gold, when listened to with no added EQ, the aforementioned smoothness could be achieved with minor manual adjustments to the EQ settings. It’s just a shame that modern EQ options, particularly in the case of Apple Music, apply an all-or-nothing approach and unless you’re on a Mac, you’ll find there are no manual EQ settings available to adjust; a major oversight, certainly! That all said, join me as we explore the music that makes up this essential album from Dire Straits’ illustrious career.  

Telegraph Road is an epic 14-minute musical wonder that serves as the perfect opener for Love Over Gold as it sets the tone for that which we’re about to hear. If you haven’t already, you’ll want to turn the volume up for the initial moments, before the building of the song, are simply magical and the increased volume will only enhance the experience as the song unfolds gradually. It really is a musical journey that showcases Knopfler's storytelling capabilities and the band's ability to build tension and release it with masterful precision.  

Private Investigations is akin to a broody, noir-like tune with elements of classical and folk music that further highlights Knopfler’s virtuosity as a songwriter and musician. It’s a beautiful song that has a cinematic quality that will leave you in awe every time you listen to what can only be described as a masterpiece. Plus, that bass-driven rhythm is hypnotic.

Industrial Disease is a departure from the album's overall intensity, yet don’t let that aspect deter you for it flows seamlessly when listening via the album structure. Featuring witty lyrics and a more upbeat musical arrangement, Industrial Disease is classic Dire Straits as it’s a commentary on modern society backed by some addictively good rock and roll licks. 

Love Over Gold is a magnificent title track that can be best described as Jazz rock; albeit with a slightly bolder rock edge. While the entire album is an incredible audible journey, the mix of this particular song is stunning. The stereo imaging alone is so expansive you’d swear it was a surround mix, yet it is just stereo done right. 

It Never Rains with its more upbeat, rock-oriented sound, serves as the perfect closing bookend to an album that is not only one of the greatest ever recorded by Dire Straits but is amongst the greatest albums ever released. It Never Rains, however, is the weakest song on the album but given the quality of the music that preceded it, it is more than acceptable and is, arguably, more closely aligned with the overall style of Dire Straits’ prior releases. Either way, as an album-only tune, It Never Rains is thoroughly enjoyable.

Love Over Gold stands as a bold and ambitious statement in Dire Straits' discography. It's an album that rewards attentive listening, offering a rich tapestry of sound and thought-provoking lyrics. While it may not have been as well received, commercially, as some of their other works, its artistic depth and musical sophistication make it a timeless and essential part of the Dire Straits catalogue as well as the 80s music scene.

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Glenn Frey – No Fun Aloud (Album Review)

Released in 1982, No Fun Aloud is the debut solo studio album by Glenn Frey. As a founding member of the Eagles, Frey had already established himself as a prominent figure in the music industry, and this album followed that legacy; albeit with a different style and a selection of songs that are, at times, considerably different from his Eagles output. Spanning various musical styles, blending rock, pop, and elements of country, No Fun Aloud showcased Frey’s ability to stand on his own as a solo artist and as far as 80s debuts go, this is one thoroughly enjoyable release. 

What is a little lacklustre, however, is the album artwork. While it doesn’t qualify for inclusion in the The Worst (And Most Disturbing) Album Covers Of All Time list, it is indicative of the visually cringeworthy 80s. Seriously, take a look at the Eagles’ album artwork from the 70s, then compare them to No Fun Aloud. It’s almost comical and one can only wonder what Frey and his record label were thinking. 

Thankfully, the uninspired album artwork doesn’t represent the music within. The album’s production reflects the standards of the time. Yes, some may argue that it isn’t up to the same quality as that heard via the Eagles’ works, but given the Eagles didn’t release an album in the 80s, we won’t ever truly know if their production quality would have shifted with the increased adoption of synthetic elements and emerging digital recording techniques. Hence, such comparisons are trivial. Interesting, yes, but trivial nonetheless. 

