Russ Ballard – The Fire Still Burns (Album Review)

Released in 1985, The Fire Still Burns showcases Russ Ballard's remarkable ability to blend rock and pop into a cohesive and compelling collection of songs. Known for his knack for writing timeless hits for other artists, Ballard’s own solo recordings have often been overlooked; a shame considering these releases, and this record in particular, deliver a mix of radio-friendly rock anthems, infectious melodies, and introspective ballads. Regardless, whichever way you look at it, The Fire Still Burns is a hidden gem and one of the greatest albums ever recorded.

While the cover art is neither inspiring nor distractive, one thing that’s without question is the production and sonic qualities of this recording. Despite not being presented as an Apple Digital Master, this lossless CD-quality stream will impress. The soundstage is deep and enveloping, with every musical aspect of the recording presented clearly within the mix. While the album sounds exceptional at lower volumes, one thing you’ll notice is that there’s plenty of headroom, allowing you to pump the volume without a hint of distortion (depending on your stereo equipment, of course). So, tap play, turn the volume up, and join me as I take a look at the music that makes up this incredibly underrated release.

Once A Rebel immediately grabs your attention with its atmospheric introduction that melds into a powerful rock anthem. Driven by a punchy guitar riff, and Ballard’s commanding and addictively good vocals, Once A Rebel is one of the greatest pop-rock tunes of the mid-80s; one that most people have likely never heard. Despite this, it sets the tone for the entire record and is a perfect album opener.

The Omen turns things up a notch with its darker, more dramatic, tuning. Interestingly, when I listen to Ballard’s vocal delivery, I can’t help but hear Michael Starr of Steel Panther fame. Given Steel Panther is influenced considerably by mid-80s rock, I wonder if there’s an influence to be noted here. Nevertheless, The Omen is a musical marvel that weaves a cinematic narrative throughout, thereby making it highly compelling for those who appreciate lyrical interpretation as well as those who prefer to focus on the musical performance itself.

Hey Bernadette lightens the mood with its upbeat sing-along vibe that’s pop-rock gold with its catchy chorus that will stick with you long after the song has ended. While not released as a single, Hey Bernadette has a radio-friendly styling that would not only work well on any classic music radio station but would have likely been a hit if it had been released during the mid-80s.

Searching is a slow build but the wait is worth it for this mid-tempo rocker will have you toe-tapping and head-bopping throughout. While the entire album is a hidden gem and one of the greatest and most underrated albums ever recorded, Searching further validates that fact as it’s highly compelling and will make you wonder how Russ Ballard didn’t have greater success as a solo artist.

Time is somewhat of a musical interlude and while short and sweet, it’s a magnificent number that acts as connective tissue and further enhances the record and blends seamlessly into Your Time Is Gonna Come.

Your Time Is Gonna Come is a killer number with a funky groove that reaches into your soul and won’t let go until the song has ended. With a bouncy bassline, incredible rhythmic guitar work, and Ballard’s commanding vocals, the energy and charisma heard on this tune make it one of the best songs from the album and another hidden gem that could have been so much more had it been released as a single.

Dream On continues the upbeat styling and that opening guitar lick is stunning. Ballard’s vocal delivery, again, is impressive, but one thing that is immediately notable is how ideally Dream On is suited to the era. Despite being released as a single, the song remains obscure; a disappointing aspect considering how incredible this song is and that it has stood the test of time, in some cases better than the chart-topping hits of the era.

The Fire Still Burns is a quintessential title track that closes the album with a bang, bringing together all the elements that define Ballard’s sound. As with Dream On, The Fire Still Burns was the only other single to be released from the album, but either Capitol/EMI Records didn’t push it hard enough, or it got lost in the mix, for it’s of the era and is a killer earworm that will encourage you to play the record again.

The Fire Still Burns is an exceptional showcase of Russ Ballard’s talent as a songwriter, musician, and vocalist. The album’s mix of anthemic rockers, introspective ballads, and upbeat tracks, offers something for every listener. While it may not have achieved the commercial success it deserved, its quality and solid craftsmanship have stood the test of time. If you’re remotely interested in 80s rock, The Fire Still Burns is a must-listen and is worthy of every music lover’s collection.

