Dan Fogelberg – Windows And Walls (Album Review)

There are hidden gems and then there is Windows And Walls; arguably a contender for the best singer-songwriter album of the 80s. Released in 1984, Windows And Walls is Dan Fogelberg’s eighth studio album and is one of his greatest releases for there isn’t a bad song to be heard, not even a B-side. Fogelberg is a master musician with a magical blend of folk, rock, and pop, all of which shine through clearly on this release. Whether it’s the ballads or the more up-tempo numbers, you won’t be able to fault this masterpiece; it’s that good!

While the album’s artwork may not appeal to some, the multidimensional aspect captivates me. It is with that in mind that, despite appreciating the Apple Music stream, I’d love to see Sony Music (Epic Records) reissue Windows And Walls, on Vinyl, for the cover art is magnificent. Unfortunately, this record hasn’t been reissued on any physical format since 1987, so unless you’re interested in picking up a secondhand copy, or are fortunate to already have one in your collection, the stream is your best bet.

Naturally, when music is recorded, mixed, and mastered this well, it’s going to sound incredible. While I haven’t been fortunate enough to hear an original release of this classic album, I can say with complete confidence that the 24-bit/44.1 kHz ALAC Lossless stream from Apple Music is flawless and perfectly suited to the era and Fogelberg’s overall style. Is it the final word in sonic quality for the record? Well, that’s subjective, of course, but if any aspect wasn’t quite right, one could rest assured that a minor tweak to an individual’s EQ settings would bring it in line with subjective expectations. For this listener, however, I consider it utterly perfect and hope that, even as much as I wish it would be reissued, they don’t remaster it for it doesn’t need it. The soundstage is wide and enveloping with adequate separation between all musical elements. There’s also next-to-no compression to deal with meaning that you can pump the volume to your preferred listening levels without experiencing any fatigue or harshness.

The Language Of Love is a lively, synth-driven number that is the perfect opener for Windows And Walls. While it also marks a slight departure from Fogelberg’s more acoustic roots, the song’s pop-rock sound captures the energetic vibe of the mid-80s and is perfectly suited to Fogelberg.

Windows And Walls is an incredibly beautiful ballad. Fogelberg’s vocal presentation and the delicate musicality are captivating, thereby creating an intimate atmosphere that ensures it's an ideal title track and one of Fogelberg’s greatest recordings.

The Loving Cup is a sensational multi-tempo tune. Like many of the songs on Windows And Walls, when The Loving Cup comes on, I just want to turn the volume up for music doesn’t get much better than this. That said, no matter how smooth the rich harmonies and musical bed are, the outro is a little too abrupt and a fade-out would have been perfect. However, the sharpness of the ending does flow masterfully into Tucson, Arizona (Gazette) so all is not lost.

Tucson, Arizona (Gazette) is a stunning narrative-driven piece. The arrangement combines country aspects with classic rock elements, resulting in a song that leaves me in awe each time I hear it for this masterful recording is akin to having Fogelberg and the band in the room with you for a private performance.

Let Her Go returns the album to an 80s pop-rock styling. I don’t know about you, dear reader, but I can’t listen to Let Her Go without head-bopping, toe-tapping, or dancing along to this incredibly addictive number. The guitar solo will similarly encourage the playing of the infamous air guitar and it’s these elements, all masterfully connected, that make me question why Let Her Go wasn’t a hit for it’s reminiscent of the most popular music of the era. Of course, it would have had to have been released as a single to be noticed. It is, nevertheless, an incredible hidden gem for anyone not familiar with Windows And Walls.

Sweet Magnolia And The Travelling Salesman slows the album’s tempo and can be best described as a masterpiece for it’s one of the greatest songs Fogelberg ever recorded.

Believe In Me is another beautiful tune for Windows And Walls simply keeps getting better as the album progresses. Fogelberg’s smooth and delicate vocal presentation, along with the lush arrangement, ensures this song is a standout that’s both compelling and memorable.

Gone Too Far is a perfect closing track with an 80s rock style that will get your body moving and will encourage you to listen to the record again.

Windows And Walls is a compelling album that showcases Dan Fogelberg’s lyrical and musical versatility. As an album that I can play on repeat indefinitely, for I never tire of listening to this exceptional release, it’s music such as this that reminds me why I love music as much as I do. The album's mix of folk, rock, and pop elements, along with Fogelberg's introspective storytelling, makes it a memorable addition to his discography and one of the very best albums released in the 80s; particularly in 1984.

Check out more reviews by Subjective Sounds

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.

Check out more reviews by Subjective Sounds

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.

Check out more Queen reviews by Subjective Sounds

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.

Check out more Nazareth reviews by Subjective Sounds

Lenny Kravitz – Let Love Rule (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out more reviews by Subjective Sounds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out more reviews by Subjective Sounds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out more reviews by Subjective Sounds