While No Fun Aloud hasn’t been remastered and the edition available via Apple Music is the CD counterpart, you’ll be met with a dynamically audible presentation that has plenty of headroom thereby allowing you to turn the volume up and rock out. Modern music lovers may dislike this approach, however, as it isn’t loud and therefore can initially sound inferior by comparison, but when listening to the stream there are no digital artefacts to contend with, nor is it fatiguing. Yes, that quality can, in part, be attributed to the production of the album, but it also showcases that loudness, such as that associated with the loudness wars and modern recordings isn’t as desirable as some would make it out to be. Yes, we all love listening to music loud, but I want to control the volume and set the mood myself. Still, the result is an album that is polished, well-crafted, and perfectly complements Frey's musical styling.

I Found Somebody may not be the strongest opening track. But as a music lover who simply adores the saxophone, I get drawn in every time I listen to the album. Frey’s poetic delivery makes the song even more compelling and the infectious chorus certainly helps in that regard. However, it is Al Garth’s tenor saxophone that steals the show here and ensures that even though the song wasn’t a hit, it could have been a radio-friendly tune that could have done well had it been released in that capacity. 

The One You Love is simply magnificent and I’d argue that it should have been the album’s opener. Regardless, the intermingling of Jim Horn (tenor saxophone) and Ernie Watts (saxophone) is a musical masterstroke that makes The One You Love an even stronger song than it otherwise would have been. Yes, the smooth melody and emotional depth would have remained sans the horn element, but it enhances Frey’s soulful vocals and poignant lyrics thereby making The One You Love one of the greatest ballads ever recorded.

Partytown is a fantastic rock-infused number. Granted, it is a significant sonic shift from The One You Love, but after you’ve listened to the album a few times, you no longer notice the jolt but look forward to the upbeat vibe and some killer late 50s-inspired guitar and vocal work. 

I Volunteer, again, shifts the tone of the album and upon first listening you may feel it’s a distractive element, but the ebb and flow grows on you the more you listen to the album. I know, in the age of playlists, and short attention spans, we no longer focus on the album experience as we once did, but No Fun Aloud shines when you appreciate it as a single body of work, rather than a collection of tunes. That said, I Volunteer is a solid album-only song.

I've Been Born Again starts with a skit usually associated with the Hip-Hop industry and while it’s a little corny, it works rather well. Frey's vocals exude passion, via this bluesy soulful number, resulting in a compelling tune that you’ll find yourself toe-tapping and head-bopping along to. Fantastic! 

Sea Cruise continues the light-hearted approach with this cover of the Huey "Piano" Smith original and while it has been covered by a who’s who of the music industry at this point, Frey performs it masterfully and in many ways it can be seen as an introduction to the Great American Songbook that he’d adopt when recording the delightful After Hours album in 2011-12.

That Girl is a beautifully dynamic tune with some of the loveliest vocals Frey has ever recorded. 

All Those Lies has an Eric Clapton vibe; hence, I love it! Correlation aside, the mid-tempo groove, with some magical soft rock elements, and Frey’s smooth and introspective vocal, make this a hidden gem and a song that should have, in my opinion, been released as a single for it has hit written all over it.

She Can't Let Go is a twanging number. While some may appreciate the narrative-driven approach, and I don’t dislike it, it results in this song being an album-only tune that flows well within the album’s structure but was never  destined to be a standout in Frey’s back catalogue. 

Don't Give Up closes the album with a high-energy number that conveys a sense of hope. While it can be seen as a heartfelt longing for love tune, its driving rhythm and chorus vocal “Don’t Give Up” is so poignant that you’ll likely find yourself using it as inspiration for any number of life’s challenges. 

No Fun Aloud is a thoroughly enjoyable debut solo album from Glenn Frey. It showcases his broader musical skill, both as a songwriter and performer, with each track offering a different sonic experience and standing as a testament to his enduring influence in the world of rock and pop music. While No Fun Aloud may not be as widely remembered as some of Frey's other works, it remains an important milestone in his solo career and a noteworthy release in the broader landscape of the 80s music scene.

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Meat Loaf – Bat Out Of Hell II: Back Into Hell (Album Review)

Released in 1993, Meat Loaf's Bat Out of Hell II: Back Into Hell is a monumental rock album that not only pays homage to its iconic predecessor but also manages to carve out its own unique space in the annals of rock music history. Expanding on Bat Out Of Hell, this second outing furthers the rock opera approach, taking listeners on an epic journey filled with larger-than-life characters, dramatic storytelling, and soaring melodies. In this review, we’ll explore the various aspects that make Bat Out Of Hell II: Back Into Hell a timeless classic for it’s more than just a cash grab follow-up.