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Ratt – Invasion Of Your Privacy (Album Review)

Released in 1985, Ratt’s second studio release, Invasion Of Your Privacy is a defining record in the glam and heavy metal genre, brimming with the band’s signature mix of sleazy riffs, catchy hooks, and a polished production. Following on from the success of their debut album, Out Of The Cellar, this release further cemented Ratt’s place among the leading acts of the 80s hair metal scene; despite not matching the sales of their debut release. Nevertheless, this music lover finds Invasion Of Your Privacy to be the superior album experience as there isn’t a dull moment to be heard from start to finish.

Visually appealing, there’s little doubt that the album artwork alone would have sold copies for Marianne Gravatte is certainly easy on the eyes. Beyond that aspect, the stylistic design is perfect and more interesting than their debut was while also playing into the hair metal ethos of the era.

For those seeking out a new vinyl release, the good news is that this is one album that has been reissued extensively in recent years with the latest reissue being released in 2024 alongside a CD edition. While I’ve yet to hear them, and the only exposure I have to this classic release has been via the lossless Apple Music stream, it’s certainly on my Wishlist as it’s a top-tier release from 1985 and, in my opinion, a must-own.

Speaking of the Apple Music stream, while it isn’t an Apple Digital Master, that need not matter for the album rocks. Yes, it’s your classic mid-80s hair metal production, but that unique sound is also what makes it so enjoyable. Still, you’ll find yourself looking for the volume knob because Invasion Of Your Privacy should never be listened to at lower volumes; even if it sounds exquisite at those levels. While everyone’s opinion will differ, what I can say with certainty is that the stream offers a lovely reproduction with no glaring issues to report.

You're In Love opens the album with a bang, delivering a high-energy, riff-driven, anthem that sets the tone for what’s to come.

Never Use Love is full of attitude, gritty guitar licks, and a punchy rhythm that’s perfectly suited to Stephen Pearcy’s unique vocal presentation. With a touch of the blues, and a raw and little less polish than the other songs on the album, Never Use Love is one of the most exciting songs from the record.

Lay It Down is one of the most memorable songs from Ratt’s illustrious career. Released as the first single from Invasion Of Your Privacy, the opening riff instantly hooks the listener, while the soaring chorus and dynamic shifts throughout demonstrate the band’s knack for crafting wide-reaching radio-friendly hits.

Give It All has a swaggering groove that blends extraordinarily well with the song’s infectious hooks and sharp riffs. Pearcy, once again, delivers with vocals that exude confidence, but it’s the balance between all elements that ensures Give It All is a quintessential Ratt tune.

Closer To My Heart slows down the tempo and while not as noteworthy as some of the genre’s classic power ballads, Closer To My Heart is a stunning addition to the album, offering a brief respite from the record’s more raucous tracks.

Between The Eyes returns us to the riff-heavy style that Ratt is best known for. With Pearcy’s snarling vocal presentation, and the dual guitar attack of Robbin Crosby and Warren DeMartini driving the song forward, what you’ve got is one of Ratt’s most technically perfect songs with a mix that is simply amazing. Add to that the incredible vibe from Juan Croucier on bass and Bobby Blotzer on the drums and you’ve got a band effort that, despite not being well-known outside of the album’s structure, is one of Ratt’s greatest recordings.

What You Give Is What You Get has a slightly more laid-back strut when compared to much of the album, yet this number still delivers plenty of attitude and has one of Pearcy’s greatest vocal performances; particularly throughout the chorus. That said, one cannot overlook the exceptional musical bed as it demonstrates a band effort and is a standout recording. It’s, subsequently, puzzling as to why it was only released as a single for the Japanese market, for it surely would have done well on the charts throughout the world.

Got Me On The Line is a song that’s pure fun and has a playful energy that’s hard to resist; although that telephone ring at the beginning of the song is nerve-racking. Still, if we look past that aspect, Got Me On The Line is a lively number with a rhythm that will see you toe-tapping and head-bopping along.

You Should Know By Now seamlessly flows from Got Me On The Line and leans heavily into the glam metal formula with its catchy sing-along chorus and flashy guitar work. While it doesn’t break new ground, it’s a solid addition to the album and embodies the sound that made Ratt so popular.

Dangerous But Worth The Risk closes out the album on a high note, combining fast-paced riffs with anthemic vocals. DeMartini’s lead guitar work and Pearcy’s vocal performance are once again the standout elements, but the song’s relentless energy ensures that it will capture the soul of every music lover and will compel them to play the album again, for Invasion Of Your Privacy can seldom be listened to once.