Maintaining the operatic storytelling style that Jim Steinman and Meat Loaf are renowned for, Bat Out Of Hell II continues the story arc of the original Bat Out of Hell album, with recurring themes of love, rebellion, and the timeless battle between good and evil. The narrative elements make the album feel like a rock and roll Broadway show, immersing listeners in a world of passion and drama. While Steinman’s songwriting has been pivotal to Meat Loaf’s success, it is the vocalist’s powerful and emotive vocals that are at the heart of this album's success. Yes, others have recorded Steinman’s songs, to much fanfare, but nobody has outperformed Meat Loaf’s vocal prowess on his classic tunes.

Part of the appeal had always been Meat Loaf’s larger-than-life persona; a style that perfectly complements the operatic and grandiose nature of Steinman's storytelling. Tracks like I'd Do Anything For Love (But I Won't Do That) showcase Meat Loaf’s incredible vocal range and passion and his delivery consistently adds a layer of depth and emotion to the lyrics, making them feel more like character monologues than typical rock songs.

While these two incredibly talented individuals are the core reason for the success of each other, and the Bat Out Of Hell series, the production of Bat Out Of Hell II: Back Into Hell is second to none as the arrangements are orchestral and theatrical, featuring elements of rock, pop, and even a touch of classical music influence. Add to that the use of choirs, pianos, and guitars and you get an incredibly rich sonic landscape that perfectly complements the narrative. Yes, the album benefited from a big-budget approach, that wasn’t quite present with the original 1977 release of Bat Out Of Hell, but a level of rawness remains ever-present despite this album’s polished and epic sound.

Purists, particularly those who are attached to the original Bat Out Of Hell will likely view this second instalment as a detractive element but it would be amiss to consider it this way as Bat Out Of Hell II not only lived up to the legacy of the original, but also managed to become a classic in its own right. That statement certainly can’t be applied to the third instalment, Bat Out Of Hell III: The Monster Is Loose; an album that is solid on its own, but is certainly not worthy of its legacy. 

While the music may be paramount, and one should never judge an album by its cover, Michael Whelan created a captivating piece of imaginative realism when designing the Bat Out Of Hell: Back Into Hell cover art. It screams to be seen on the larger vinyl canvas, and while it was released on vinyl in 1993, the CD was commanding everyone’s attention by that stage and the smaller canvas, while adequate, failed to truly captivate the essence of the scene. Thankfully, in 2019, the album was reissued on vinyl for the 25th anniversary and I’m fortunate to have that edition in my collection for it not only sounds incredible, but it looks magnificent.

As enamoured as I often am with Apple Music’s quality, the lossless Apple Music stream is a direct CD counterpart that is more than acceptable, but it’s the fullness of sound, mixed with nuanced clarity, that enables you to turn the volume up and rock out like never before to the aforementioned vinyl reissue. That isn’t to say that the stream is substandard, but if you have the option and you enjoy vinyl, it presents the album in a manner that is incomparable to any other delivery method for the smoothness and fullness of the analogue counterpart really makes this album shine. That all said, grab whichever copy you have access to, turn the volume up, and let’s check out the songs that make up this exceptional release.   

I'd Do Anything For Love (But I Won't Do That) is an epic ballad and the album's most iconic track. Featuring a soaring melody, a powerful choir element, and Meat Loaf's passionate vocals, I’d Do Anything For Love (But I Won’t Do That) was destined to be a standout. Some may lament that this song has been played ad nauseam throughout the years, but as a contender for the greatest power ballad of all time, it is to be expected that it would be controversial.

Credit, however, must be given to Lorraine Crosby for the incredible vocal prowess she delivered on this track. Meat Loaf is good, there’s no doubt about that, but Crosby’s vocal inclusion takes the song to another level entirely; much the same as Ellen Foley’s inclusion on Paradise By The Dashboard Light did.

Life Is A Lemon And I Want My Money Back is an incredible, yet pessimistic, reflection on life's disappointments and unfulfilled promises. It is one of Meat Loaf’s greatest tunes and with its catchy chorus and introspective lyrics, it's memorable and relatable. Add to that some killer guitar work and you’ve got a theatrical rock number with just the right amount of aggression to give the song an attitude all of its own.