Invasion Of Your Privacy is not only an exceptional followup to Ratt’s impressive debut, but this sophomore release proved, without a shadow of a doubt, that Ratt was more than a one-hit-wonder. Granted, the album doesn’t stray far from the glam metal blueprint they originally laid down, but it does offer refinement with impressive precision and flair. Pairing the higher production values with their incredible musicianship results in a dynamic combination that’s not only radio-friendly but has a raw edge that will appeal to longtime fans and newcomers alike.

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Mötley Crüe – Theatre of Pain (Album Review)

Released in 1985, Theatre of Pain, Mötley Crüe’s third album, is arguably marred by Vince Neil’s preceding arrest for drunk driving and the manslaughter of Hanoi Rocks’ drummer, Nicholas "Razzle" Dingley. While this tragic event almost saw Mötley Crüe come to an abrupt end, Theatre Of Pain was, ultimately, dedicated to Razzle’s memory and is a fitting tribute.

While the reception to Theatre of Pain has been primarily mixed amongst critics and fans, despite achieving higher sales than Mötley Crüe’s previous albums, time has been kind to Theatre of Pain. With a pop meets rock style and a healthy dose of glam influence, the album remains fresh and isn’t dated to the era; despite being representative of the time. Additionally, when you add the raw energy, polished production, and radio-friendly sound throughout, what you’re left with is a pop metal release that’s an essential listen for fans and newcomers alike.

Speaking of the overall sonic quality, while I’ve not been fortunate to hear a physical edition of this classic release, the lossless Apple Music stream is surprisingly well-mastered; particularly considering it’s not an Apple Digital Master. There’s no listening fatigue to be experienced and no standout issues that would limit one’s enjoyment of the record. The soundstage is clearly defined and envelops you in sound; regardless of how loud you’re listening to the record. The result of this well-balanced presentation is that it’s truly indicative of a Mötley Crüe performance and is thoroughly enjoyable from start to finish.   

City Boy Blues opens the album with a hard rock blues number. Mick Mars provides a masterful gritty guitar riff while Vince Neil’s raspy vocal is laid perfectly alongside the solid percussive backing. The result is that City Boy Blues is a solid opener and serves as a fitting introduction to the album.

Smokin’ In The Boys Room is a solid interpretation of Brownsville Station's original song. Depending on your perspective, you may prefer the original to this interpretation, or vice versa. What is certain, however, is that Mötley Crue injected their trademark swagger and glam-metal styling into the song and made it their own.

Louder Than Hell is one of the heaviest songs on Theatre Of Pain and its driving riff, anthemic chorus, and overall style harks back to the band’s earlier sound. The high production quality certainly ensures the song is a standout, but when you consider the intensity of Mars’ searing guitar performance and Tommy Lee’s thunderous drumming, there’s little doubt as to why this is one of the greatest songs Mötley Crüe ever recorded.

Keep Your Eye On The Money flows seamlessly from Louder Than Hell, and while it’s a catchy number it’s lyrically campy. Yes, Mars’ guitar licks, once again, steal the show, as does Lee’s pounding drumming and Nikki Sixx’s rhythmically charged bass notes, but it isn’t a standout.

Home Sweet Home is amongst the greatest power ballads ever recorded and is quintessentially Mötley Crüe. While some may lament their beloved hard rockers showing their softer side, Home Sweet Home would, ultimately, break new ground and further influence other glam-metal acts to also record a power ballad. As a power ballad fan, all I can say is thank you Mötley Crüe.

Tonight (We Need A Lover) is a high-energy rocker with infectious hooks. Capturing the raw, and unapologetic attitude that defines Mötley Crüe, Tonight (We Need A Lover) is not only a great rock and roll tune, but it’s a pure glam-rock masterpiece.

Use It Or Lose It is a fast-paced and aggressive number with a touch of punk. It sees Lee’s relentless drumming and Mars’ incredible guitar licks take centre stage for what can only be considered a killer tune. While Mötley Crüe should always be listened to at ear-bleeding volumes, this is one song where it hits harder the louder you listen to it.

Save Our Souls is a dark and brooding number that’s perfectly suited to Mötley Crüe, but it’s the blues-based rock tuning that makes it truly exceptional and one of the most atmospheric recordings on the album.

Raise Your Hands To Rock is a fun anthem-infused rocker. While the lyrics are a little mundane, the track’s energy and sing-along chorus make it a fantastic addition to the album and is one of those songs that would be ideal in a live setting.

Fight For Your Rights closes the album on a defiant note. The gritty riffs and pounding rhythm create a sense of urgency, while Neil’s impassioned vocals deliver the message with conviction. It is, once again, Mars’ guitar solo that ensures this is a memorable number; one that will keep you coming back to the album time and time again.

Overall, Theatre of Pain is an incredible release in the storied career of Mötley Crüe and deserves a place in everyone’s music library. While it lacks the aggression of Shout At The Devil and the cohesion of what would come with Dr. Feelgood, to ignore this release would be shortsighted for the numerous highs far outweigh any lows.

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John Fogerty – Centerfield (Album Review)

John Fogerty’s Centerfield marked a triumphant return for the former Creedence Clearwater Revival (CCR) frontman after nearly a decade-long hiatus from the music industry. Released in 1985, Centerfield showcases Fogerty’s signature swamp rock sound, infused with Americana and roots influences that result in the record being a timeless masterpiece.

While there’s no shortage of praise and accolades for Fogerty, Centerfield truly showcases how talented this multi-instrumentalist is. As with many of his other solo recordings, Fogerty acted as not only the sole musician, playing all instruments, but wrote and produced the entire record. Yes, other artists such as Paul McCartney have also used overdubbing to great effect and, in most cases, particularly here, it enables an artist’s artistic integrity and vision to remain at the forefront of their creative output. In Forgerty's case, Centerfield is amongst his most creative endeavours and challenges his legendary late 60s and early 70s output with CCR.    

Regarding the album’s artwork, some will love it, others will loathe it, and most will likely be ambivalent towards it. I lean towards loving it myself, particularly as a Baseball fan (Blue Jays & Seattle Mariners), but the darker colour tone does result in different editions being printed/represented differently and in some cases it is too dark, or too bright. Nevertheless, when the music is this good, one can overlook any shortcomings an album’s artwork may have.

Years ago I was fortunate enough to have owned the HDCD release of Centerfield and despite offering an exceptional musical experience, with an incredibly deep and immersive soundstage, I no longer have a CD player capable of properly decoding the HDCD element. Hence, my go-to is now the 25th Anniversary lossless Apple Music stream. While not as bombastic, it’s a perfectly respectable release that has the bonus advantage of being available everywhere, and anywhere, I choose to play it.

Despite enjoying the 25th Anniversary edition, longtime readers will note that I’m not a great fan of bonus material being added to an album post-release. I’ve, therefore, decided to share a playlist of the album’s core 9 tracks, rather than the extended album that includes My Toot Toot and I Confess; two songs which, with a touch of humour, could be the core of any number of jokes.

The Old Man Down The Road not only launches the album with a classic swamp rock number that harkens back to CCR’s heyday, but the song rocketed to the top of the charts when released as the album’s lead single. If the infectious groove doesn’t get you, Fogerty’s gritty vocal and the compelling guitar riff will.

Rock And Roll Girls is a breezy upbeat tune. The jangly guitars, sing-along chorus, and Fogerty’s incredible vocal delivery ensure that Rock And Roll Girls is a timeless rock anthem.

Big Train (From Memphis) shifts the tone with a song that blends Fogerty’s roots of rockabilly and country music with his unique styling. The result is a rollicking tune that is highly appealing and rich in historical influence.

I Saw It On T.V. is a quintessential toe-tapping head-bopper that highlights Fogerty’s storytelling prowess alongside his musical skill. It may be a slower, more contemplative moment on the album, but don’t let that deter you for this is an incredible number that is as relevant today as it was when first released in the mid-80s.

Mr. Greed is a biting critique of human greed with fiery guitar riffs and a passionate vocal delivery. The track’s raw energy and confrontational lyrics make it a standout and while the entire album is superb, this fusion of rock with sharp social commentary is ultimately cathartic for the listener.

Searchlight is one of the greatest songs Fogerty has ever recorded. The bold musical presentation makes it a joy for the senses as the rhythmic drive, and layered musicality, fill the entire soundstage with what can only be described as a sonic masterpiece.