Rock And Roll Dreams Come Through is a soft rock anthem but as catchy as it is, it’s one song that has dated far more than it ideally should have. Perhaps that is because it was originally released in 1981 on Steinman’s Bad For Good. That edition features the vocals of Rory Dodd and while he doesn’t have the vocal chops Meat Loaf had, I thoroughly enjoy the original and consider it to be a published demo. Still, neither is exceptional and I dare say that Rock And Roll Dreams Come Through has yet to be fully realised. While it is unlikely, I do hope that another artist will cover this tune, and make it their own, while ensuring that it has a harder rock edge that I feel is deserving of the song. 

It Just Won't Quit shifts the flow of the album somewhat. Yes, it may be sonically compelling, but as much as I consider Bat Out Of Hell II to be largely perfect, It Just Won’t Quit does adversely affect the flow of the album. While rock operas demand melodrama, I can’t help but wonder if a shortening, and simplification, of the song wouldn’t have been better suited to the track.

It Just Won’t Quit is another cover for Meat Loaf as it was originally recorded and released by Pandora’s Box on their 1989 release, Original Sin. The Pandora’s Box original isn’t bad, but I do prefer this interpretation.

Out Of The Frying Pan (And Into The Fire) is a high-energy, rock-infused anthem driven by a sense of urgency and a killer guitar performance. Yes, dear reader, get your air guitar ready as you’re going to need it for it’s one of the best songs in Meat Loaf’s back catalogue.

Jim Steinman originally released Out Of The Frying Pan (And Into The Fire) on Bad For Good and while it’s somewhat lacklustre, it showcases the origins of the song and allows fans to see the evolution of the tune.

Objects In The Rear View Mirror May Appear Closer Than They Are is a beautiful song from start to finish. While I enjoy Meat Loaf’s louder, more rock-driven songs, he had such incredible control over his vocals that he could sing almost any style thrown at him and this is no exception. 

Wasted Youth captures the feeling of youthful rebellion and the idea that life is fleeting. That said, I’m not sure I would call it a song and while Jim Steinman’s spoken word lyrics offer a momentary respite from Meat Loaf, it really doesn't add substance to the overall album experience. Nevertheless, if viewed in a similar style to Lou Reed’s body of work, then it most certainly can be classed as a song. Still, it makes for a very compelling entry into Everything Louder Than Everything Else.

Everything Louder Than Everything Else has a driving rock rhythm and powerful vocal performance that contribute to its anthemic quality. While it was never going to be a standout tune, I couldn’t imagine the album without this song as it’s a solid riff-driven number that is thoroughly enjoyable every time I hear it. 

Good Girls Go To Heaven (Bad Girls Go Everywhere) is a jazzy rock song with a catchy, upbeat melody and a playful attitude and is without a doubt one of the standout tunes from Bat Out Of Hell II: Back Into Hell. 

As with It Just Won’t Quit, Good Girls Go To Heaven (Bad Girls Go Everywhere) is another Pandora’s Box cover. The original is solid, reminding me of many Bonnie Tyler songs. Yes, Meat Loaf’s version is the one to beat, but Pandora’s Box recorded an exceptional original.

Back Into Hell serves as an instrumental interlude that works well on its own, but does it work well in the album format? Over the last couple of decades I’ve become familiar with it, so removing it now would not be an option. However, as with Wasted Youth, one can’t deny that it shifts the flow of the album.

Lost Boys And Golden Girls is pure Meat Loaf. His vocal tracking on Lost Boys And Golden Girls is superb and the song is a perfect classical-styled rock tune that compels me to listen to the album again.

Lost Boys And Golden Girls was also originally recorded and released on Steinman’s Bad For Good and as much as I adore Meat Loaf’s interpretation, Steinman's performance is masterful.

The impact of Bat Out Of Hell II: Back Into Hell on the rock opera genre and its influence on subsequent generations of rock musicians cannot be overstated. While it may not have been quite as successful as its predecessor, it remains a timeless rock masterpiece that captures the essence of operatic storytelling within the realm of rock music. Meat Loaf's powerful vocals, intertwined with Jim Steinman's poetic songwriting, and grandiose arrangements, result in an epic musical experience that continues to resonate with music lovers even decades after its release. 

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