Centerfield is, arguably, Fogerty’s most iconic song (particularly from his solo career), and for good reason as this playful baseball-inspired anthem captures the spirit of one of America’s favourite sports. From the clever wordplay to the unmistakable handclap rhythm, Centerfield is nothing short of a timeless classic.

I Can't Help Myself has an addictive rhythm and is the perfect song to follow the title track. The energetic instrumentation and upbeat tempo make it a quintessential toe-tapper; one that will stay with you long after the album has ended.

Vanz Kant Danz (formerly Zanz Kant Danz) has been a source of controversy for years as it’s a scathing jab at Saul Zaentz, the head of Fogerty’s former record label. Despite the controversy, it’s a musically compelling piece, due to the track’s funky blues-infused styling, that ends the album on a defiant note.

Centerfield was, ultimately, a masterful return to form for John Fogerty. The album’s diverse tracks showcase his ability to blend rock, country, and blues all while delivering powerful storytelling and timeless melodies. Balancing nostalgia with fresh creativity, Centerfield remains a cornerstone of Fogerty’s solo career and a beloved classic in the annals of rock music history.

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Jimmy Barnes – For The Working Class Man (Album Review)

Released in 1985, For The Working Class Man shook up the music industry locally and abroad with its seamless blend of hard rock, blues, and soul, reflecting Barnes’ working-class roots, musical influences, and his relentless, passionate, vocal style. Renowned for being the frontman of Cold Chisel, Jimmy Barnes would build upon his solo debut Bodyswerve (1984) and deliver an album of 12 tracks (several of which were remixed from Bodyswerve) that ultimately cemented his status as one of Australia’s most beloved rock vocalists.

Featuring blistering performances by all musicians, the spectacle of the album’s artwork most certainly lived up to its hype, for you’ll find yourself captivated from the very first note to the last. Of course, that wouldn’t be possible if it had not been expertly recorded. No, the album won’t win any audiophile awards for its production, but the grunginess of the recording perfectly matches the guttural tone of Barnes’ unique vocal presentation. That being said, the mastering of the album could be a little smoother.

Yes, the rough-around-the-edges approach works well, to an extent, and while I’ve been fortunate to have owned the album on vinyl as well, I’ve never truly been blown away by its sonic presentation. It's similar to Meat Loaf’s Bat Out Of Hell; an incredible album but one in which the listener has to accept that it sounds a certain way and even the most acclaimed editions aren’t going to be perfect. It’s moments like this that I lament the loss of tone controls, amongst modern stereo equipment, for that function, at least, allowed one to dial in the music to their subjective preferences.

That all said, the remastered CD-quality lossless edition, as delivered on Apple Music, is perfectly adequate and offers a solid sonic presentation that will appeal to most fans. If nothing else, at least it isn’t brickwall mastered as badly as Cold Chisel’s Circus Animals is; an incredible album made uncomfortable to listen to due to its ear-bleeding mastering.

I'd Die To Be With You Tonight kicks off the album with a high-energy rock anthem, driven by a melodic guitar riff and a compelling vocal performance that is amongst Barnes’ greatest. Complete with mid-80s Australian production values, and a radio-friendly sound, I'd Die To Be With You Tonight was always going to be a success on the charts but unknowingly became a trademark tune for Barnes.

Ride The Night Away was co-written by Steven Van Zandt (of Bruce Springsteen’s E Street Band fame) and Steve Jordan. As such, there’s a Springsteen-esque blue-collar rock feel that perfectly fits the album’s overall style and Barnes’ gritty vocals. Add to that the powerful driving beat, and anthemic chorus, and this song will stay with you well after the record has ended.

American Heartbeat is a hidden gem if there ever was one. Featuring a synthesised 80s production style, American Heartbeat would have been ideal for inclusion in any of the era’s films as it not only showcases Barnes’ ability to adapt to different styles, but it’s got a sonic signature that would have been ideal for films such as Top Gun.

Working Class Man is, arguably, the defining song of Barnes’ solo career; a song that has become an anthem for the Australian working-class spirit. The track’s uplifting yet gritty feel, coupled with its powerful chorus, made it an instant classic. While it is Barnes’ trademark tune, special mention needs to go out to the songwriter, Jonathan Cain (of Journey), for the American composer wrote one of the most beloved Australian tunes in all of recorded music history.

Without Your Love has a soulful element that Barnes would often delve into later in his career on releases such as Soul Deep. For now, however, this heartfelt power ballad is a lovely album-only number that showcases Barnes’ ability to convey vulnerability amongst raw power.

No Second Prize is a high-energy track filled with driving guitars and an unrelenting beat and is an idealistic counterpart to the song Working Class Man.

Vision is a killer bluesy number that sees Barnes alternate between smooth crooning and his signature raspy wail.

Promise Me You'll Call has a radio-friendly feel, with a catchy chorus and melodic hooks. While it may not be the standout or chart success that other songs on the album are, Promise Me You'll Call is an exceptional tune where Barnes’ vocal performance is amongst his very best. It’s songs such as this that ensure the album experience is coherent and memorable.

Boys Cry Out For War is rock and roll to its core. With a more aggressively charged musical and vocal approach, Boys Cry Out For War is one of the heaviest and most intense recordings on the album.

Daylight, with its funk and groove-focused rhythm, incorporating a blues-infused rock sound, ensures it's a standout; one that will see you coming back for more as Daylight lodges itself in your mind as an earworm.

Thickskinned is a deep cut featuring an old-school rock and roll vibe. The slightly rawer production works well with the song and Barnes’ vocal style, but it ultimately adds a little charm to the album as Thickskinned is a solid album-only tune.

Paradise is an ideal closer with a light-hearted styling that leaves you wanting more.

Ultimately, For The Working Class Man is a defining album in Jimmy Barnes’ career, showcasing his blend of rock, soul, and blues with raw energy and passion. Granted, the title track alone secured Barnes’ legacy, but the album as a whole is a powerful statement of resilience, determination, and working-class pride. Not only that, but it’s musically spectacular. The result is a record that is a classic release from the 80s, an essential listen, and one that has ultimately stood the test of time. There’s no doubt that For The Working Class Man is amongst Barnes’ greatest releases and worthy of inclusion in any record collection.

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Gary Moore – Run For Cover (Album Review)

Released in 1985, Gary Moore’s Run For Cover represents a pivotal moment in his career, showcasing his growth as a versatile guitarist and compelling songwriter. While this was his fifth solo release, one that presented a sonic shift towards a more melodic rock sound that incorporated elements of hard rock and blues, success was almost guaranteed as these were the elements that would not only define this record but Moore’s illustrious career.

Run For Cover may be recognised for exploring themes of love, resilience, and introspection, but it’s Moore’s exceptional performances on the guitar that are the highlight throughout the entire record. Yes, the polished 80s sound, blending synthetic elements, also helps to build a highly enjoyable sonic presentation, but when you have such an incredible artist as Moore, the result is a timeless release that will appeal to just about any music lover. However, some may not realise, certainly not immediately, that Run For Cover is more akin to a Gary Moore and Friends release as Glenn Hughes and Phil Lynott contribute to the lead vocals throughout the record. Still, despite this changing aspect, Run For Cover flows seamlessly and is an album experience from start to finish.

Produced, recorded, and mixed with kid gloves, the lossless Apple Music stream, a CD-quality counterpart, is not only thoroughly enjoyable but is truly engaging. Yes, it could do with a remaster, but the 80s production styling remains present within this particular master, ensuring that you’ll feel right at home with the sound of the recording; if you’re an 80s-era music lover, that is.

Run For Cover opens the record with a slow burn before setting the tone for the album with its driving rhythm and anthemic chorus. Out of all the songs from the album, this title track is, arguably, the most radio-friendly with Moore’s distinctive guitar riffs, and vocal licks, combined with synthesised elements that make this one of the best rock and roll tunes from the mid-80s.

Reach For The Sky has a blues-driven guitar styling that is immediately identifiable as Moore’s signature sound. While Glenn Hughes takes over on lead vocals, and the shift is noticeable, it’s not a distractive element, particularly after repeat listens. Nevertheless, the song's soaring presentation ensures it’s highly compelling and seamlessly blends with the other songs from the record.

Military Man was co-written with Phil Lynott and he also delivers the lead vocals masterfully with a bombarding style that is amongst Lynott’s greatest vocal presentations and perfectly fitting of the song’s subject matter. While not released as a single, Military Man is a hidden gem that deserves more attention than it often receives. Yes, the ballad-style shift midway is a little strange, until you get to know the song, but the more you listen to the album, the more Military Man finds its way into your soul for the combination of Lynott’s gritty edge and Moore’s poignant and expressive guitar virtuosity is a heavenly match.

Empty Rooms (1985 Version) is a re-recorded version of the song originally featured on Victims Of The Future. Choosing a preferred edition is nearly impossible as both are exceptional and the one I prefer tends to be the one I’m listening to in the moment. Let’s just say that we’re incredibly fortunate to have two different versions of what could be considered a career-defining song.

Out Of My System is your quintessential mid-80s album-only tune, but don’t let that deter you for this unassuming song will compel you from the very first note to the last, thereby ensuring that the album experience is maintained.

Out In The Fields is, arguably, the most iconic and likely the most recognisable tune from the album as it was the lead single and another perfect collaboration between Lynott and Moore. The dual vocals add depth, while the song’s explosive energy and intricate guitar work create a sense of urgency, thereby ensuring that Out In The Fields is an anthem of the 80s; even though it lacks a catchy, earworm-styled, chorus.

Nothing To Lose is a mid-tempo rocker that emphasises hooks and melody. Glenn Hughes once again delivers some killer vocals for this tune and it’s the perfect collaboration of these two great artists. As to why this tune was not considered for release as a single is anybody’s guess for it has chart-topper written all over it and is, arguably, the best song on the album.

Once In A Lifetime is most certainly ensconced in 80s synth-rock and, at times, it can be a little too dated to the era. That said, it’s a solid track but is unlikely to be the first song anyone thinks of when considering Run For Cover.

All Messed Up is a straightforward energetic rocker with Hughes on vocals. The hard-hitting approach, combined with raw guitar riffs, and a punchy rhythm section, is reminiscent of ZZ Top and is amongst the greatest recordings of Moore’s career.

Listen To Your Heartbeat blends rock and pop stylings, showcasing Moore’s versatility as an artist. It may be an album-only tune, but Listen To Your Heartbeat is a thoroughly enjoyable closing track that will encourage you to listen to the album again and contemplate the music you’ve just heard.

There’s no denying that Run For Cover is a landmark release, in Gary Moore’s career, for it bridged the gap between his hard rock roots and the melodic sensibilities that would define his legacy. The result is an album that captures Moore’s technical brilliance and ability to reach music lovers with a timeless emotional resonance. While Run For Cover will appeal to just about any music lover, fans of Moore, and melodic rock, will find this an essential listen and worthy of inclusion in their record collection.

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Eurythmics – Be Yourself Tonight (Album Review)

Released in 1985, Be Yourself Tonight marked a bold shift for the Eurythmics as they embraced a more accessible and soulful sound while retaining their core artistic integrity. Seamlessly blending rock, pop, soul, and R&B influences, along with Annie Lennox’s commanding vocals and David Stewart’s innovative production, Be Yourself Tonight solidified the Eurythmics place amongst the greatest 80s pop pioneers.

The album artwork may be on the plain side, but one advantage was that it was easily restructured to fit the Compact Cassette releases and the CD and Vinyl editions upon release. That aspect may not appeal to many, but for those of us who could only choose one format, in this case, the artwork design wasn’t truncated; particularly if purchasing the Cassette. It isn’t, however, nearly as complex a decision as we find ourselves in today whereby there are various masterings available for this classic release; all with pros and cons.

With four different versions, on Apple Music alone, to choose from, it would be logical to suggest that music lovers should be overjoyed with choice. That, however, couldn’t be further from the truth as determining the best version requires a series of comparisons and comparison is the ultimate thief of joy.

So, you may be asking, if it isn’t enjoyable to compare, why do it?

The simplest answer is that the various masterings of Be Yourself Tonight sound considerably different. Sometimes that difference is an improvement, other times it can result in a sonic presentation that lacks appeal, meaning you won’t come back to an album that you would otherwise adore. Think of it this way, salt can enhance food, but too much can make it inedible. The same applies to music and as much as I would like a singular master to exist (preferably the first one) that isn’t the way the music industry works. With that in mind, however, it’s fair to say that there isn’t a perfect master of Be Yourself Tonight.

While there are only three masterings available (as the fourth release on Apple Music is the 2005 Remaster with bonus tracks) that doesn’t make the comparison any easier. The 2018 Remaster is the only one to get the coveted Apple Digital Master tag and is available as a Hi-Res Lossless stream. The other editions are what is suggested as the original 1985 release as well as the 2005 remaster; both of which are presented as CD-quality Lossless files. It’s important, however, not to get hooked up on the numbers alone as higher is not always an indication of better and mastering quality is far more impactful than higher data rates.

There are undoubtedly many who wouldn’t care about which version is which, but if you love music as I do, then it’s important to make sure you’re listening to the one that represents the music as close to your subjective preferences as possible. As such, after much comparison, I find that I prefer the 2018 remaster to the other editions, with the original 1985 release a close second. The 2005 release, unfortunately, is mastered hot and, subsequently, loses some of the record’s ambience and atmosphere, thereby making some of the songs a little too brittle to be thoroughly enjoyed. Naturally, that is my subjective perspective and your viewpoint may well be different to my own. The only way you’ll truly know for yourself is to listen, but if you don’t wish to compare then stick with the 2018 remaster as we take a look at the songs that make up this legendary mid-80s release.

Would I Lie To You? Kicks the album off with a fiery, upbeat, anthem. Driven by a funky guitar riff and an energetic horn section, you’ll be hooked from the very first note to the last. Lennox’s powerhouse vocals dominate the track, but it’s the culmination of all elements, into an irresistible groove, that made it a chart-topping hit, and a timeless classic. It’s also an idealistic opener as it sets the tone for the entire album.

There Must Be An Angel (Playing With My Heart) is an exuberant pop masterpiece. The lush orchestration, combined with Lennox’s ethereal vocal (particularly in the chorus), is simply captivating and ensures that it’s one of the album’s defining moments. It has a Stevie Wonder vibe to it and while he had no hand in the writing, or production, of the song, his harmonica solo takes this song to another level of excellence.

I Love You Like A Ball And Chain harkens a little back to the Eurythmics core experimental roots, but is brought up to date with its gritty electric blues undertones. Lennox’s vocals are raw and impassioned, supported by Stewart’s razor-sharp guitar riffs and pulsating rhythm, thereby showcasing the duo’s versatility and making for a dramatic listening experience.

Sisters Are Doin' It For Themselves (With Aretha Franklin) is a timeless declaration of independence and equality and when you’ve got two of the most powerful voices in all of recorded music history, belting out this incredible song, it becomes nothing short of iconic. With a driving rock beat and gospel-inspired arrangement, Sisters Are Doin' It For Themselves is, without a doubt, one of the greatest songs of the 80s.

Conditioned Soul slows the tempo somewhat, but the more laid-back styling allows Lennox’s exquisite vocals to soar above the musical bed. The result is a delightfully pleasant multi-layered tune that is one of the best album-only songs you’re ever likely to hear.

Adrian is a solid tune from the album, but as good as the combination of Lennox and Elvis Costello is, Adrian isn’t a standout.

It's Alright (Baby's Coming Back) is a bright and infectious pop tune that’s brimming with optimism and catchy hooks. While it didn’t set the charts on fire, as the fourth and final single from the album, this is one of the standout tunes from Be Yourself Tonight and is amongst the Eurythmics’ greatest recordings.

Here Comes That Sinking Feeling presents a sonically stark contrast with its dark and brooding atmosphere that creates an unsettling, yet captivating, mood that makes it a hidden gem.

Better To Have Lost In Love (Than Never To Have Loved At All) is a triumphant closing track, backed by lush instrumentation and a compelling arrangement. The song’s steady rhythm, combined with shimmering orchestral elements, and Lennox’s heartfelt performance, is ideal and will encourage you to either reflect on the music or play the album again for this may be a studio release but it plays like a greatest hits compilation.

Be Yourself Tonight is a pivotal album in the Eurythmics’ discography, showcasing their ability to evolve while maintaining their artistic integrity. From chart-topping hits to deeper cuts, each track contributes to the album’s rich tapestry of sound and is a must for any 80s-focused music lover. This release not only broadened the Eurythmic’s fan base but it has stood the test of time and remains a quintessential 80s record and an enduring legacy to the musicianship of Annie Lennox and David Stewart.

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